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NERI’S 
 
 ART of GLASS; 
 
 TRANSLATED BY 
 
 C. M. 
 
 TYPIS MEDIO-MONTANIS 
 
 IMPRESS IT 
 
 F. CREES, 
 
 1826. 
 

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TO THE MOST ILLUSTRIOUS AND EXCELLENT LORD 
 
 DON ANTONIO MEDICI. 
 
 Antonio Neri. 
 
 JJAVING taken much pains for many years from my youth about the Art 
 of Glass, and having experimented therein many true and marvellous 
 conclusions, I have compiled a Treatise of them with as much clearness 
 as I could, to the end to publish it to the world to please and delight (as 
 much as in me lay) men understanding in that profession, having found out 
 many things by my own invention, and some others tried by able men, and 
 found most true. I will make manifest those hidden Mysteries, for the reasons 
 abovesaid. If I do attain this my intention, it shall occasion me hereafter to 
 be encouraged to publish the rest of my Labours about other Chymical and 
 Physical matters, having likewise in both experimented many most profitable, 
 credible, and admirable Conclusions, for no other reason, but to understand 
 them truly. I judge that I ought not to dedicate this Book to any other, but 
 your Illustrious Excellence, who have been always my singular Protector, as 
 also, because you are understanding of this, and of whatsoever Noble and 
 Precious knowledge, being exercised continually in these Arts, which are 
 required in a true and generous Prince; I beseech you then to accept, if not 
 the work, yet my devout mind towards your great merit, and vertue of your 
 most Illustrious Excellence, for whom I pray to God to pour on you all 
 happiness. 
 
 From Florence, 
 
 0* Jan. 1011. 
 

 
 
 
 
 
 
 
 ' 
 
 * 
 
 
 
 
 
 
 
TO THE HONOURABLE 
 
 AND TRUE PROMOTER OF ALL SOLID LEARNING, 
 
 ROBERT BOYLE, ESQ. 
 
 SIR, 
 
 This Treatise challengetli the inscription of your Name for many reasons , The 
 Author of it dedicated this Piece to a Person of Honour, and eminent parts, both 
 which concurr in you, and herein I thought fit to follow his footsteps. Then your 
 ability to judge of the Piece, being for the most part Chymical, wherein youhave shewed 
 the world not onely your great progress and singular knowledge, but have also taught 
 it the true use of that most beneficial Art, as to the improvement of reason and 
 Philosophic. Most writers therein delivering only a farrago of processes and unin¬ 
 telligible Enigma's. But You have chalked out the way of solid reasoning upon 
 whatsoever occurrs to observation in such experiments. Next, you were the principal 
 cause that this Book is made publick, by proposing and urging my undertaking of it, 
 till it came to a command from that most noble Society, and serious indagalors of 
 Nature, meeting at Gresham College, whose desire I neither could nor ought to 
 decline ; though their and your choice might have been much more happy, there being 
 many of that Company far more adapted for this undertaking than myself. Besides, 
 I doubt not, but You will much promote by Your practice the Art it's self, there being 
 scarcely any thing contained in it but You have already judiciously had experience in. 
 Not because this Translation will any whit avail You (since Your skill in the native 
 Language is sufiiciently known to all that have the honour to be acquainted with You) 
 but may be compendious to You for such as You shall employ in these operations. 
 Furthermore, I have herein also satisfied Your vast desire of communicating know¬ 
 ledge to others, who, though intelligent of the Language, could not procure Copies in 
 the Original. And, lastly, the candor of your genius, no less than that of your 
 intellectuals, ready to excuse the errours and slips whatsoever of, 
 
 Sir, Your most humble, 
 
 C 
 
 And most regardful Servant, 
 
 C. M. 
 

 
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TO THE 
 
 INGENUOUS READER. 
 
 Courteous Reader, 
 
 J AM to advertise thee of some things concerning the Translation of this Book. You may 
 take notice, that I had first Translated it word for word; but, finding that the Author had, 
 thorowout the whole, so often repeated the same thing, by advice of some ingenuous persons, I left 
 out those repetitions, and have either before the Books given a general account of these repetitions, 
 or else have referred you to a former process, where the latter hath reiterated the same, and for the 
 most part in the very same words, yet so that I have omitted nothing material in the Author : For 
 what need is there to say, as often as Manganese is boiled with the metall, you must do thus and 
 thus, lest it run into the fire, &c. ? or to repeat the same process and rules in each new colour for 
 Pastes or Glass of Lead ? Though you may find some needless repetitions too, in this Translation 
 not omitted. I confess these reiterations caused a nausea in myself, and believe they would in thee, 
 and therefore I passed them over. Then observe, that there being many words peculiar to this Art, 
 I was compelled to have recourse to the workmen, and for such things and materials not used nor 
 known here, to take them upon tiust from such workmen as have wrought at Muran and other parts 
 of Italy. As for other things I have carefully surveid them my self. Now for the observations I 
 have been more large, especially in a business wherein so little hath been said, and therefore have 
 delivered whatsoever is material that I have met with in any good Author concerning whatsoever 
 Neri treats of, that thou might’st have together all that is substantially written upon this unusual 
 subject, and have supplied some things defective in our Author, or very fit to be known to curious 
 persons. Lastly, I doubt not, but our workmen in this Art will be much advantaged by this publi¬ 
 cation, who have within these twenty years last past much improved themselves (to their own great 
 reputation, and the credit of our nation) insomuch that few foreiners of that profession are now left 
 amongst us. And this the rather I say, because an eminent workman, now a Master, told me the 
 most of the skill he had was gain’d by this true and excellent Book (they were his own words). And 
 therefore I doubt not but ’twill give some light and advantage to our Countrey-men of that profession, 
 which was my principal aim. And, lastly, for the exotick words you’l meet with in reading this 
 Book they are now current with us, or else expounded in my Observations. 
 
 Fruere utere . 
 
 C. M. 
 
To avoid our Author's Repetitions, observe, 
 
 1. ^LL the fires must be made with dry and hard wood. 
 
 2. When the Glass is coloured, before you work it,, 
 mix the colours well (which otherwise sink to the bottom of the 
 pot) with the metall, that the glass may be coloured through¬ 
 out. This must be observed all the time you work the glass 
 into any vessels, 
 
 3. The sign that Brass or Copper are well calcined, is, that 
 they being put iuto the metall, make it swell, and suddenly 
 rise ; if they be calcined too much or too little, those signs are 
 wanting, and glass made thereof will be black and foul. 
 
 4. Manganese consumes the natural greenness of Glass. 
 
 5. Copper, Brass, Lead, Iron, and all compositions of them, 
 as also Manganese, must be put into the metall but a little at 
 a time, and at convenient distances, and the pot must be large, 
 and not filled too full, because they all swell and rise much, 
 and so are apt to run over into the fire to your loss. 
 
TO THE CURIOUS READER. 
 
 THERE is no doubt that Glass is one of the true fruits of the Art of fire, since that it is 
 very much like to all sorts of minerals and midle minerals, although it be a compound 
 and made by Art. It hath fusion in the fire, and permanencie in it; likewise as the per¬ 
 fect and shining Metall of Gold, it is refined and burnished, and made beautiful in the fire< 
 It is manifest, that its use in drinking vessels, and other things profitable for man’s service, 
 is much more gentile, graceful, and noble, then any metall or whatsoever stone fit to make 
 such works, and which besides the easiness and little charge wherewith it is made, may 
 be wrought in all places ; it is more delightful, polite, and sightly, than any other material 
 at this day known to the world. It is a thing profitable in the service of the Art of dis¬ 
 tilling and spagyrical, not to say necessary to prepare medicines for man, which would be 
 impossible to be made without the means of Glass ; so that herewith are made so many 
 sorts of instruments, and vessels, as Bodies, Heads, Receivers, Pelicans, Lutes, Retorts, 
 Athenors, Serpentines, Vials, Cruces, square and round Vessels, Philosophical Eggs, Globes, 
 and infinite other sorts of Vessels, which every day are invented to compose and make 
 Elixars, Arcana, Quintessences, Salts, Sulphurs, Vitriols, Mercuries, Tinctures, separation 
 of Elements, all Metalline things, and many others, which every day are found out; and 
 besides there are made others for Aqua-fortis and Aqua-regia, so necessary for Refiners, 
 and Masters of Princes Mints, to refine Gold and Silver, and to bring them to their per¬ 
 fection ; indeed so many things profitable for man’s use are made, that seem impossible to 
 be made without the use of it: and the great Providence of God, as is well known, by 
 this, as in every other thing, who hath made the matter of which Glass is compounded 
 (a thing so needful and profitable to man) so abounding in every place and Region, which 
 with much ease may be every where made. Glass is also a great ornament to the Churches 
 of God, for herewith (besides many other things) are made so many beautiful Glass vessels, 
 adorned with fair pictures, wherein the Metalline colours are in such sort advanced, and 
 so lively, that they seem to be so many Oriental Gems 5 and in the Glass Furnaces the 
 Glass is coloured with so many colours with so much beauty and perfection, that it seems 
 no material on the earth can be found like it. The invention of Glass (if it may be cre¬ 
 dited) is most ancient, for the holy Scripture in the Book of Job, chap. 28. saith, 
 Gold and Glass shall not be equal to it, &c. which gives clear testimony, that Glass was an¬ 
 ciently invented, for Saint Hierom saith, that Job descended from Abraham, and was the 
 son of Zanech, who descended from Esau, and so was the fifth from Abraham himself. 
 Some will, and perhaps with some reason, that the invention of Glass was found out by 
 the Alchymists; for they, desiring to imitate Jewels, found out Glass : a thing perhaps not 
 far from truth ; for, as I shew clearly in the fifth Book of the present work, the manner of 
 imitating all Jewels, in which way is seen the vitrification of stones, which of themselves 
 will never be melted nor vitrified. Pliny saith, that Glass was found by chance in Syria, 
 at the mouth of the river Bellus, by certain merchants driven thither by the fortune of the 
 Sea, and constrained to abide there, and to dress their provisions, by making fire upon the 
 ground, where was great store of this sort of herb which many call Kali, the ashes whereof 
 make Barillia and Rochetta; this herb burned with fire, and therewith the ashes and Salt 
 being united with sand or stones fit to be vitrified is made Glass : A thing that enlightens 
 mans understanding with the means and manner of making not only Glass, but Crystall 
 and Crystalline, and so many other beautiful things which are made thereof. Many assert 
 that in the time of Tiberius the emperour was invented the way of making Glass malleable, 
 a thing afterwards lost, and to this day wlioly unknown ; for if such a thing were now 
 known without doubt it would be more esteemed for it’s beauty and incorruptibility than 
 Silver and Gold ; since from Glass there ariseth neither rust, nor tast, nor smell, nor any 
 other quality : Moreover it brings to man great profit, in the use of prospective Glasses 
 and Spheres. 
 
 And 
 
Vlll 
 
 To the Curious Reader. 
 
 And although one of them may be made of natural Crystal!, called that of the moun¬ 
 tain, and the other with the mixture, called Steel, a composition made of Brass and Tin, 
 notwithstanding, in both. Glass is more profitable and of less charge, and more beautiful 
 and of greater efficiency, especially in sphears, which, besides the difficulty and expences 
 in making them, they present not to the life as Glass doth, and, which is worse, in a short 
 time they grow pale, not representing any thing. Wherefore, for these and many other' 
 reasons, you may well conclude, that Glass is one of the most noble things which man hath 
 at this day for his use upon the earth. I have laboured a long time in the Art of Glass, 
 and therein seen many things, I was moved to make known to the world a part of that 
 which I had seen and wrought therein. And although the manner of making Salt, Lees, 
 and Frittaes, is known to many, yet, notwithstanding it seemed to me, that this matter 
 requires to be handled, (as I do) clearly and distinctly, with some observations and dili¬ 
 gence, which, if well considered, will not be judged altogether unprofitable, but perhaps 
 necessary and known to few : besides, in my particular way of extracting Salts, to make 
 a most noble Crystall, that if the workmen shall be diligent in making it, as I do publish 
 and teach it, with clear demonstrations he shall do a thing as beautiful and noble, as hap¬ 
 pily is made in these days, or can be done in any other way ; and in this thing, and in, 
 every other matter that I treatof in this present work, the diligent and curious operator shall 
 find that I have wrote and shewn truth, not told me, or perswaded me by any person what¬ 
 soever, but wrought and experimented many times with my own hands. I having always had 
 this aim to write and speak the truth. And if any one, trying my receits, and manner of 
 making colours. Paste, and Tinctures, doth not speed to do so much as I write thereof, let 
 him not be amazed thereat, nor believe that I have writ untruths, but let him think that he 
 hath erred in something, and especially they which have never handled such things : For 
 it is impossible that they at the first time should be masters; therefore let them repeat the 
 work, which they shall always make better, and at the last perfect as I describe it. I 
 warn them in particular to have consideration in colours whose certain and determinate 
 dose cannot be given : but with experience and practice one must learn, and with eye and 
 judgment know, when Glass is sufficiently coloured conformable to the work for which it 
 ought to serve; and in Paste, made in imitation of Jewels, conformable to the size whereof 
 they will make them, observing, that those which are to be set in Gold, with Foyls, as in 
 Rings, or other where, must always be clear, and of a lighter colour. But those that are 
 set in Gold to stand hanging in the air, as Pendants, and the like, must be of a deeper 
 colour: all which things it is impossible to teach, but all is left to the judgement of the 
 curious operator. Observe likewise, and with diligence, that the materials and colours 
 be well prepared, and well ground, and that he who will make an exquisite work may be 
 the securer, let him prepare, and make all the colours himself as I teach, for so he shall 
 be sure that his work must happily succeed. The fire in this Art is of notable import¬ 
 ance, as that which makes every thing perfect, and without which nothing can be done : 
 Wherefore consideration is to be had in making it in proportion, and particularly with 
 hard and dry wood, taking heed of its smoak, which always hurteth and endamageth it, 
 especially in furnaces, where the vessels and pots stand open, and the Glass will their 
 receive imperfection and notable foulness. Moreover, I say, that if the operator shall be 
 diligent, and shall do like a diligent and practised person, and shall work punctually as I 
 have set down, he shall find truth in the present work, and that I have onely published, 
 and sent out to the world as much as I have tried and experimented. And if I find my 
 pains acceptable to the world, as I hope, I shall be incouraged perhaps to publish my other 
 labours wrought for many years in divers parts of the world in the Chymical and Spa- 
 gyrical arts, than which I think there is no greater thing in nature for man’s service 
 known and perfect in ancient times, which made men expert in it to be held for Gods, 
 which then were held and reputed for such. I will not enlarge myself any further, be¬ 
 cause I have in the work set down every particular so clear and distinct. I rest secure, 
 that he which will not err wilfully, it is impossible he should do so having thereof once 
 made experience and practice. Therefore let all be taken of me in good part, as I have 
 candidly made this present work, first, to the glory of God, and then to the just benefit 
 and profit of all. 
 
THE ART OF GLASS. 
 
 BOOK I. 
 
 To extract the Salt of Polverine, Roclietta, and Barillia, ivherewith Crystall Fritt 
 
 called Bollito is made. 
 
 CHAP. I. 
 
 The foundation of the Art of Glass-work, with a 
 new and secret way. 
 
 Polverine, or Rochetta, which comes from the Le¬ 
 vant and Syria, is the ashes of a certain herb 
 growing there in abundance : there is no doubt but 
 that it makes a far whiter salt than Barillia of 
 Spain ; and, therefore, when you would make a 
 Crystall very perfect and beautifull, make it of salt 
 extracted from Polverine or Rochetta of the Levant. 
 For though Barillia yield more salt, yet Crystall 
 made therewith alwaies inclines to a blewness, and 
 hath not that whiteness and fairness as that made 
 of Polverine hath. 
 
 The way often by me practised to extract the salt 
 perfectly from both of them, is this which follows : 
 
 Powder these ashes, and sift them with a fine 
 sieve, that the small pieces go not thorow, but one- 
 ly the ashes; the finer the sieve, the more salt is 
 extracted. In buying of either of these ashes, ob¬ 
 serve that they abound in salt; this is known by 
 touching them with the tongue, and tasting what 
 salt they contain : but the safest way of all is, to 
 make an essay of them in a melting-pot, and to see 
 whether they bear much sand, or Tarso, a thing 
 common in this Art, and which the Conciators very 
 well know. 
 
 Set up brass coppers with their furnaces like 
 those of the Dyers, greater or lesser, according as 
 you have occasion to make a greater or lesser quan¬ 
 tity of salt: fill these coppers with fair and clear 
 water, and make a fire with dry wood, and when 
 the water boileth well, put in the sifted Polverine 
 in just quantity and proportion to the water, con¬ 
 tinue the fire and boyling till a third of the water 
 be consumed, alwaies mixing them at the bottom 
 with a scuinmer, that the Polverine may be incor¬ 
 porated with the water, and all its salt extracted ; 
 then fill the coppers with new water, and boyl it 
 till half be consumed, and then jou have a lee im¬ 
 pregnated with salt. But that you may have salt 
 in greater quantity, and whiter, put into the coppers 
 when they boyl, before the Polverine is put in, 
 about 12 pound to a copper of Tartar of red wine, 
 calcined only to a black colour, dissolve it well in 
 the boyling water, mingling it with a scummer, then 
 put in the Polverine. This way of Tartar is a 
 
 B 
 
 secret, and makes more, and whiter salt, and a 
 more beautiful Crystall. When two thirds of the 
 water is evaporated, and the lee well impregnated 
 with salt, slacken the fire under the copper, and 
 have in order many earthen pans, at first filled 
 with common water for six daies, that they may 
 imbibe less lee and salt, and then with great brass 
 ladles, take the lee out of the copper, and put it 
 into the said pans ; take out also the ashes from the 
 copper, and put them all into the same pans, and 
 when they are full, let them stand so ten daies, for 
 in that time the ashes will be all at the bottom, and 
 the lee remain very clear, then with brass ladles 
 take gently (that the bottom be not raised, and 
 troubled) the clear lee, and put it into other empty 
 pans, and so let the lee stand two daies, which by 
 the setling of more terrestriety at the bottom, be¬ 
 comes very clear and limpid ; let this be thrice re¬ 
 peated, and you shall have the lee most limped, and 
 discharged of all that terrestriety, wherewith a very 
 fine and perfect salt is made. Let the coppers be 
 filled again, and boyl with the same quantity of 
 Tartar, and then the Polverine, as before : con¬ 
 tinue this work till you have materials enough. 
 
 To strain the said lees, and extract the salt, first 
 wash the coppers well with clear water, then fill 
 them with the said refined and clarified lees, and 
 make them boyl softly, as before, and observe that 
 you fill the coppers with the said lee, till you see it 
 thicken, and shoot its salt, which is wont to be 
 about the beginning of 24 hours, for then in the 
 superfices of the copper, you will begin to see white 
 salt appearing like a spider’s web, or white thread, 
 then hold a scummer full of holes at the bottom of 
 the copper, and the salt will fall upon it, and now 
 and then take it out, suffering the lees to run out 
 well off into the copper, then put the salt into tubs, 
 or earthen pans, that the lee may be better drained, 
 the liquor that drains must be saved, and put into 
 the copper, then dry the salt. Continue this work 
 tdl all the salt be gotten out of the copper : but you 
 must observe, that when the salt begins to shoot, to 
 make a gentle and easie fire, for a great fire makes 
 the salt stick to the copper, and then the salt be¬ 
 coming strong, alwaies breaks the copper, which 
 thing hath sometimes hapned to me ; whereof ob¬ 
 serve this chiefly, using great patience and dili¬ 
 gence. The salt in the pan, or tubs, being well 
 
 drained. 
 
2 
 
 THE ART OF GLASS. 
 
 [Book I. 
 
 drained, must be taken and put into wooden tubs, 
 or vats, the better to dry out ali the moysture, 
 which happens in more, or fewer daies according 
 to the season in which it is made. The secret then 
 of making much and good salt, consists in the 
 Tartar, as is before demonstrated. From every 
 three hundred pound of ashes, I usually get from 
 80 to 90 pound of salt. When the salt is well 
 dryed, beat it grossly, and put it into the Calcar to 
 dry, with a most gentle heat, and with an iron rake 
 it must be broken, and mixed as the Fritt is ; when 
 it is well dryed from all its moisture, (observing 
 alwaies that the Calcar be not very hot, but tem¬ 
 perate,) take it out of the Calcar and pound it well, 
 and sift it so, that the greatest pieces which pass 
 thorow, exceed not the bigness of a grain of wheat. 
 
 This salt, thus pounded, sifted, and dried, must 
 be kept by it self, in a place free from dust, for to 
 make Fritt of Crystall. The way to make this 
 Fritt is this which follows. 
 
 CHAP. II. 
 
 The way to make Fritt for Crystall, othcrivise 
 called Bollito. 
 
 HEX you would make fair and fully perfect 
 Crystal, see you have the whitest Tarso, which 
 hath not black veins, nor yellowish, like rust in it. 
 At Moran, they use the pebles from Tesino, a stone 
 abounding in that River. Tarso then is a kind of 
 hard, and most white marble, found in Tuscany, 
 at the foot of the Verucola ot Fisa, at Saraveza, 
 and at the Massa of Carara, and in the River 
 Arnus, above and below Florence, and it is also 
 well known in other places. Note, that those stones 
 which strike tire with a steel, are fit to vitrifie, and 
 to make glass and Crystall, and those which strike 
 not fire with a steel, will never vitrifie, which serves 
 for advice to know the stones that may be trans¬ 
 muted, from those that will not be transmuted into 
 glass. 
 
 Take then of the best Tarso, pounded small, and 
 serced as fine as flower, 200 pound; of salt of 
 Polverine pounded, and sifted also, about 130 
 pound; mix them well together, then put them 
 into the Calcar, which at first must be well heated, 
 for if they be put into the Calcar when it is cold, 
 Fritt will never be made of them. At first lor an 
 hour, make a temperate fire, and alwaies mix the 
 Fritt with the rake, that it may be well incorpo¬ 
 rated, and calcined; then the fire must be increased, 
 alwaies mixing well the Fritt with the rake, for this is 
 a thing of great importance, and you must alwaies 
 do thus for 5 hours, still continuing a strong fire. 
 
 The Calcar is a kind of calcining furnace ; the 
 
 rake is a very long instrument of iron, wherewith 
 the Fritt is continually stirred: both these are very 
 well known, and used in all glass furnaces. At 
 the end of 5 hours, take the Fritt out of the Cal¬ 
 car, which in that time (having had suflicient fire, 
 and being well stirred) is made and perfected. 
 Then put this Fritt in a dry place on a floor, and 
 cover it well with a cloath, that no dust nor filth 
 may fall upon it: for herein must be used great di¬ 
 ligence, if you will have good Crystall. The Fritt 
 thus made becomes as white as snow from Heaven. 
 When the Tarso is lean, you must add somewhat 
 more than ten pound of the salt to the quantity 
 aforesaid. Wherefore let the experienced Con- 
 ciators always make tryal of the first Fritt, by put¬ 
 ting it into a chrysible, which being put into the 
 furnace, if it grow clear, and suddenly, they know 
 whether the Fritt be well prepared, and whether it 
 be soft or hard, and whether the quantity of salt is 
 to be increased or diminished. This Crystall Fritt 
 must be kept in a dry place, where no moisture 
 is, for from moist places, the Fritt suffers much, the 
 salt will grow moist, and run to water, and the 
 Tarso will remain alone, which of itself will never 
 vitrifie : neither is this Fritt to be wetted, as others 
 are. And when it is made, let it stand 3 or 4 
 months, and it will be much better to put into the 
 pots, and sooner waxes clear. This is the way to 
 make Crystall Fritt, with the dose and circum¬ 
 stances, which I have oft times used. 
 
 CHAP. III. 
 
 Another way to extract the Salt of Polverine, which 
 makes a Crystall as fair and clear as natural Crys¬ 
 tall: This was my invention. 
 
 'J'AKE Polverine of the Levant, well serced, and 
 put it into great glass bodies, luted at the bot¬ 
 tom, with ashes, or sand, into the furnaces, filling 
 them at first with common water, give them a tem¬ 
 perate fire for some hours in the furnace, and let 
 them stand till half the water be evaporated; the 
 furnace being cold, gently decant off the water into 
 earthen pans glased, putting new water upon the 
 remainder of the Polverine, and let it boil, as be¬ 
 fore. This is to be repeated till the water hath 
 extracted all the salt, which is known, when the 
 water appears to the tast not at all saltish, and to the 
 eye when it is void of colour. Take of these Lees 
 what quantity you will, let them be filtred, and 
 stand in glased pans four or six days to settle, 
 which by this means will leave a great part of their 
 terrestriety, then put them to filtre anew ; thus will 
 they be purified, and separated from a great part of 
 their terrestriety, then let these Lees be set to eva¬ 
 porate 
 
j Book I.] 
 
 THE ART OF GLASS. 
 
 3 
 
 porate in great glass bodies, luted at the bottom, in 
 furnaces, in ashes, or sand, at a gentle fire, and at 
 last, when the stuff is dryed, observe that y e fire 
 be very gentle, that the salt be not burned, nor 
 wasted. When the salt is dried, take out the glass 
 bodies and see if they be broke at the bottom, 
 which is wont to happen often, in which case, put 
 the said salt into other good glasses, well luted at 
 the bottom, and fill them at the top with common 
 pure and clean water, which set in the furnace, in 
 ashes or sand, at a gentle fire, and always evapo¬ 
 rate an eighth part of the said water, then, the fur¬ 
 nace being cold, empty this water, fully impreg¬ 
 nated with salt, into earthen pans glased, and when 
 the water is setled 24 hours, filtre it with diligence, 
 that the salt may be separated from the rest of the 
 terrestriety and dregs, let this lee be evaporated 
 in glass bodies with a gentle fire, and at last more 
 gentle, that the salt be not burned; put this salt again 
 into glass bodies to be dissolved in common water, 
 in every thing as before repeat this work, till the 
 salt yields no more terrestriety, or dregs, then shall 
 you have a pure and perfect salt wherewith a Fritt 
 made with Tarso as before, will make a Crystall, 
 which, in fairness, whiteness, and cleerness, will 
 excel natural Crystall. 
 
 Although this process be somewhat laborious, and 
 a small quantity of salt made therewith, yet not¬ 
 withstanding it will make a Crystall w’orthy of all 
 great Princes, being fit to make all sorts of vessels 
 and works. This was my invention, whereof I 
 have many times made trial with happy success, 
 and my great content. 
 
 CHAP. IV. 
 
 An observation for Gold Yellow, in Crystall. 
 
 0BSEIIVE, that when salt of Tartar is mixed 
 with salt of Polterine, Fritt made of the said 
 salt is not good to make, nor can make, a Gold 
 yellow', although it makes all other colours. But 
 to make your gold yellow, you must make Fritt 
 with salt taken from Polterine alone, first purified 
 as above, for othenvise this yellow will not arise. 
 
 CHAP. V. 
 
 The way to make Salt of Fern, which makes a very 
 fair Crystall. 
 
 JN Pisa I made experience of Fern ashes, which 
 groweth in great abundance in Tuscany, which 
 herb must be cut from the earth when it is green, 
 from the end of May to the midst of June, and in 
 
 the Moon’s increasing, when it is near its opposition 
 with the Sun; for then the said herb is in its per¬ 
 fection, and will then make more salt, and of a 
 better nature, strength, and whiteness, than at other 
 times: for when it is suffered to dry of it’s self upon 
 the ground, it yields little salt, and of little good¬ 
 ness. This herb, being thus cut and laid together, 
 soon withereth, then let it be well burned to ashes ; 
 with these ashes, and with the rules, observations, 
 and diligence given before for the salt of the Pol- 
 verine of the Levant, is extracted a pure and good 
 salt, wherewith I have made Fritt with good and 
 well serced Tarso, the which Fritt melts well in the 
 pot, and yieldeth a fair Crystall, and much better 
 than the ordinary Crystall, because it had more 
 strength and bended much better, which the ordi¬ 
 nary Crystall doth not, it is drawn into tine threds, 
 such as I caused to be drawn, and to this Fritt 
 may be given a wonderful yellow Gold colour, ob¬ 
 serving that there be in it no salt of Tartar, for 
 neither from this will the Gold yellow arise; and 
 the Gold yellow which is given to this Crystal is 
 much fairer and pleasanter than can be wrought 
 with the Crystall made with the salt of the Levant 
 Polverine, and with that Crystall cannot be made 
 all sort of works, as with the other. 
 
 CHAP. VI. 
 
 The way to make another Salt, which will produce 
 a marvelous and wondi rful Crystall. 
 
 let there be made ashes after the manner afore¬ 
 said, of the Cods and Stalks of Beaus, dried 
 in the summer, when y e husbandmen have thrashed 
 and separated the Beans, with which ashes, with 
 the rules and pains abovesaid in the salt of I J olve- 
 rine, a marvellous salt is extracted, wherewith is 
 made a very noble Fritt with white and well serced 
 Tarso, which in pots will make most beautiful 
 Crystall. The same may be done with the ashes 
 of Coleworts, Bramble-berry Bush, and also with 
 stalks of Millet, Rushes, and fen Reeds, and many 
 other herbs which yield a salt, wherewith (making 
 Frits after y e accustomed manner) will be made 
 most beautiful Crystall, as every noble and curious 
 spirit may try by experience, for thereby more is 
 learned than by long study. 
 
 CHAP. VII. 
 
 A Salt that will make a very fair Crystall. 
 
 LAKE the salt of Lime which serves for building, 
 and this salt purified and mixed with the ordi¬ 
 nary salt of Polverine of the Levant, about two 
 
 pound 
 
4 
 
 THE ART OF GLASS. 
 
 [j Book L 
 
 pound to a TOO, that is, two pound of salt of Lime 
 to a 100 pound of the salt of Polverine purified and 
 well made (as abovesaid); with this salt so mixed, 
 is usually made ordinary Fritt, and is put in the 
 pot to clarifie, refine the Glass as shall he hereafter 
 declared in the way of making of Crystalline, Cry- 
 stall, and common glass: and so thus is made a 
 very fair and beautiful Crystal 1. 
 
 CHAP. VIII. 
 
 The way to make ordinary Fritt, to wit, of Polve- 
 verine, Rochetta, and Barillia of Spain. 
 
 pRITT is nothing else but a calcination of those 
 materials which make glass; and although they 
 may be melted, and make glass without calcina¬ 
 tion, yet this would succeed with length of time and 
 weariness, and therefore this calcination was in¬ 
 vented to calcine the Fritt in the Calcar, which, 
 when it is calcined, and the proportion of the ma¬ 
 terials is adjusted agreeable to the goodness of the 
 Barillia, presently melts in the pot, and wonder¬ 
 fully clarifies. 
 
 Fritt made of Polverine makes ordinary white 
 glass ; Fritt from Rochetta of the Levant makes the 
 fairest glass called Crystall; Barillia of Spain, 
 though it be usually fatter than the former, yet it 
 makes not a glass so white and fair as that of the 
 Levant, because it always inclines a little to an 
 azure colour. 
 
 To make then Fritt, serce the Polverine thorow 
 a fine serce, the small pieces which pass not, let 
 them be pounded in stone mortars; the like is done 
 with the Rochetta and Barillia, to wit, every one 
 by it’s self; and be sure that they be well pounded, 
 and serced thorow a fine serce; for, as the common 
 proverb in this art saith, A fine serce, and dry wood, 
 bring honour to the furnace. Now whatsoever the 
 quantity of the Barillia be, for example, a 100 
 pound of it commonly requires from 80 to 90 lb. of 
 Tarso, which must be finely beaten, and then finely 
 serced, more or less, according to the goodness of 
 the Barillia and it’s fatness, whereof you need not 
 make an essay, how much it holds as is known by 
 art. Then with sand, and especially with that 
 from Tuscanic, found in the vale of Arnus, being- 
 much fatter, and having in it more plenty of salt 
 than Tarso hath. There is never added more than 
 6 or 8 pound to the hundred. Now this sand must 
 be washed from all it’s unprofitable terrestriety, and 
 serced, and then this will make a white and good 
 glass ; for Tarso always makes much fairer glass 
 than any sand that is in Tuscany. The due quan¬ 
 tity of sand or Tarso, being found out, mix and 
 unite them, first well together with the Barillia or 
 Polverine well sifted, and so put them into the 
 
 Calcar when it is hot, and at first mix and spread 
 them well in the Calcar with a rake, that they may 
 be well calcined, and continue this till they begin 
 to grow into lumps, and come into pieces as big as 
 small nuts. The Fritt will be well and perfectly 
 wrought in the space of 5 hours, being stirred all 
 that time, and a sufficient fire continued; and when 
 you would see whether it be well made, taka 
 a little of it out when cold, if it be white, yellowish 
 and light, then ’tis made. The calcining of it more 
 than 5 hours is not amiss ; for by how much more 
 it is wrought and calcined, the better it is, and the 
 sooner it meltetlr in the pot; and by standing a 
 little longer in the Calcar it consumeth and loseth 
 the yellowness and foulness which glass hath in it 
 self, and it becomes more clear and purified. When 
 the Fritt is taken out of the Calcar thus hot, let 
 there be thrown upon it 3 or 4 pails of cold water, 
 then set it under ground in a moist and cold place, 
 and the filth which arose when the salt was made 
 (as is abovesaid) is wont to be put into the same 
 pans, with the lee from Polverine; fill them with 
 common water, having tubs under the pans to 
 receive the water, which by little and little drops, 
 thorow the said filth and setlings, and hence comes 
 a very strong, pure, and clear lee, to be kept apart, 
 and herewith now and then water the Fritt above- 
 said, which being heaped together in a moist place 
 the space of 2 or 3 moneths or more (the longer 
 the better) then the said Fritt grows together in a 
 mass as a stone, and is to be broken with mattocks. 
 Now when it is in the pot it soon melteth stupen- 
 diously, and maketh glass as white as CrystalL 
 For this lee leaves upon the Fritt it’s salt which 
 worketli this effect. When this lee is not to be had, 
 it must be watered with the common water, which, 
 although it doth not work this great effect as the said 
 lee, yet it doth well, and maketh it easier for melt¬ 
 ing. Wherefore Fritt should stand, when made, 
 some moneths, which thus, made, alway causeth 
 less wood to be consumed, and the glass clear and 
 sweeter to work. 
 
 CIIAP. IX. 
 
 To make. Crystall in full perfection, the way L al¬ 
 ways practice. 
 
 'PARE Crystall Fritt, diligently made, set it in 
 pots in the furnace, where there are no pots with 
 colours, for the fumes of metalls, whereof the great¬ 
 est part of colours are made, make the Crystall 
 pale and foul; but that it may come forth white, 
 shining, and fair, when you put the Fritt into the 
 pots in the furnace, then cast in such a quantity of 
 Manganese prepared as is needful, according as the 
 pots are, greater or less. For this lieth in the 
 
 practice 
 
j Book I.] 
 
 THE ART OF GLASS. 
 
 practice of the able and diligent Conciatore, and 
 belongs to his office. The quantity of the Man¬ 
 ganese, and of all other colours to be put into the 
 Fritt and metalls cannot be precisely determined 
 either by weight or measure, but must be wholly 
 left to the eye and judgement, tryal and experience, 
 of the Conciatore. To make a fair Crystal, when 
 it is well melted take it from the pots, and cast it 
 into great earthen pans, or clean bowls ful of clean 
 water (for it requireth to be cast into water), to this 
 end, that the water may take from it a sort of salt 
 called Sandever, which hurteth the Crystall, and 
 rnaketh it obscure and cloudy, and whilst it is a 
 working still casteth forth Sandever, a thing very 
 foul. Then put it again into a clean pot, and cast 
 it into water, which is to be repeated as often as 
 is needful, until the Crystal be separated from all 
 this salt, but this is to be left to the practice of 
 the Conciator, then set it to boil 4 or (J days, and 
 let as little iron be mixed therewith as is possible, 
 for it gives it always a blackish tincture. When it 
 is boiled and clear, see whether it hath enough 
 Manganese, and if it be greenish, give it Manganese 
 with discretion. Wherefore to make good Cry- 
 stall, put in the Manganese by little and little at a 
 time, for it makes the Crystall of a murry colour, 
 which afterwards inclines to black, taking from it 
 it’s splendor; mix the Manganese, and let the glass 
 clarifie till it becomes of a clear and shining colour. 
 The property of Manganese is, being put in just 
 quantity, to take away the foul greasiues which 
 Crystall always hath, and to make a resplendent 
 white; when the Crystall is clear, limped, and fair, 
 work it continually into vessels and works that most 
 please you, but not with so great a fire as common 
 glass is wrought with. Be careful that the Irons 
 wherewith you work, be clean, and that you put 
 not the necks of the glasses where the Irons touch 
 (for there always remaineth iron) into the pots 
 of Crystall, for they make it become black. But 
 this glass where the iron rods touch may be put in 
 to make glass for vulgar works. 
 
 ciiap. x. 
 
 To make Cry stall-glass, and White, cull'd otherwise 
 Common glass. 
 
 FRITT of Polverine makes a white and fair 
 common glass, Fritt of Roehetta makes the 
 fairest glass called Crystall, which is between or¬ 
 dinary glass and Crystall. As much Manganese 
 prepared must be used in common glass as in Cry¬ 
 stalline ; cast the Crystalline or common glass once 
 at least into water, that you may have them fair, 
 clear, and in perfection. Although glass may be 
 made without this casting into water, yet to have 
 it fairer than ordinary, this is necessary to be done, 
 
 C 
 
 and may be repeated according to your pleasure, 
 as you would have them more resplendent and 
 fairer, and then you may work them into what ves¬ 
 sels you need. And to make them yet whiter, Cal¬ 
 cine them that they purifie well and have but few 
 blisters. And above all observe, that if to each of 
 them, by themselves, you put upon the Fritt, the 
 proportion of 10 pound of salt of Tartar purified 
 to 100 weight of Fritt, it makes them without com¬ 
 parison fairer, and more pliable to work than ordi¬ 
 nary. The salt of Tartar must be put in when the 
 Fritt is made, and then be mixed with Tarso, or 
 sand, together with the Polverine or Roehetta, sifted, 
 and then make thereof Fritt as before. 
 
 CHAP. XI. 
 
 To make Purified Salt of Tartar, for the work 
 above said. 
 
 FAKE Tartar of red wine in great lumps, and not 
 in powder, calcine it in earthen pots between 
 live coles till it become black, and ail it’s unc- 
 tuosity be burned away, and till it begins to grow 
 white, but let it not become white, for then the salt 
 will not be good. Put the said Tartar thus cal¬ 
 cined, into great earthen pans full of common wa¬ 
 ter heated, as also into earthen pots glased, and 
 make it boil with a gentle soft lire in such sort, that 
 a quarter of the water maybe exhaled in two hours, 
 then take them from the lire, and suffer the water 
 to cool, and become clear, which decant off, and it 
 will be a strong lee, then put in more common wa¬ 
 ter into the said pans after the same manner, and 
 upon the remainder of the Tartar, and let them 
 boil as before, repeat this until the water become 
 no more saltish, then filtre these waters, impreg¬ 
 nated with salt, and put the clean liltred lee into 
 glass bodies to evaporate in the ashes of the fur¬ 
 nace at a gentle heat, and in the bottom there will 
 remain a white salt, dissolve this salt in warm wa¬ 
 ter, let it settle two days, then evaporate it in glass 
 bodies at a gentle heat, and there will remain at 
 the bottom a salt much whiter than at the first time, 
 dissolve this salt again, and after two days selling, 
 filtre and evaporate it in every thing as before. Re¬ 
 peat this manner of dissolving, filtring, evaporating, 
 this salt of Tartar four times, which then will be 
 a salt much whiter than snow, and purified from the 
 greatest part of its terrestriety, which salt, mixed 
 with Polverine or Roehetta, serced, with a dose of 
 Tarso or sand, will make a Fritt, which in the pot 
 will yield Crystalline and common glass much fairer 
 than that that is made without the addition of this 
 salt of Tartar, and although a fair Crystalline may 
 be made without it, yet notwithstanding a much 
 fairer may be made with it. 
 
 CIIAP. 
 
THE ART OF GLASS. 
 
 [Book I. 
 
 G 
 
 CHAP. XII. 
 
 To prepare Zaffer which serves for many colours. 
 
 rpAKE Zaffer in gross pieces, put into earthen 
 pans, let it stand half a day in the furnace, and 
 then put it into an Iron ladle to be heated red hot 
 in the furnace, take it thence thus hot and sprinkle 
 it with strong vineger, as soon as ’tis cold grind it 
 fine on a porphyrie stone, wash it in earthen pans 
 glased, with much warm water, always suffering the 
 Zaffer to settle to the bottom, then decant it gently 
 off; this will carry away the foulness and terres- 
 triety from the Zaffer, and what is good, and the 
 tincture thereof will remain at the bottom, which 
 thus prepared and purified will tinge much better 
 than at first, making a limpid and clear tincture, 
 which dry and keep in vessels closed for use. 
 
 CHAP. XIII. 
 
 To prepare Manganese to colour Glass. 
 
 'PARE Manganese of Piemont, for this is the best 
 of all Manganeses at this day known in the art 
 of glass. At Venice there’s not alwayes plenty, 
 and at Moran none other is used. In Tuscanie and 
 Liguria there’s enough ; but that holds much iron, 
 and makes a black foul colour. That of Piemont 
 makes a very fair murry, and at last leaves the 
 glass white, and takes away the greenness and 
 blewness from it. Put this Manganese in pieces 
 into iron ladles, and proceed thorowout as in pre¬ 
 paring Zaffer. 
 
 CHAP. XIV. 
 
 To make Ferretto of Spain, xchich serves to colour 
 Glass. 
 
 r J 1 0 make Ferretto is nothing but a simple Calci¬ 
 nation of Copper, that the metall, being opened, 
 may communicate its tincture to glass; which Cal¬ 
 cination, when it is well made, without doubt, 
 makes divers and very beautiful colours. This 
 Calcination is made many ways ; I shall set down 
 two of them, not only easie, but of times used by 
 me, with effects very fair, in glass, whereof the 
 first is that that followetli, to wit, Take thin copper 
 plates of the bigness of a Florentine, and have one 
 or more melting-pots of the Goldsmiths, and in the 
 bottom of these pots make a layer of brimstone 
 powdered, then a layer of the said plates, and over 
 them another layer of powdered brimstone, and 
 another of copper-plates, as before, and in this 
 order fill the pot, which is otherwise said to make 
 a S S S. cover and lute well, and dry this pot, and 
 put it into an open wind furnace amidst burning 
 
 coals, and a strong fire must be given to it for 2 
 hours, let it cool, and you shall find the copper 
 calcined, and it will be broke in pieces by the fin¬ 
 gers as if it were dry earth, and wdl be raised into 
 a black and reddish colour. This copper, being 
 beaten small, and serced in a fine serce, is kept well 
 closed for use. 
 
 CHAP. XV. 
 
 Another ivay to make Ferretto of Spain. 
 
 'J'HIS second way of making burnt copper, though 
 it be more laborious than the first, yet it will do 
 it’s effects in glass more than ordinary. 
 
 The copper then (instead of making a S S S with 
 brimstone) must make a SSS with vitriol, and then 
 calcine it, letting it stand three days in the floor of 
 the furnace, neer the occhio, then take it out and 
 make another SSS with new vitriol, keep it in re¬ 
 verberation as before, and this calcination with 
 copperas must be repeated six times, and then you 
 shall have a most noble burnt copper, which in 
 colours will work more than ordinary effects. 
 
 CHAP. XVI. 
 
 To make Crocus Ferri, otherwise called Crocus 
 Martis, to colour Glass. 
 
 CJROCUS MARTIS is nothing else but a sub¬ 
 tilising and calcination of iron, by means where¬ 
 of it’s tincture (which is most red in glass) is so 
 opened that it communicateth it’s self to glass, and 
 not only manifesteth it self, but makes all other 
 metalline colours (which ordinarily are hidden and 
 dead in glass) appear fair and resplendent. I will 
 set down four ways to make it, and the first is— 
 Take filings of iron (if you can have them, those 
 of steel are better) mix them well with three parts 
 of powdered brimstone, and keep them in a melting 
 pot in a furnace to calcine, and burn well off all the 
 brimstone, which soon succeeds, let them stand four 
 hours in burning coals, then take and powder and 
 serce them thorow a fine serce, and put them into a 
 crysible covered and luted at the top, and set them 
 in the leer of the furnace neer the occhio or the ca- 
 velet 15 days or more, which then gains a reddiss 
 Peacock-like colour, as if it were purple; this is 
 kept in a close vessel, for the use of glass colours, 
 for it worketh many fair feats. 
 
 CHAP. XVII. 
 
 The second ivay to make Crocus Martis. 
 
 'JWS second way of making Crocus Martis with 
 so much ease ought to be much esteemed of, 
 since the Crocus made in this manner makes appear 
 
 in 
 
Book I.] 
 
 THE ART OP GLASS. 
 
 7 
 
 in glass the true red colour of blood, and the man¬ 
 ner of making it is thus : 
 
 Take filings of iron, (steel is better) mix them well 
 in earthen pans with strong vineger, onely sprink¬ 
 ling them so much that they may be wet thorowout, 
 spread them in pans, and set them in the sun till 
 they be dry, or in the open air when the sun is 
 cloudy. When dry, powder them, and if they be 
 any whit in lumps, sprinkle them with new vinegar, 
 then dry and powder them as before; repeat this 
 work 8 times, then grind and serce them fine, and 
 you have a most fine powder of the colour of brick 
 powdred, which keep in vessels to colour glass. 
 
 CHAP. XVIII. 
 
 A third way to make Crocus Martis, 
 
 THIS third way of making Crocus Martis is a 
 way by which the deep colour of Iron is made 
 more manifest than may seem credible, and in glass 
 is seen the truth and proof thereof. Sprinkle filings 
 of steel with Aqua-fortis, in glased pans, set them 
 in the sun to dry, powder them, wet them again 
 with Aqua-fortis, and dry them ; repeat this several 
 times, and you shall have a red powder, as is said 
 of Croats made with Brimstone, then powder, serce, 
 and keep it for your use to colour glass. 
 
 CIIAP. XIX. 
 
 A fourth icay to make Crocus Martis. 
 
 This is the fourth and last way to make Crocus 
 Martis, and perhaps, the best of all, though each 
 of the ways shown by me are not only good and 
 perfect in their operation, but necessary also for di¬ 
 vers colours necessarily and daily made in glass; 
 and to make this, dissolve in Aqua-fortis made 
 Aqua-liegis, with Sal Armoniack (as shall be said 
 in our rules of Calcidony ) filings of Iron or steel in 
 a glass vessel well closed, keep them so 3 days, & 
 every day stir them well. Observe, when the said 
 water is put upon the filings, that it be done leasure- 
 ly and warily, because it riseth much, and endan¬ 
 gered) the breaking of the glass, or else all to run 
 out: at the end of 3 days let the water be gently 
 evaporated away, and in the bottom will be found 
 a most noble Crocus Martis, for the most stupen¬ 
 dous tinctures of glasses, which keep for use. 
 
 CHAP. XX. 
 
 To Calcine Brass called Orpello, or Tremolante, 
 which in glass makes a side colour, and sea green. 
 
 JJRASS (as it is well known) is copper, which, by 
 Lapis Calaminaris, becomes of the colour of 
 gold, the which Lapis Calaminaris doth not only 
 
 colour the copper, but also, incorporating with it, 
 increaseth much its weight; the which augmenta¬ 
 tion gives a colour to glass when it is well calcined, 
 which is a thing very delightful to see, keeping the 
 medium between a sea-green and skie-colour when 
 the skie is clear and serene ; wherefore be diligent 
 in well calcining it. To make it punctually, this is 
 the way. 
 
 Take Brass, and to save charges, buy that which 
 is in works, and festoons, cut it in small pieces with 
 a pair of Scisers, then put it into a chrysible co¬ 
 vered and luted at the top in coals on a strong fire. 
 I put it in the burning coals of the furnace, where 
 they are stirred, there let it then stand four days in 
 a great, but not in a melting fire, for if it be melted, 
 all the labour is lost, in that time it will be well 
 calcined, powder it into a most subtil powder, and 
 serce it, and grind it fine upon a porphyrie stone, 
 and there will come forth a black powder, which 
 spread on tiles, and keep it on the burning coals in 
 the lee, near to the round hole four days, take from 
 it the ashes that fall upon it, powder, serce, and 
 keep it for use. The sign that it is well calcined 
 is, that if it be put into glass it makes it swell, and 
 when it makes not the glass arise and boil well, it 
 is a sign, either that it is not well calcined, or that 
 it is too much burnt; in which two cases it makes 
 not the glass boil, neither doth it colour well. 
 
 CHAP. XXI. 
 
 To Calcine the said Brass, after another manner, to 
 make a transparent red, a yellow, and a calcidony. 
 
 TAKE Brass and cut it small with sheers, and 
 put it in a melting pot, make a SS S. with pow¬ 
 dered brimstone, and set it on kindled coals, put 
 it in the burning coals of the furnace to Calcine for 
 24 hours, then powder, serce, and put it covered 
 upon tiles of earth into the furnace, for 12 days, to 
 reverberate, then grind, powder, and keep it for use. 
 
 CIIAP. XXII. 
 
 Sca-grcen in glass, a principal colour in the Art. 
 
 gEA-green is one of the principal colours given 
 to glass, and if you would have it fair, and to 
 hold at all trials, you must always make it in 
 glass called Artificial Crystal; for in ordinary metal 
 it ariseth not fair : and though in Crystalline it 
 ariseth fairer than in common glass, yet in the said 
 Crystal onely in perfection. Observe, that when¬ 
 ever you would make this colour, you in no wise 
 add any Manganese at first, because this being ad¬ 
 ded (although the fire afterwards consumes it), yet 
 it leaves a cpiality in the Glass which makes the 
 colour black, and gives it great imperfection and 
 foulness. Now, to make a fair Sea-green, take of 
 Crystall Fritt and put it in a pot, not allowing it any 
 
 Manganese 
 
THE ART 
 
 OF GLASS. 
 
 [Book I. 
 
 Manganese at all, and as soon as it is melted and 
 clear, it yields a salt which swims at the top like 
 oyl, let this be taken off with iron ladles by the 
 Conciators, take it out with much diligence, for 
 what remains thereof will make a foul and oyly 
 colour, and when the glass is well and perfectly 
 clarified, take a pot of about twenty pound of 
 Crystal, six ounces of Brass prepared as is afore¬ 
 said, and to this brass calcin’d, add a fourth part 
 of Zaffer prepared, and let these two powders be 
 well mixed, and put to the said Crystal at three 
 times, but at first this powder will make the metall 
 swell very much, and you must well mix the glass 
 with the long squares. Then let the metall settle, 
 that the colour may be incorporated for three hours, 
 then mix them again with the long square, then 
 take a proof thereof, in doing whereof, put in rather 
 too little than too much, for the colours may be 
 easily heightned, which is to be done according to 
 the works for which it is to be employed, for gross 
 tubes for counting-houses require not so deep and 
 full a colour, and tubes to make beads of, must not 
 have too light a colour. At the beginning of twenty 
 four hours (after it hath had the due colour) it may 
 be wrought, and before you work it, mix well the 
 metall from the very bottom of the pot, that the 
 colour may be well united, mixed, and spread tho- 
 rowall the metall, otherwise it settles to the bottom, 
 and the metall at the top becomes clear. This 
 manner of making Sea-green I have tried at Flo¬ 
 rence in the year JG02, and made pots for tubes for 
 counting-houses, always of a most fair colour. At 
 Moran for the said tubes, they take half Crystall 
 Fritt, and half Rochetta Fritt, fromwhence notwith¬ 
 standing proceeds a fair Sea-green, although in 
 Crystall alone it ariseth most fair. 
 
 CHAP. XXIII. 
 
 Side Colour, or Sea-green. 
 
 §ET in the furnace a pot of pure metall of Fritt 
 from Rochetta, or Barillia of Spain. The Ro¬ 
 chetta of the Levant does best. As soon as the 
 metall is well purified, then take to a pot of *20 
 pound six ounces of brass calcin’d of it’s self, as 
 in 20 Chap, put it into the metall as is said in the 
 Skie colour in every particular; observing, that 
 this metall be scummed very diligently with a ladle. 
 At the end of two hours the metal must be very 
 well remixed ; take thereof a proof, and leave it so 
 24 hours, then it is mixed and wrought, and this 
 will be a most fair and marvellous Skie-colour, 
 varied with other colours, which are made in the 
 art of glass. This colour tinged many pots in Pisa, 
 in the year 1G02, and there came out a fair colour 
 bearing all proofs. 
 
 chap. xxiv. 
 
 A Red colour from Brass for many colours. 
 
 r [ , AKE Brass in small plates, and put them cn 
 the arches of the furnace, leave them there 
 closed until they are well calcined of themselves 
 with a simple fire, but not to melt. As soon as it 
 is calcin’d and powder’d, it will become a red pow¬ 
 der for many, and those all necessary, uses in the 
 art of glass. 
 
 CHAP. XXV. 
 
 Brass thrice ealemed to colour glass. 
 
 PUT the said Brass into the Fornello, or on the 
 Lere of the furnace neer to the occhio, into 
 earthen tiles, or pans baked, calcine it four days 
 together, and it will become a black powder, and 
 stick together; powder it again, serce it fine, and 
 recalcine it as before four or five days, for then it 
 will not stick together, nor become so black, but 
 russet, and powders of itself, wherewith is made a 
 Sea-green, and Emerald-green, the Arabian colour 
 called Turcois, a very beautiful skie colour, with 
 many others. Wherefore observe that it be not too 
 much nor too little calcined at the third calcination, 
 for in this case it colours not the glass well, and 
 the sign that it is done perfectly is, that being put 
 upon purified metal, it makes it swell and boil sud- 
 dainly, and when it doth not so, it is not good, nor 
 well calcined. 
 
 CHAP. XXVI. 
 
 A Sea-green in Artificial Crystal. 
 
 ’PO a pot of Crystal Fritt containing 40 pound, 
 not charged with any Manganese, but well scum¬ 
 med, for when you would make a sea-green, never 
 cast the Crystal into water, but onely scum it care¬ 
 fully ; when this Fritt is melted and well purified, 
 take 12 ounces of thrice calcined brass, and there¬ 
 with mix half an ounce of Zaffer prepared, unite 
 these two powders well together, and put this mix¬ 
 ture into the pot at four times, for so the glass re- 
 ceiveth it better. Mix the glass and powder with 
 diligence, let them stand two hours, then remix 
 them, and take a proof, and if the colour be full 
 enough, let them stand; and although the Sea-green 
 appears too full, yet the salt which is in the glass 
 will eat up and consume the said greeness, and will 
 always incline to a blewishness. And at the be¬ 
 ginning of 24 hours it may be wrought. 
 
 I have many times experimented this way of 
 making Sea-green without ever erring. And if a 
 moytie of Rochetta first be mixed with Crystal Frit, 
 there will arise a fair Sea-green, and in Crystal 
 alone ’tis marvellous fair. 
 
 CHAP. 
 
Hook I. ] 
 
 the art of glass. 
 
 9 
 
 CHAP. XXVII. 
 
 General observations for all colours. 
 
 ^11 AT the colours may arise in full beauty and 
 perfection, observe, that every pot, great or small, 
 that is new, and put the first time into the furnace, 
 leaves a foulness in glass from it’s terrestriety, so that 
 all the colours that are made in them appear bad and 
 foul : wherefore those pots that are very great may 
 be glased with white melted glass, as the Couciators 
 well know, but the second time the pots lose this 
 foulness. Observe, secondly, that those pots which 
 serve for one colour must not be used for another; 
 for example, a pot which hath been used for yellow, 
 is not good to make a grain colour, and that which 
 makes a grain colour is not good to make a green 
 colour, and that which serves for a red is not good to 
 make a blew, and so of all other colours. Therefore, 
 every colour must have its own pot, for in this manner 
 the colours will become more perfect. Thirdly, that 
 the powders be well calcined, (that is) neither too 
 much, nor too little; for in either of these cases they 
 do not colour well. Fourthly, that a due proportion 
 and dose be used, and the mixture be made in pro¬ 
 portion, and the furnaces be hot, and fed with dry 
 and hard wood. Fiftly, that the colour must be used 
 dividedly; to wit, one part in the Fritt, and the other 
 in the metall when it is melted and purified. There 
 are other observations also which shall be treated of 
 in their places, when we treat particularly of colours. 
 
 CHAP. XXVIII. 
 
 To make Copper thrice Calcin'd with more ease and 
 less charge than the former. 
 
 'J’AKE the scales which the Brasiers make when they 
 hammer pans, kettles, or other works of brass, 
 which being often put into the fire, the workmen ham¬ 
 mer them, and these scales fall off, which cost much 
 less than solid brass, wherewith is made the stuff 
 hereafter described. And to calcine it, you need not 
 open and shut again the arches of the furnace (as in 
 the aforementioned way), a thing of much disadvan¬ 
 tage and disturbance to the furnace. Take then those 
 scales that are clean, and free from all earth and 
 foulness, wash them with warm water many times 
 from their filth and uncleaness, and then let them 
 be put into pots and pans of baked earth, and be 
 kept in the leer near the occhio, or in furnaces made 
 for this purpose. I made at Pisa a little furnace in 
 the fashion of a little calcar, where were calcin’d 20 
 or 25 pound of these scales in few hours. Now let 
 them stand in the said place four days, then renew 
 them, powder and serce them fine, then again put 
 them in the pans and pots of earth as before, with 
 the same fire and heat as aforesaid, for four days 
 more, and they will come into a black powder, and 
 run into lumps ; beat, and serce those lumps fine, and 
 repeat this process again, and a third time, then the 
 
 D 
 
 scales will be prepared with much less charge than the 
 former, and will thorowly have the same effect as the 
 former. These scales rise much, wherefore use the 
 prescribed care. 
 
 CHAP. XXIX. 
 
 A fair Sea-green in Crystal Metall, with the above- 
 said Scales. 
 
 ’J'AKE a pot of sixty pound of Crystall Fritt well 
 scummed, and not cast into water. T made a 
 Sea-green without wetting the Crystall metall, and 
 thought that it came out better. But we may make 
 tryal of both ways, and stick to the best. Then 
 take of metall well purified the said GO pound, and 
 one pound and a half of the said scales made with 
 less charges, four ounces of Zaffer prepared, mix 
 well these two powders together, put them to the 
 Crystall at four times, mixing well the powder with 
 the metall for two hours, then put it again to be well 
 remixed as ’tis usual, and take a proof. Herewith I 
 have made many times a most fair Sea-green with 
 happy success. Mix half Crystall with Rochetta, and 
 you shall have a Sea-green every way beautiful. 
 
 CHAP. XXX. 
 
 A Sea-green of lesser Charge. 
 
 r f A KE the same Brass prepared (as before) with 
 the same quantity of Zaffer, put them in the same 
 manner and form to the Rochetta of the Levant, and 
 also to that of Spain, neither of which hath had any 
 Manganese, and which hath been well skummed, and 
 not passed thorow water, using the rules as abovesaid 
 in Crystall; for by this means it will receive a very 
 fair Blew for all sorts of works, and will cost much 
 less than Crystall: for the Rochetta is of much less 
 value than the Crystall, as it is known. In this 
 manner have I often made it at Pisa, and always with 
 good success. 
 
 CHAP. XXXI. 
 
 A marvellous Sea-green, above all Sea-greens, of my 
 invention. 
 
 LET the Caput mortuurn of the spirit of Vitriol of 
 Verv s, Chymically made without corrosives, stand 
 in the air some few days; draw from it of it self with¬ 
 out any artifice a green pale colour; this material 
 being pulverised with the addition of Zaffer prepared, 
 and with the same proportion (as is said in the other 
 prepared Brass) the metall being added (as in the 
 other Sea-green,) it wiil make a Sea-green so fair and 
 marvellous, that ’twill seem a very strange thing : 
 I have often made it at Antwerp to the wonder of all 
 the spectators that saw it. The manner of making 
 Vitriol of Venus without corrosives, spagirically, is, 
 to take little thin pieces of Brass of the bigness of 
 half a Florentine, and to have one or more pots (as it 
 
 is 
 
10 
 
 THE ART OF GLASS. 
 
 [Book I. 
 
 is needful) and in the bottom of them to put a layer 
 of common Brimstone powdered, and above it little 
 pieces of the brass aforesaid, and then a layer of 
 Brimstone, and after that pieces of brass; work in 
 this manner till all the brass that you have be set to 
 work, this being done, let the brass be baked as fol- 
 loweth in the 140 Chap, then prove it, and to your 
 content you may see a thing of astonishment. 1 know 
 not whether any have tried this way, which I have 
 found wonderful, wherefore I say ’tis my own in¬ 
 vention. 
 
 CHAP. XXXII. 
 
 A green emerald colour in glass. 
 
 IX making Green yon must observe that the metall 
 have not much salt, with metall that hath much 
 salt as Crystall and Roehetta have, you cannot make 
 a fair Green, but onely a Sea-green, for the salt con¬ 
 sumes the Green, and always inclines the colour to a 
 Blew. Wherefore when you would make a fair 
 green, put common metall made with Polverine , into 
 small or great pots, and in no wise have any Man¬ 
 ganese. When it is melted and well purified, add to 
 this metall a little Crocus Mortis calcined with vineger, 
 about three ounces thereof to a hundred weight, let 
 the metal be well mixed, and remain so an hour, un¬ 
 til the glass incorporate the same tincture of the 
 metall Crocus, which will make the glass come out 
 yellowish, and takes away the foulness and blewness, 
 which the metal always hath. This process will give 
 the metall a fair green. Put of thrice calcined brass, 
 made with scales (as before) two pound to every 
 hundred pound of metall, and this must be added at 
 six times, mixing well the powder with the metall, 
 then let them settle two hours, and the metall incor¬ 
 porate with it, then mix again the metall, and take 
 a proof, and if the green inclines to a blew, add a 
 little more Crocus Martis, so you shall have a very 
 fair Sea-green, called Leek green, which, at the end 
 of twenty-four hours, may be wrought: This green I 
 have many times made at Pisa, which came forth 
 sufficiently fair. And so it will to every one that shall 
 observe punctually what is abovesaid. 
 
 CHAP. XXXIII 
 
 A Green fairer than the former. 
 
 |3UT if you would have a Green much fairer and 
 shining than the former, put into a pot of Cry¬ 
 stalline which hath not had any Manganese, and which 
 hath passed thorow water once or twice, till all the 
 saltness be gotten out; and to this Crystalline, let 
 half of common white metall made of Polverine be 
 put in at several times : as soon as this metall is well 
 mixed and purified, take to every hundred pound, two 
 pound and a half of thrice calcin’d brass, made with 
 plates of brass in the arches of the furnace, and with 
 
 this mix two ounces of Crocus Martis calcin’d with 
 Brimstone, and reverberated, put these two powders 
 well mixed together to the abovesaid metall, using 
 the rules as before in the said green; if the metall 
 hath any blewness, give it a little of the said Crocus 
 Martis, which takes it away, and then work it as the 
 other greens, and there shall be made the wonderfull 
 Green of the Burnet. I have thus made it many 
 times at Pisa with very good success, for works more 
 exact than ordinary. If you will have a fair colour* 
 see that the brass be well prepared. 
 
 CHAP. XXXIV. 
 
 A marvellous Green. 
 
 P'AKE Brass thrice calcined as before, then in stead 
 of Crocus Martis, take the scales of iron which 
 fall from the Smiths anvils, powder them finely, sift 
 them clean from the coals and ashes, and with the 
 quantity aforesaid, mix them well with the Brass, and 
 put them to the common glass metall of Polverine, 
 without any Manganese, with the rules aforesaid in 
 Green, and with this Crocus Martis, or scales, you 
 shall doubtless have a more marvellous emerald-green 
 colour, which will have wholly lost its azure and sea- 
 colour, and will be a yellowish green, after the eme¬ 
 rald, and will have a shining and fairer lustre than the 
 aforesaid Greens. The putting in of scales of iron 
 was my own invention. In the rest of the work let 
 the rules and doses as in other greens be observed, 
 and you shall have a strange thing, as experience hath 
 often shown me. 
 
 CIIAP. XXXV. 
 
 Another Green, which carries the Palm from all other 
 Greens, made by me. 
 
 ’J’O a pot of 10 pound of metall, to wit, half of 
 Crystalline passed thorow water several times, 
 and half of common white metall of Polverine, take 
 four pound of the common Frit of Polverine, where¬ 
 with mix three pound of red lead, unite them well 
 together, and put them into the same pot, and in few 
 hours all of them will be well purified, then cast all 
 this metall into water, and take out the lead, then 
 return the metal which hath passed thorow the water 
 into the pot, and let the metall purifie for a day, then 
 if you put in the colour made Chymically with the 
 powder of the Caput mortuum of the Spirit of Vitriol- 
 lum veneris, adding a very little Crocus Martis, there 
 will arise a marvellous Green, fairer than ever I made 
 any, which will seem to be a very emerald of the 
 ancient Oriental rock. 
 
 CHAP. XXXVI. 
 
 A Blew, or Turcois, a principal colour in this art. 
 piT sea salt, which is called black or gross salt, 
 (for the ordinary w hite salt which is made at Vol- 
 
 terra 
 
Book II.] 
 
 THE ART OF GLASS. 
 
 11 
 
 terra is not good) into the Calcar or Fornello till all 
 the moisture be evaporated, and it becomes white, 
 then pound it well to a small white powder. This 
 salt so calcined, keep to make a blew or Turcois 
 colour. Put it into a small or great pot of Crystal 
 metall died with the colour of Sea-green (made, as 
 hath been said many ways.) But let the colour be 
 fair and full (for this is of great importance to make a 
 fair skie colour), according as you would have the 
 Sea-green fair and excellent. To this metall so 
 coloured, put of the said salt calcined into the pots, 
 mixing it well with the metall, and this is to be put in 
 by little and little until the Sea-green loses its trans- 
 parencie, and diaphanietie, and takes opacity, for the 
 salt, being vitrified, makes the metall lose its trans¬ 
 parency, and gives it a little_paleness, and so by 
 little and little, makes the said skie colour, which is 
 the colour of a Turcois-stone; when the colour is 
 enough, it must be wrought speedily, for the salt will 
 
 be lost and evaporated, and the metall returns again 
 to be transparent and foul-coloured. But when the 
 colour is lost in working, add new burnt salt (as be¬ 
 fore) that the colour may be reduced, and so you 
 shall have your desired colour. Let the Conciators 
 well observe, that this salt always crakcles when it is 
 not well calcined, therefore let him have a care of his 
 eyes and sight, for it endangers them. The quantity 
 of salt must be put in by little and little, leaving 
 some distance between each time, till he see the de¬ 
 sired colour. But in this I used neither dose nor 
 weight, but my eye onely. I have often made this 
 colour, for it is very necessary in counting-houses, 
 and the most prised and esteemed colour that is in 
 the art. Wherefore, to make a Blew for counting- 
 houses, take the Green of Crystal metall, and half 
 Sea-green made of half Rochetta, which will be¬ 
 come a fair colour, although it be not all Crystall 
 metall. 
 
 STfjc grrontr 15 ooK» 
 
 Wherein are shown the true ivays of making Calcidony of the colour of Agats, and 
 oriental Jaspars, with the way to prepare all colours for this purpose, and also to 
 make Aqua-fortis, and Aqua-Regis, necessary in this business , 
 
 CIIAP. XXXVII. 
 
 And, the Manner of calcining Tartar, and uniting it 
 with Rosichiero, made Chap. 128 , which produceth 
 pleasant toges of many colours, with undulations in 
 them, and gives it an opacity such as the Natural 
 and Oriental stones have. 
 
 gINCE I am to shew the manner how to make 
 Calcidonies, Jaspers, and Oriental Agats, it is 
 necessary first to teach the preparation of some mi¬ 
 neral things for such compositions; and although 
 some of them may be publiquely bought, yet notwith¬ 
 standing, I being desirous that the work should be 
 perfect, judged it pertinent to my purpose to shew the 
 most exquisite Chymical way, that the skilful may 
 make every thing of themselves, both more perfect 
 and with lesser charge. For there is no doubt that 
 when the materials are well prepared, and the colour 
 of the metalls is well opened, and separated from 
 their impurity and terrestriety which usually hinder 
 the ingress of their tincture into glass, and their union 
 in their smallest parts, that then they colour the glass 
 with lively, shining, and fair colours, which very far 
 surpass those that are vulgarly and usually made in 
 the furnace. And because the colour of Calcidony, 
 
 or rather its compound (which is nothing else, but as 
 it were a reuniting of all the colours, and toyes that 
 may be made in glass, a thing not common nor known 
 to all) if they be not well prepared, and subtilised as 
 is necessary, they give not the beauty and splendor 
 to glass as is required. Wherefore it is necessary 
 that the metalls be well calcined, subtilised, and 
 opened with the best Aquafortis, Sulphurs, Vitriols, 
 sal Armoniacli, and the like materials, which in length 
 of time, and at a gentle heat, are opened and well 
 prepared, but a violent fire herein hurteth much. 
 Tartar and Rosichiero (besides their being very per¬ 
 fect and well calcined) must be also put in proportion, 
 and in fit and due time; and you must also observe, 
 that the metall be well boiled, purified, and perfected, 
 and in working of it some such care is to be used, as 
 the diligent masters are wont to use, and by thus 
 doing, the true Jaspar and Agat, and Oriental Calci- 
 donics, with the fairest and beautifullest spots of wav- 
 ings, and toyes, with divers lively and bright colours. 
 Hence it truly appears, that nature cannot arrive so 
 high in great pieces; and although it is said, and 
 may be made to appear true, that Art cannot attain 
 to Nature, yet experience in many things shews, and 
 in particular in this art of the colours in glass, that 
 
 Art 
 
12 
 
 THE ART 
 
 OF GLASS. 
 
 [Book II. 
 
 Art doth not ouely attain to and equal Nature, but 
 very far surpasses and excells it. If this were not 
 seen, hardly would you believe the beauty, the toyes 
 and wavings of divers colours, variously disjoyned 
 one from the other with a pleasing distinction, which 
 is seen in this particular of the Calcidmy. When the 
 medicine is well prepared, and the glass wrought at a 
 due time, the effect that cometh thence passeth all 
 imagination and the conceit of man. In the three 
 w r ays to make it, which I teach, I believe you may 
 see how far the art of glass ariseth in this particular, 
 where I demonstrate every particular so distinctly, 
 that any practitioner, and skilful person, may under¬ 
 stand and work without errour, and he that works 
 well, may find out more than I set down. 
 
 CHAP. XXXVIII. 
 
 How to make Aqua-fortis, call'd Parting-water, which 
 dissolves silver and quicksilver, with a secret way. 
 
 'PAKE of Salt-peter refined one part, of Roch-alum 
 three parts ; but first exhale in pans all the hu¬ 
 midity from it. To every pound of this stuff add 
 an ounce of Crystalline Arsnick (this is a secret and 
 no ordinary thing) which besides it’s giving more 
 strength to the water, helps to extract better the 
 spirits from the materials, which are the true nerves 
 and strength of the Aqua-fortis, without which the 
 water perhaps would be no better than well water. 
 Powder and mix them well together, adding there¬ 
 unto the tenth part in the whole of Lime, well pow- 
 dred, mix them well, and put so much of this stuff 
 into glass bodies, that about three quarters of them 
 may be full; let them be luted with strong lute, which 
 I remit to the Artist as a common thing ; but one not 
 vulgar, I will declare : Take some lome for example 
 of the river Arnus (which is a fat earth known to 
 all) one part, of sand 3 parts, of common wood-ashes 
 well sifted, of shearings of woollen cloath, of each 
 one half; mix them well together, and incorporate 
 them into a past with common water, work them well 
 together, for the more ’tis wrought the better tis, there¬ 
 fore see that your paste be a little hard; to ail these 
 add a third of common salt, which incorporate well 
 with the lute, ’tis a business of importance, then 
 lute the glasses with this perfect lute, and set them 
 in wind furnaces, fitting to their bottoms, baked 
 earth which will bear the fire. Under the bottom of 
 these bodies let there be four fingers of sand, and 
 thick Iron bars to bear the weight, and fill’d round 
 about with sand, put receivers of glass to them, large 
 and capacious within, lute the joints well with lute 
 made of fine flowre and lime, of each a like quantity, 
 powdred, mixed, tempered, and impasted, with the 
 whites of Eggs well beaten, with this lute, binde and 
 lute the joyuts with roulers of fine linnen, which, 
 when well dryed and rould about three or four times, 
 make a very strong lute, rouling but once at a time, 
 and letting it dry a little before the second rouling. 
 
 And then this will bear all the violence, fury, and 
 force of the spirits of the Aqua-fortis, and to this 
 end fit exactly a very large receiver to every glass 
 body. And when they are well dryed, make a fire 
 in the furnace onely with coal at first, and that a very 
 temperate one, for three hours, for in that time the 
 windy moisture distilletk off, which endangers the 
 breaking of the glasses, and continue for six hours a 
 moderate fire, afterwards encrease it gently, adding 
 billetts of dry oaken wood to the coals, and so pro¬ 
 ceed by little and little, augmenting it for six hours 
 more, and then the head will be tinged with yellow, 
 a sign that the spirits begin to rise; continue this de¬ 
 gree of fire until the spirits, beginning to condensate, 
 colour red the receiver and head, which will always 
 grow deeper colour’d like a Rubie. Then encrease 
 the fire for many hours, till the head and receiver 
 become red, which sometimes lasteth two whole days. 
 Continue the fire by all means till all the spirits of 
 Aqua-fortis be distilled off, which is known when the 
 head and receivers by little and little begin to grow 
 clear, and become white as at first, and wholly cold 
 yet notwithstanding continue the fire one hour more.. 
 Then let the furnace cool of it’s self. Observe, that 
 when the head and receivers are Red, and the fire 
 strong, you admit no wind, nor cold air into them, nor 
 touch them with any cold thing, for then they will 
 easily crack, and your pains, cost and time will be 
 lost; wherefore, when they are in this state, let them, 
 be kept hot in the fire. .Now, when all is cold, put 
 upon the head and receiver linnen cloaths wetted and 
 well soaked in cold water, that the spirits which are 
 about the head and receiver may the better sink into 
 the Aqua-fortis; leave them thus for 12 hours, then 
 bath the joynts and lutings with warm water, till they 
 being moistned, you may take off the bandage and 
 the head from the receiver, which usually are safe. 
 The bodies may be broke and thrown away, for they 
 will serve no more, powder the dregs and residences 
 of the Aquafortis, to wit, about their third part, and 
 to every pound of them add four ounces of Salt-peter 
 refined, and put them into another body luted, & pour 
 on them the said Aquafortis, lute and distill them as 
 before in every thing. Keep the Aqua-fortis in earthen 
 jugs well stopt that the better spirits may not evapo¬ 
 rate. This parting water is good for the following 
 uses. Some there are that instead of Rock Alume 
 take as much more of the best Vitriol, such as the 
 Roman or the like is. The sign that Viti iol is good 
 for this use, is, that being rub’d upon polished iron it 
 colours it with a copper colour. This Vitriol purified 
 after the following manner, will make a stronger 
 Aquafortis than Alume. 
 
 CHAP. XXXIX. 
 
 To purific Vitriol to make the strongest. Aqua-fortis. 
 
 J)1SS0LVE the best Vitriol (the better, the stronger 
 the Aqua-fortis) in common warm water; let the 
 solution stand three days being impregnated with 
 
 salt. 
 
J Book II.] 
 
 THE ART OF GLASS. 
 
 IS 
 
 salt, then filtre and evaporate in glass bodies two 
 thirds of the water, and put the remainder into earthen 
 pans glased, which set in a cold place, in 12 hours 
 the Vitriol will shoot into pointed pieces, appearing 
 like natural Crystall, of a fair Emerald colour. Dis¬ 
 solve this same Vitriol again, and do as before, and 
 repeat it thrice, at each solution there will remain at 
 the bottom of the glass a yellow substance, which is 
 it’s unprofitable sulphur, and is to be cast away. At 
 the third time the Vitriol will be purified, and fit to 
 make a good and strong Aqua-fortis, much stronger 
 than the ordinary, especially if the Nitre be well re¬ 
 fined. 
 
 CHAP. XL. 
 
 How to make A qua-Regis. 
 
 To every pound of the said Aqua-fortis put two 
 ounces of sal Armoniack powdered, into a glass 
 body, which set in a pan full of warm water, and let 
 the Aqua-fortis be often stirred, which will soon dis¬ 
 solve the sal Armoniack with it’s heat, which will be 
 tinged with a yellow colour ; put in more sal Armo¬ 
 niack as long as the Aqua-fortis will dissolve any : 
 when it dissolves no more, let it settle a little ; when 
 it is clear decant it leasurely off, and in the bot¬ 
 tom there remains the unprofitable terrestriety of the 
 sal Armoniack. Now this Aqua Regis is strong, and 
 fit to dissolve Gold, and other metalls, but silver it 
 toucheth not at all. 
 
 CHAP. XLI. 
 
 To burn Tartar. 
 
 PUT Tartar of Red-wine which is in great pieces, 
 and appears full of spots, (lay by that which is in 
 powder, for it is not good) into new earthen pots, and 
 let it burn in kindled coals until it smoaks no more, 
 and when it is calcin’d, and in lumps of a black pur¬ 
 plish substance, then it is burned, and prepared. 
 
 CHAP. XLII. 
 
 How to malic a Calcidony in Glass very fair. 
 
 PUT of Aqua-fortis two pound into a glass body 
 not very great, but with a long neck, four ounces 
 of fine silver, in small and thin pieces, and set them 
 near the fire, or in warm water, which, as soon as the 
 Aqua-fortis begins to be hot ’twill work and dissolve 
 the silver very quickly, and continue so until it hath 
 dissolved and taken it up; then take a pound and a 
 half of Aqua-fortis, and in it dissolve (as you have 
 before done with silver) six ounces of Quick-silver; 
 when all is dissolved, let these two waters be well 
 mixed in a greater body, and powr upon them six 
 ounces of sal Armoniack, and dissolve it at a gentle 
 heat. "When it is dissolved, put into the glass one 
 ounce of Zaffer, and half an ounce of Manganese, each 
 
 E 
 
 prepared, and half an ounce of Ferretto of Spam, a 
 quarter of an ounce of Crocus Martis calcined with 
 Brimstone, thrice calcined copper, blew smalts of the 
 painters, and red-lead, of each half an ounce, powder 
 all these well, and put one after another into the body, 
 which then stir gently that the Aqua-fortis may be 
 incorporated well with the said powder, keep the body 
 close stopped for ten days, every day stirring it well 
 several times, and when they are well opened, then 
 put it into a furnace on sand, and make a most tem¬ 
 perate heat, so that in 24 hours all the Aqua-fortis 
 may be evaporated. Observe that at last you give 
 not a strong, but a gentle heat, that the spirits of the 
 Aqua-fortis may not evaporate, and in the bottome 
 there will remain a Lion colour, which, being well 
 powdered, keep in a glass vessel. When you would 
 make a Calcidony, put into a pot very clear metall 
 and made of broken pieces of Crystall vessells, and 
 Crystalline, and white glass which hath been used. 
 For with the virgin Fritt which hath never been 
 wrought, the Calcidony can never be made, and the 
 colours stick not to it, but are consumed by the Fritt. 
 To every pot of about 20 pound of glass put two 
 ounces, or two ounces and a half, or three ounces of 
 this powder, or medicine, at three times, and incor¬ 
 porate and mix them, that the glass may take in the 
 powder, in doing whereof it raiseth certain blew fumes, 
 as soon as it is well mixed, let the glass stand an 
 hour, then put in another mixture, and so let it alone 
 24 hours, then let the glass be well mixed, and take 
 thereof an essay, which will have a yellowish azure 
 colour, this proof being returned many times into the 
 furnace, and taken when it begins to grow cold, will 
 shew some waves, and divers colours very fair. Then 
 take Tartar eight ounces, soot of the Chimny well 
 vitrified two ounces, Crocus Mortis calcin’d with 
 Brimstone half an ounce, put by little and little all 
 these well powdered and mixed into this glass at six 
 times, expecting a little while at each time, still mix¬ 
 ing the glass that the powder may be well incor¬ 
 porated. As soon as all the powder is put in, let 
 the glass boil, and settle 24 hours at least, then make 
 a little glass body of it, which put in the furnace 
 many times, and see if the glass be enough, and if 
 there be any on the outside toyes of Blew and Sea- 
 green, Red, Yellow, and all colours with toys, and it 
 hath some waves, such as Calcidony, Jaspars, Orient- 
 tal Agats have, and that the body kept within be as 
 to the sight as red as fire. Now, as soon as it is 
 made and perfected, it is wrought into vessels always 
 variegated, which are not to be remade, for they do 
 not arise well. These vessels may be made of divers 
 sorts, and drinking glasses of many fashions, broad 
 drinking cups, salts, flower pots, and the like toyes, 
 still observing, that the master workman pinch off 
 well the glass (that is wrought) with pincers, and an¬ 
 neal it sufficiently, that it make waves and toyes of 
 the fairest colours. You may also make with this 
 pot dishes, pretty large in oval, triangular, quadran¬ 
 gular 
 
14 
 
 THE ART OF GLASS. 
 
 [Book II 
 
 gular form, as you will, and afterwards work it at the 
 wheel (as Jewels) for it takes polishing, and a fine 
 lustre, and it may serve for little tables and cabinets; 
 so that those little Jewels will represent the Oriental 
 Calcidomj, and when it happens that the colour fadeth, 
 and the glass becomes transparent, and no more 
 Opacous as it ought to be for these works, then cease 
 from working, put to it new Tartar calcin’d, soot 
 and Crocus, for thus (as before) it takes a body and 
 Opacousness, and makes the colours appear; set it 
 then to purifie many hours, that the new powder put 
 in may be incorporated, as ’tis usual, then work it. 
 This was my way to make Calcidony in the year 1601 
 in Florence, at Casino in the glass furnaces; at which 
 time I caused to work in the furnace the brave Gen¬ 
 tleman Nicolao Landiamo my familiar friend, and a 
 man rare in working Enamels at the lamp, in which 
 fumace I made many cups of Calcidony at the same 
 time, which always were fair to all essays, never de¬ 
 parting from the aforesaid rules, and having the ma¬ 
 terials well prepared. 
 
 CHAP. XLIII. 
 
 The second Calcidony. 
 
 1, IN a pound of Aqua-fortis dissolve three ounces of 
 fine silver cut small in a glass body well closed, 
 set this aside. 
 
 2. In another glass body put one pound of Aqua¬ 
 fortis, wherein dissolve 5 ounces of Mercuric well pu¬ 
 rified, close the body well, and set that aside. 
 
 3. In another little glass body, put one pound of 
 Aqua-fortis, wherein dissolve two ounces of sal Ar- 
 moniack, then put into this dissolution of Crocus 
 Martis made with Aqua-fortis, Ferretta of Spain, cop¬ 
 per calcin’d red, as in Chap. 24. brass calcin’d with 
 sulphur, of each half an ounce, put all these materials 
 well ground and powdered by themselves, and then 
 one by one, into the bodies by little and little, with 
 patience, because they all arise much. 
 
 4. In another little glass vessel let there be put one 
 pound of Aqua-fortis, and therein dissolve one ounce 
 of sal Armoniack, and in the dissolution of crude 
 Antimony powdered, Vitriol purified, of Azure, or 
 Blew Smalts, of each half an ounce, one ounce of 
 Red-lead, grind them all well and set the vessel by. 
 
 5. In a like body, dissolve in one pound of Aqua¬ 
 fortis two ounces of sal Armoniack, then put in one 
 ounce of Zafj'er prepared, and a quarter of an ounce 
 of Manganese prepared, and half an ounce of thrice 
 calcined copper, and one ounce of Cinabar, put in 
 warily every one of these things (well powdered) by 
 themselves into the body, avoiding those things that 
 swell up, arise, and fume; set this aside. 
 
 6. In another small glass body, dissolve in one 
 pound of Aqua-fortis two ounces of sal Armoniack, 
 and then add of Cerus, painters red-lake, Verdiyrcase, 
 the skales of iron that fall from the anvil, of each half 
 
 an ounce, these swell very much. Let all these 6 
 bodies stand 12 days, and shake them well six times 
 every day, that the water may penetrate and subtilise 
 the ingredients and metalls, to communicate their 
 tincture to the glass. 
 
 After this time take a great glass body, luted at 
 the bottom, into which you shall empty all the mate¬ 
 rials of these six bodies by little and little, that they 
 may not run out, nor make the glass crack, in this 
 great body mix well the waters, that the materials 
 may be well united and mixed together; set this glass 
 in ashes at a very gentle heat for twenty-four hours, 
 that the water may evaporate. Observing, that the 
 fire be gentlest at last, lest the powder be wasted with 
 too much heat. He that will regain the Aqua-fortis 
 may joyn the head & receiver, and lute the joints 
 (as is usual) and the water being evaporated, there 
 remains at the bottome a reddish powder, which i's 
 kept in a glass closed for use. 
 
 Put this powder or medicine into metall made of 
 broken pieces of glass, and old glass, but not made 
 of virgin Fritt of Crystall, or Crystalline, as in the 
 first Calcidony hath been said. Give the metall the 
 same quantity, and use the said distance of time as 
 in the other, then give it the body of burnt Tartar , 
 and soot of the chimny vitrified, and Crocus Martis 
 made with vinegar, then let them settle twenty-four 
 hours, and cause a vessel to be made thereof, and 
 put it in the fire, and observe whether it take body 
 and opacity, and if it shew the variety of colours with 
 toyes and wavings, work all of it into vessels of di¬ 
 vers sorts, framing therewith all sorts of workman¬ 
 ship, and variety of toyes. 
 
 With this sort of Calcidony, I made many cups, all 
 which were fair, and besides, with this past of Calci¬ 
 dony, may be made many hundred crowns for gentle 
 men, as fair as can be uttered. These were seen b y 
 Ferdinando the great Duke, of blessed memory, and 
 by many other Princes and Lords; and this was done 
 by me in Flanders . 
 
 CHAP. XLIV. 
 
 The third way of Calcidony. 
 
 1. JN a glass body in strong Aqua-fortis, dissolve 
 four ounces of fine leaf silver, that is to say, 
 round cuttings of leaf silver, stop the body and set it 
 aside. 
 
 2. In another body of like glass, dissolve in one 
 pound of Aqua-fortis five ounces of Quick-silver puri¬ 
 fied with vinegar and common salt, in a wooden dish 
 with a wooden pestle, stir the Mercury sufficiently 
 round with strong vinegar, and wash it with clear 
 common water, until it is dissolved, and carry away 
 all the common salt, together with the blackness of 
 the Mercurie, repeat this many times. Then strain 
 this Mercuric through canvas, and dissolve it in the 
 abovesaid Aqua-fortis, as before, close the glass'ves-* 
 sel, and set it aside. 
 
 3. In 
 
Book II.] 
 
 THE ART OF GLASS, 
 
 15 
 
 3. In another glass body, dissolve in a pound of 
 Aqua-fortis, three ounces of fine Silver calcined after 
 this manner, to wit, amalgamate the silver with Mer- 
 curie, mix the amalgama with as much more common 
 salt well prepared from all it’s terrestriety, by dis¬ 
 solving it in common water, and boyling it a little, and 
 then let it settle two dayes that the terrestriety mixed 
 with the salt may sink to the bottome, then filtre the 
 water, and in the bottome will remain the grossness 
 and terrestriety of the salt, evaporate this water filtred 
 from the terrestriety of the salt in a glass vessel, and 
 dry it well, repeat this till the salt sends no more 
 dregs to the bottom, and then it will be perfect and 
 (t for the work. This purifying of the salt is made 
 that it may be more efficacious to open the silver, 
 otherwise it will be hard to separate them. Put all 
 these things amidst the coals in a pot, that all the 
 Mercurie may be evaporated away, and the silver re¬ 
 main at the bottome calcined and powdered, and add 
 unto it it’s weight of new common salt prepared, (as 
 before) mix them well, and put all in a chrysible or 
 a pot to calcine six hours in the fire* Wash this 
 stuff in a glased pot many times with warm water till 
 all the saltness be well gone • then put this silver 
 into a glass body full of common water, boil it till a 
 quarter of it be evaporated, then let the silver grow 
 cold and settle, and decant the water, repeat this fresh 
 water thrice, and the fourth time put it in a body of 
 Aqua-fortis, stir it well, and set it aside. 
 
 4 . In another like body, dissolve in a pound of 
 Aqua-fortis, three ounces of sal Armoniack, decant off 
 the clear solution, the remainder at the bottome cast 
 away. In this water dissolve a quarter of an ounce 
 of gold. Keep this last solution apart. 
 
 5. In another glass body, dissolve in one pound of 
 Aqua-fortis, three ounces of sal Armoniack; then 
 put into the solution, of Cinaber, of Crocus Martis, of 
 Ultramarine, of Ferretto of Spain, of each half an 
 ounce, put them (well powdered) leasurely into the 
 body, which being done, close the vessel, and set it 
 aside. 
 
 6. In another body, dissolve in a pound of Aqua¬ 
 fortis, three ounces of sal Armoniack. Then put in 
 Crocus Martis calcin’d with vinegar, calcined Tin, a 
 thing common in potters furnaces, Zaffer prepared, 
 and Cinabar, of each half an ounce. Put gentlie 
 each of them (ground by themselves) into the Aqua¬ 
 fortis, then keep this in a vessel and set it aside. 
 
 7. In another body of glass, dissolve in a pound of 
 Aqua-fortis two ounces of sal Armoniack. Then put 
 leasurely into the solution, Brass calcin’d as in chap. 
 28. Manganese prepared, and the scales of iron 
 which fall from the Smiths anvil, of each half an 
 ounce. Put each of these well ground by themselves, 
 by little and little, then close the vessel, and set it 
 aside. 
 
 8. In another body, dissolve in a pound of Aqua¬ 
 fortis two ounces of sal Armoniack, whereto put of 
 
 Verdigreas one ounce, Red-lead, crude Antimony, and 
 
 the Caput mortuum of Vitriol purified, of each half an 
 ounce, put these powdered leasurely in, close the 
 vessel, and set it aside. 
 
 9. In another body, dissolve in a pound of Aqua¬ 
 fortis two ounces of sal Armoniack, then put in lea¬ 
 surely Orpiment, white Arsniclt,. painters lake, of each 
 half an ounce, each powdered, and ground by itself, 
 close the vessel, and set it aside. 
 
 Keep these nine bodies (well closed) in the furnace 
 fifteen days, and every day stir it well many times, 
 that the Aqua-fortis may work, and the materials be 
 subtilised, and their tinctures well opened, else they 
 will not work well, then put all the materials with 
 their waters into a great and strong body, by little 
 and little; the things being united together, let alone 
 the great body, (whereinto you have powred the ma¬ 
 terials of all the lesser bodies) closed for six dayes, 
 and every day stir it, then put it in ashes, giving it a 
 gentle heat for twenty-four hours, that the water may 
 onely evaporate, observing, that the body must be 
 well luted at the bottome, even unto the midst of the 
 body, and at the last of all the heat must be made so 
 gentle, that it only evaporate the water ; and that the 
 better spirits of the Aqua-fortis may remain inclosed 
 in the same powders, for so the [powder will work fair 
 and strange things in glass. In the bottome of this 
 body will remain a powder of a purplish Green, 
 whereof 1 gave the glass such a dose and quantity as 
 is said in the first Calcidony . Then in due dines (as 
 is said in the first Calcidony,) give it it’s body, to wit, 
 Tartar burnt, the soot of the Chimny, and Crocus 
 Martis made with vinegar, using the same dose and 
 diligence, times and intervals throughout, as is said 
 in the first Calcidony ; then at the end of twenty-four 
 hours, work it with diligence, and according to art, 
 and set it to the fire again, as hath been most punc¬ 
 tually said in the first Calcidony. 
 
 This third way of making Calcidony I performed 
 at Antwerp, a city of Brabant, A 0 1609, in the 
 Moneth of January ; at which time, and for many 
 years, there was in the house Signor Emanuel Ni- 
 mencs, a Knight of the Noble Religion of Saint 
 Steven, a Portughes, and Citizen of Antwerp, a 
 gentile spirit, and universal in all knowledge, as any 
 in the Low Countries, whom I saw or knew. With 
 this powder I made a Calcidony in the furnace of 
 Antwerp, which I caused Signor Philippo Ghiridol- 
 pho, a very Courteous Gentleman to work, which 
 Calcidony came forth so fair and beautiful, that it 
 imitated the true Oriental Agat, and in fairness and 
 beauty of colours far surpassed it. Many Portughes 
 Gentlemen well skilled in Jewels admired it, saying 
 that nature could not do more. This was the fairest; 
 Calcidony that ever I made in my life, which although 
 it be laborious, and long a working, yet notwithstand¬ 
 ing it doth real things. Of this Calcidony two vessels 
 were given to the most Excellent Prince of Orange, 
 which pleased him very well. 
 
 The 
 
THE ART OF GLASS. 
 
 [Book II 
 
 16 
 
 Cl )Z (ZnfnrTi Eootu 
 
 This Booh shews the wayes to make the colour of Gold Yellow, of the Amethist, Sophy re, 
 Granat, Velvet Black, Milk White, Marble, and Deep Red: As also to make Fritt 
 with natural Crystal, and to colour Glass of a Pearl colour, and other particulars neces¬ 
 sary in this Art. 
 
 CHAP. XLV. 
 
 'JTHIS third Book teacheth various wayes, and one 
 better than another, to make all the abovesaid 
 colours: As also a particular way to make Fritt of 
 natural Crystal, which will melt as ordinary Crystal 
 metall, and will make vessels very white, beautiful, 
 and sightly. There is no doubt but some of those 
 colours are known to Artists, though not to all per¬ 
 sons ; for few they are that know how to make well 
 Gold Yellow, and a deep Red, being hard and nice 
 colours in this Art, since in making them, ’tis neces¬ 
 sary you be punctual in dose, time, circumstances, 
 and materials; for if you err but a very little iu any 
 of them whatsoever, all the whole labour and business 
 is lost and comes to nothing. I describe these two 
 colours, and all other, in so clear and intelligible a 
 stile, that every body may understand, and make 
 them to their gust and satisfaction. 
 
 1. You must be exact iu the time, quantity, circum¬ 
 stances , purifying, powdering, sercing, fire, materials; 
 if you err but a little in any of them whatsoever, all 
 the labour is lost, and the colours come to nothing. 
 
 2. Tartar must be of lied-n ine well vitrified in the 
 vessel, in gross pieces, not in powder, vitrified naturally 
 of themselves. That of white wine is not good. 
 
 3. To Manganese our author still subjoyns of Pie- 
 mont. 
 
 4. The colour must be made fuller or lighter accord¬ 
 ing to the works you employ them for; and to heighten 
 them, put in more ef the colour, but to make them lighter 
 put into the pot more Fritt. Take some metall out of 
 the pot, and you shall see whether you have your desired 
 colour. Put in your colours by little and little, lest 
 they overdo. 
 
 5. Put your colour to the Fritt, and not to the metall, 
 when melted; for then it neither takes the colour so 
 •well, nor so good a colour. 
 
 0. Mix the colours well with the metall in the pots 
 when ’tis melted, that both may be well incorporated; 
 and this is to be done as often as you work the metall. 
 
 CHAP. XLYI. 
 
 To make a Gold Yellow in Glass. 
 
 r J 1 AKE Crystal Fritt two parts, Rochetta Fritt one 
 part, both made with Tarso, (which is much bet¬ 
 
 ter than sand) mix and remix well these two Frits, 
 and to every hundred pound of this composition, take 
 of Tartar in lumps well beaten and serced line, of 
 Manganese prepared, of each one pound, mix these 
 two powders well first together, and then with the 
 Frits. Then put them into the furnace, and let them 
 stand four days at an ordinary fire, because they rise 
 much. When the metall is purified and well coloured 
 (which usually is at the end of four days) work it 
 into vessels and works. This quantity of the materials 
 makes a most fair colour, which you may make 
 deeper or lighter by adding or diminishing the powders 
 or Frits. You must put the powder in at several 
 times, and not into the metall, for then it colours not. 
 With these rules and observations you shall make a 
 very fair Gold Yellow. But if you would have it 
 fairer, and a more graceful Yellow, take all Crystall 
 Fritt. And thus 1 have frequently made this colour, 
 and alwayes very fair. 
 
 CHAP. XLV1I. 
 
 Garnat Colour. 
 
 'FAKE of Crystall and Rochetta Fritt, of each a 
 like quantity, mix them well, and to every 100 
 weight, add of Manganese one pound, Zafifer prepared 
 an ounce, mix well these two powders together first, 
 then with the Frits, then put this powder into the pot 
 by little and little. Mix well the Manganese with the 
 Zafifer, for this quickens the colour, making it shining, 
 beautiful, and fair. At the end of 24 hours (when ’tis 
 pure and well coloured) work it. 
 
 CHAP. XLVIII. 
 
 Amethist Colour. 
 
 r }’AK E onely Crystal Fritt made with the most per¬ 
 fect Tarso, Manganese prepared one pound, Zaffcr 
 prepared one ounce and a half, mix these two pow¬ 
 ders well together, and then with the Fritt, and not 
 with the metall in the pots. The proportion is one 
 ounce of the mixed powder to one pound of the Fritt. 
 When the metall is pure and well coloured, work it 
 into vessels, &c. 
 
 CHAP. 
 
Book III.] 
 
 THE ART 
 
 OF GLASS. 
 
 17 
 
 CHAP. XLIX. 
 
 Saphyre colour. 
 
 TO every hundred weight of Rochetta Fritt, add one 
 pound of Zaffer prepared, and to every pound of 
 Zaffer one ounce of Manganese, mix these two well 
 together first, and then with the Fritt, put them all 
 mixed into the furnace to melt and purifie, and when 
 ’tis pure anti well coloured, work it, Ac. This small 
 quantity of Manganese makes a most fair colour, of a 
 double violet, which 1 have often made at Pisa, and 
 always well. 
 
 CHAP. L. 
 
 A fairei• Saphyre colour. 
 
 JNSTEAD of Rochetta Fritt, take crystall Fritt, 
 whereto add the same quantity of the foresaid 
 powder with the same rules, and you shall have a fair 
 and shining Saphyre colour. 
 
 CHAP. LI. 
 
 A Black colour. 
 
 TAKE pieces of broken glasses of many colours, 
 grind them small, and put to them Manganese and 
 Zaffer, to wit, not more than half of Manganese to the 
 Zaffer. This glass purified will be of a most fair 
 Black, shining like velvet, and will serve for tubes 
 and all kindes of works. 
 
 CHAP. HI. 
 
 A much fairer Black. 
 
 TAKE of the Frits of Crystal and Polverine of each 
 20 pound, Calx of Lead, and Tin four pound, 
 mix all together, set them in a pot in the furnace well 
 heated, and when the metall is pure, take steel well 
 calcined and powdered, scales of iron which fall from 
 the Smiths anvil, of each a like quantity, powder and 
 mix them well, put six ounces of this powder to the 
 said metall, that they may both strongly boil, let them 
 settle 12 hours, and sometimes mix the metall, and 
 then work it. This will be a most fair velvet Black, 
 and pleasant, to make all sorts of works. 
 
 CHAP. LlII. 
 
 Another fairer Black. 
 
 TO a hundred weight of Rochetta Fritt, give two 
 pound of Tartar, and of Manganese six pound) 
 both pulvetised, mix them and put them in the furnace 
 leasurely, let the metall purifie, which will be about 
 the end of four dayes, then mix and wash the said 
 metall, which will make a more marvellous black than 
 all the furmer. 
 
 CHAP. LIV. 
 
 A fair milk White, called Lattimo. 
 
 TAKE of Crystal Fritt twelve pound, of calcined 
 Lead and Tin two pound, mix them well, of Man¬ 
 ganese prepared half an ounce, unite them all together, 
 and put them into a pot heated, let them stand twelve 
 hours that the materials may be melted, and at the 
 end of eight hours you may work it. This will be 
 a fair white which I have often made. 
 
 CHAP. LV. 
 
 A fair White, much whiter than the former. 
 
 TAKE 400 weight of Crystal Fritt, and 60 pound 
 of calcined Tin, and two pound and a half o^ 
 Manganese prepared, powder and mix them all with 
 the Fritt, and set them in a furnace in a pot, let them 
 refine, and at the end of eighteen hours this stuff will 
 be purified, which cast into water, purifie it again in 
 the furnace, and make a proof, and if it be too clear 
 add 15 pound of the aforesaid calcined Tin, mix 
 well the metall many times, and at the end of one 
 day it becomes marvellous white, and in whiteness 
 surpasseth any snow, then work it. 1 have often 
 made it, and always with good success. This white 
 may be also made with Rochetta, but not so white as 
 with Crystal. 
 
 CHAP. LVI. 
 
 To make, a Marble colour. 
 
 PUT Crystall Fritt in a pot, and when ’tis melted 
 (before ’tis purified) work it. This is a fair Marble 
 colour. 
 
 CHAP. LVII. 
 
 A Peach colour in White. 
 
 fffANGANESE prepared will make in Lattimo the 
 colour of a Peach flower. But work it in time 
 because it loseth colour. 
 
 CHAP. LVIII. 
 
 A Beep Red. 
 
 TAKE of Crystall Fritt 20 pound, broken pieces of 
 white glass one pound, calcined Tin two pound, 
 mix these well together, put them into a pot to run 
 and purifie ; when these are melted, take steel cal¬ 
 cined, scales of iron from the anvil, both well ground, 
 of each a like quantity, mix them together, put lea¬ 
 surely of this mixture about an ounce to the aforesaid 
 metall when purified, and mix them well, and let 
 them incorporate, which succeeds commonly in five 
 or six hours. Too much powder makes the metall 
 black, whereas the colour ought to be transparent and 
 
 not 
 
 F 
 
18 
 
 THE ART OF GLASS. 
 
 [Book IV. 
 
 not opacous, of an obscure yellow ; when ’tis so, put 
 in no more powder, but then put about three quarters 
 of an ounce of Brass calcined to redness (as in the 
 24 Chap.) and ground to this metall, and mix them 
 many times, and at about three or four times it will 
 become as red as blood, wherefore make essays often, 
 and see whether this colour be good, and when so, 
 work it speedily, else ’twill lose its colour, and be¬ 
 come black Besides, leave the mouth of the pot 
 open, else the colour will be lost. Let not the pot 
 stand above 10 hours in the furnace, and suffer it not 
 to cool as much as is possible. When you see the 
 colour fade (which sometimes happens) put in some 
 scales of Iron, which reduceth the colours. And, 
 because this is a nice colour, use all diligence in 
 making it, by putting in the steel and scales, as also 
 in working it. 
 
 CHAP. LIX. 
 
 Fritt of natural Crystall. 
 
 (^ALCINE natural Crystall in a Chrysible, extin¬ 
 guish it in common cold water eight times, cover 
 
 the Crysible that no ashes nor filth get in, dry the 
 calcined Crystall, and grind it to an impalpable pow¬ 
 der, mix this powder with sad of Poli erine made in a 
 glass body, as in Chap. III. with these make a Fritt, 
 observing the quantities, rules, and portion of Man¬ 
 ganese, setting it in the furnace, and at due and often 
 times casting it into the water, purifying and working 
 it as in other Crystal. And thus you will make a 
 marvellous thing. 
 
 CHAP. LX. 
 
 A Pearl colour in Crystal, 
 
 PUT at three or four times to Crystal melted and 
 purified, of Tartar well calcin’d to whiteness, and 
 continue to put in the Tartar 4 or 6 times, always 
 mixing it well with the melali, till the Crystal hath 
 gotten a Pearl colour. Then work it speedily, for 
 this colour fadeth. This I have often practised and 
 experimented. 
 
 Clje JTomtl) 35oolu 
 
 Wherein is shown the true way to make Glass of Lead, to calcine Lead, and extract from 
 it the colours of green Emerald, Topaz, Side-colour, or Sea-green, Granat colour , 
 
 Saphyre, Gold Yellow, and of Lapis-lazuli.- With the way to colour natural Crystal 
 
 (without melting it) into the permanent colours of Rubies, Balas, Topaz, Opal, Gira- 
 sale, and other fair colours. 
 
 CHAP. LXI. 
 
 'J’HE Glass of Lead, known to few in this Art, as to 
 colours, is the fairest and noblest glass of all 
 others at this day made in the furnace : for in this 
 glass the colours imitate the true oriental gems, which 
 cannot be done in Crystal, nor any other glass. Tis 
 very true, that unless great diligence be used, all sorts 
 of pots will be broken, and this metal will run into 
 the coals of the furnace. Observe my rules in all 
 these glasses made of Lead exactly, and you shall 
 avoid ail danger. This business principally consists 
 in knowing well how to calcine Lead, and to recalcine 
 it also a second time; for by how much ’tis better 
 and more calcined, by so much the less it returns to 
 Lead again; and, by consequence, the less breaks 
 out the bottom of the pot. Secondly, cast the metall 
 into water, and separate carefully the Lead from the 
 glass, even the least grains of it. This glass of lead 
 must be cast into the water by little and little, to make 
 
 a better separation; for the least lead remaining breaks 
 out the bottom of the pots, and lets all the metal run 
 into the fire. 
 
 These two rules our Author repeats almost in every 
 Chapter of this Booh, and these following also : 
 
 The pots and lead must not have too much heat in 
 the furnace, neither must the metall be wrought too 
 hot, and the marble whereon ’tis wrought must be of 
 the hardest stone, and must be wetted, else the marble 
 will break and scale, 
 
 CHAP. LXII. 
 
 To calcine Lead. 
 
 /\T first calcine Load in a Kil as the potters do, and 
 in great quantity. Usually in two days they 
 calcine many a hundred pound of Lead. In calcining 
 observe that the Kil be not too hot, but sufficiently 
 heated onely to keep the Lead in fusion, for otherwise 
 
 it 
 
Book IV.] 
 
 THE ART 
 
 OF GLASS. 
 
 19 
 
 it will not be calcined. When the Lead is melted, it 
 yields at the top a yellowish matter. Then begin to 
 draw forwards the calcined part with an iron fit for 
 the purpose, always spreading it in the internal ex¬ 
 tremity of the Kils bottom, which should be of soft- 
 stone, which will bear the fire. And the kil must have 
 a declivitie towards the mouth, which I pass by as a 
 thing well known. When ’tis calcined onc», it must 
 be put and spread a second time in the Kil, to rever¬ 
 berate in a convenient heat, always stirring it with an 
 iron, and that for many hours, till it come by this 
 second calcination to a good yellow, and be calcined. 
 Then serce all in a fine serce, and what passeth not 
 the serce, recalcine it with new lead. This is the way 
 to calcine lead in great quantity to make thereof store 
 of Potters ware. 
 
 CHAP. LXIIL 
 
 To make Glass of Lead. 
 
 TAKE of this calcined Lead 15 pound, and Crystal 
 or Rochetta or Polverine Fritt, according as you 
 would make the colours, 12 pound, mix them as well 
 as possibly you can, put them in a pot, and at the 
 end of 10 hours, cast them into water, for by that 
 time they will be all well melted, separate the Lead, 
 and return the metal into the pot, which in 12 hours 
 at most you shall have most fit to work. 
 
 CHAP. LXIV. 
 
 The manner how to work the said Glass. 
 
 To work glass of Lead into divers drinking or other 
 vessels, ’tis necessary, before ’tis taken upon the 
 iron, to be a little raised in the pot, and then take it 
 out, and suffer it to cool a little, and then work it on 
 the Marble, being clear. At first, let the Marble be 
 well wetted with cold water, that this glass may not 
 draw away with it the marble, and scale it, which it 
 always doth when the Marble is not wetted, and in¬ 
 corporates it into its self. This sticking of the Marble 
 makes a foul colour in the works. Wherefore con¬ 
 tinually wet the Marble whiles this glass is wrought, 
 otherwise all the fairness and beauty will be taken 
 from it. Do thus as often as you take the metall out 
 of the pot. This sort of glass is so tender, that if it 
 be not cooled in the furnace, and taken a little at a 
 time, and held on the irons, and the Marble continu¬ 
 ally wetted, ’tis impossible to work it. Which pro¬ 
 ceeds from the calcined Lead, which makes it most 
 tender as a caudle. 
 
 CHAP. LXV. 
 
 Glass of Lead of a wonderful Emerald colour. 
 
 TAKE of Polverine Fritt 20 pound, Lead calcined 
 16 pound, serce these two powders first by them¬ 
 selves, then, when well mixed, put them in a pot not 
 too hot, and at the end of 6 or 10 hours they will be 
 
 melted, then cast them into water, and separate the 
 Lead. Put them a second time into the pot, and in 
 6 or 8 hours they will be melted, then cast them into 
 water and separate the lead. This being twice done* 
 the metal will be freed from all the Lead, and all the 
 unctuosity which calcined Lead and Polver Tie give it, 
 and will acquire a most bright and shining colour, 
 and in few hours ’twill run and become very clear, 
 then give it brass thrice calcined (made as in chap. 28.) 
 six ounces, and therewith mix a peny weight of Crocus 
 Martis made with Viniger; put in this mixture at 
 six times, alwayes mixing well the glass, and taking 
 at each time the intervall of saying the Creed. Let 
 this glass settle an hour, then mix and take a proof 
 thereof. When you like the colour, let them incor¬ 
 porate 8 hours, then work them into drinking-glasses, 
 which will a r pear in a colour proper to the Emerald 
 of the old Oriental rock, with natural shining and 
 glittering. 
 
 Let this glass stand in a pot when sufficiently co¬ 
 loured, till it hath consumed all the dregs, and till it 
 be perfectly refined, and then ’twill be so like the na¬ 
 tural Emerald, that you can hardly know one from the 
 other. 
 
 CHAP. LXVI. 
 
 Another wonderful Green Emerald beyond all other 
 
 Greens. 
 
 THIS is made in every thing as the Emerald-green, 
 in Chap. 65, but with this difference, that this only 
 takes six ounces of the powder of the Caput mortuum 
 of Vitriolum Veneris, made as in ( 'hap. 181. 182, and 
 the other the same quantity of Brass prepared. This 
 happily is the rarest green that can be made any way 
 whatsoever , which I have often made to my content. 
 
 CHAP. LXVII. 
 
 Topaz colour in Glass of Lead. 
 
 TAKE Crystal Fritt intead of Polverine Fritt 15 
 pound. Lead calcined 12 pound, mix and serce 
 them both together, set them in the furnace not too 
 hot, at the end of eight hours cast them into water, 
 separate the Lead from the pot and glass, and repeat 
 this twice, then hereto add half glass of a gold yellow 
 colour, let them incorporate, and purifie for an Ori¬ 
 ental Topaz. 
 
 CHAP. LXVIII. 
 
 A Sky or Sea-green in Glass of Lead. 
 
 TAKE Crystall Fritt 16 pound, Lead calcined 10 
 pound, mix and serce them well together, set them 
 in the furnace, in 12 hours the stuff will be melted; 
 cast both it and the.pot into water, separate thelead, 
 let them stand in the furnace 8 hours a second time, 
 then cast them into water a second time, and separate 
 
 the 
 
20 
 
 THE ART OF GLASS. 
 
 [Book IV. 
 
 the lead, put them in the furnace, and in 8 hours your 
 metall will be most clear, then take of brass calcined 
 4 ounces, of Zaffer prepared a quarter of an ounce, 
 mix these well, and put in this mixture at 4 times to 
 the glass of lead, and at the end of two hours mix 
 well the glass, and take a proof, then let the glass 
 stand 10 hours, in which time the colours will be well 
 incorporated, and the glass be very well perfected, 
 and be lit to be wrought in any works. 
 
 CHAP. LXIX. 
 
 The colour of a Granat in Glass of Lead. 
 
 Mix 20 pound of Crystall Fritt with 16 pound of 
 calcined lead, serce and put them into a pot, add 
 to then) of Manganese three ounces, of Zuffer half an 
 ounce, both prepared, let them stand 12 hours, cast 
 them into water and separate the lead, put them again 
 into the furnace, and let them purilie 10 hours, then 
 mix them and take a proof, when the colour is perfect 
 and of a fair Granat, work the glass as before. 
 
 CHAP. LXX. 
 
 Saphyre colour in Glass of Lead. 
 
 PARE 15 pound of Crystal Fritt, and lead calcined 
 12 pound, mix and serce them well together, then 
 add to them two ounces of Zaffer, and of Manganese 
 a peny weight, both prepared, let them stand in the 
 furnace 12 hours, cast them into water, and separate 
 the lead; repeat this a second time, and you shall 
 have the colour of an Oriental Saphyre, very beauti¬ 
 ful and fair, with the mixture of a double violet colour. 
 
 CHAP. LXXI. 
 
 A Yellow Gold colour in Glass of Lead. 
 
 PARE of Crystal Fritt and calcined lead of each 
 16 pound, mix and serce them well, and add to 
 them of brass thrice burned six ounces. Crocus Mor¬ 
 tis made with Vinegar 2 peny weight, put them w ell 
 mixed in the furnace, let them stand 12 hours, then 
 cast them into water, separate the lead, set them in 
 the furnace other 12 hours, and in that time ’twill be 
 clear, mix them, and take a proof. If it wax green, 
 give it a little Crocus Martis (which takes away the 
 greeness) till it become a most fair Gold Yellow 
 colour, often made by me. 
 
 CHAP. LXXII. 
 
 The colour of Lapis La/.uli. 
 
 melt the fairest Lattimo made (as in Chap. 55.) 
 
 with the whitest Crystall, and most tender, in a 
 pot, when ’tis well melted, give it of Blew Painters 
 smalts, by little and little, and when the colour is 
 good, let it stand in the lire two hours, and make a 
 
 proof, and when ’tis good, let it stand 12 hours, mix 
 them, and work them. If the metall rise, put in a 
 piece of leaf Gold to diminish the rising. This will 
 be very like the natural Lapis Lazuli. 
 
 CHAP. LXXIII. 
 
 The way to colour natural Crystal of a Viper colour r 
 u-ithout melting it. 
 
 PARE natural Crystal of a good water, and very 
 clear, free from Terrestriety, in several pieces of 
 divers magnitudes, crude Antimony, Yellow Orpi- 
 ment, of each powdered two ounces, sal Armoniac 
 one ounce, powder and mix well these three last, put 
 this mixture in the bottom of a crysible that will bear 
 the fire, and above this mixture the Crystals in pieces, 
 then cover this Chrysible with another, mouth to 
 mouth, lute them well, and when they are dry, set 
 them in coals, which kindle by little and little, and 
 when they begin to tire, let them flame of themselves, 
 and then they will smoak much; do this operation in 
 a large Chimney, and avoid the dangerous and deadly 
 fumes, when all these fumes are gone, let the Chrysi¬ 
 ble stand till the pot cool, and the fire go out of its 
 self. Then unlute the Chrysibles, and take out the 
 pieces of Crystal, and those which are at the top 
 will be tinged with a good yellow colour, with a red 
 Rubie and Halass colours, with fair spots, those 
 which lay at the bottom upon the powder, and the 
 residence, into the wavie colour of a Viper These 
 pieces of Crystall may be wrought as Jewels at the 
 wheel, and will receive a good polishing lustre, and 
 shewing beauty, such as is in the Topaz, Rubie, and 
 Balass, if you give them foils suitable to their colour 
 they make a fair shew, being set in Gold. Of these 
 Crystalls you may colour a good quantity, since the 
 charges and labou r is but small, and in colouring a 
 competent quantity, there always come forth some 
 beautiful and fair. 
 
 CHAP. LXXIV. 
 
 The colour of a Balass, Rubie, Topaz, Opal, and 
 Girasole, in Natural Crystall. 
 
 PAKE Orpiment of a yellow-oringe-tawney colour 
 in powder, Crystalline white Arsnic, of each two 
 ounces, crude Antimony, sal Armoniac, of each one 
 ounce, put this powder, well mixed, into a very ca¬ 
 pacious Chrysible, and upon the powder, scales and 
 little pieces of Crystall, and upon these small pieces 
 larger and grosser pieces of Crystall, of a fair water, 
 without spots, if you would have a pleasing thing, let 
 them be very large. And so fill the Chrysible, to 
 which lute well another mouth to mouth, make a hole 
 at the bottom of the uppermost of the bigness of a 
 Tare, that the air may draw thorow this hole the 
 fumes of the materials which pass thorow the pieces 
 of the Crystal, which tingeth the Crystall well, and 
 
 better 
 
IBook V.] 
 
 THE ART OF GLASS. 
 
 21 
 
 better than when they pass thorow the joynts of the 
 Chrysibles. When the lute is dryed, set them in the 
 coals, so that all the lowermost, and half the upper¬ 
 most be buried in the coals. Then kindle the fire by 
 little and little, do as in the former, and avoid the 
 deadly fumes. The materials fume long, keep con¬ 
 stantly a strong and good fire. See you let not in any 
 wind or cold air by windows or other places, for the 
 pieces of Crystall being then hot, will become brittle, 
 will split, and not be good. When the fire is gone 
 out of it’s self, unlute the Chrysibles, and you shall 
 find the greatest part of the Crystall tinged with the 
 
 true colours of Topaz, Chrysolite, Balass, Rubies, 
 Girasole, and Opal, with wonderful beauty. Those 
 of the best colour may be wrought by the Jewellers at 
 the wheel, and appear natural jewels, and the Crystall 
 holds its natural hardness, which is great. At Ant¬ 
 werp I made good store, and amongst them some of 
 them were of a fair Opal colour, and some of the 
 Girasole. You may set them in Gold with foiles. 
 Be sure the Orpiment be good, for therein consisteth 
 all the secret. If the work proceeds not well the first 
 time, repeat it a second, and with practice you shall 
 always do it without failing. 
 
 Cl )t Jftftl) %aa\t. 
 
 Wherein is shown the true way to make Pasts for Emeralds, Topas, Chrysolite, Iacinth , 
 Saphyre, Garnat, Egmarine, and other colours, of so much pleasantness and beauty , 
 
 that they surpass the same natural stones in all things, except hardness. - With a 
 
 new Chi/mical way (never yet used) to make the said Pasts, taken out oj Isaac Hol- 
 landus, and far excelling all other Pasts that have been hitherto made, both in beauty 
 and colour. 
 
 CHAP. LXXV. 
 
 believe there are few who desire, and seek not 
 with all earnestness the knowledge to imitate per¬ 
 fectly Emeralds, Topaz, &c. And in a manner all 
 sorts of Jewels, which in colour, splendor, pleasant¬ 
 ness and clearness, excepting hardness, excel the na¬ 
 tural and Oriental, a thing very delightful and plea¬ 
 sant. 
 
 Wherefore, in this present Book, I describe the 
 means to make them, with the circumstance and dili¬ 
 gence necessary to be used. There is no doubt but 
 he who shall set himself to the work with diligence, 
 shall do much more than what 1 publish. The way 
 lately practised by me, and taken from Isaac Holtaud¬ 
 its, maketh pasts of incredible, and seemingly impos¬ 
 sible beauty and perfection. ’Tis true, the work is 
 somewhat long and wearisome, yet 1 that have many 
 times performed it, say ’tis very facil and plain, and 
 (that which is above all) this way is true. W here¬ 
 fore, all pains, expences, and charges employed in 
 such a like work, ought to seem small and light. 
 
 CHAP. LXXVI. 
 
 The way to prepare natural Crystall. 
 
 ^AKE natural Crystall, the clearest that is possible, 
 and put by firestones, Calcidonies, and Tarso, and 
 other hard stones, which, though they vitrifie, yet they 
 
 G 
 
 make not so clear, lucid, and shining stones as natural 
 Crystal doth. The said stones used to make counter¬ 
 feit Jewels, though they take polishing wonderfully, 
 yet they always have something earthy and obscure 
 in them. But Crystall hath always something that’s 
 aerial and transparent, and draweth near to the qua¬ 
 lity and nature of Jewels, especially those which are 
 natural and oriental. For they work far greater effects 
 than the Italian or Dutch. Take then works made of 
 Crystal, put them in Chrysibles covered at the top, 
 set them in burning coals till they be both well heated 
 and fired, then suddenly cast the Crystall into a very 
 large pan, full of cold clear water. When the Crys- 
 stal is cold, recalcine, and heat, and cast it into fresh 
 clean water ; repeat this twelve times, and be sure the 
 ashes and filth be kept out of the Chrysible, and that 
 the water be always very clean. When the Crystal 
 is well calcined, grind it to an impalpable powder, as 
 fine as the best wheaten flour, and that on a Por- 
 phyrie-stone, with a rnuller of the same, and then ’twill 
 crumble and come to a flour, like refined Sugar. If 
 you powder the Crystall in Brass mortars, with an 
 iron pestle, you can make nothing therewith but a 
 green Emerald colour. Grind not above a spoonful 
 at a time, and this grinding and sercing must be often 
 repeated, so long till no roughness remains, nor can 
 be felt in the powder. For otherwise a past made 
 thereof will give onely a durty and imperfect work, 
 and will never be like natural Jewels. But if the 
 
 Crystall 
 
22 
 
 THE ART 
 
 OF GLASS'. 
 
 [Book V. 
 
 Crystall be well ground, ’twill make artificial gems 
 far excelling true natural stones in beauty, colour, 
 clearness, splendor, and polishing. Make a good 
 quantity of this material that you may make all co¬ 
 lours, for this is the prime material to make all Arti- 
 ficiall jewels, and shall be called hereafter Crystal 
 prepared. 
 
 These rules , often repeated by the Author, take toge¬ 
 ther :— 
 
 1. That the whole be done cleanly; to this end, 
 lute all the pots wherein the Crystall is calcined, and 
 wherein the pasts are baked with lute well dryed, be¬ 
 fore they be set to calcine or bake. 
 
 2. Take pots that will bear the fire 
 
 3. Grind all on Porphyrie-stone, and not in metal, 
 to a most impalpable powder, first singly, and then 
 together. 
 
 4. Keep a just proportion in the dose of the Ingre¬ 
 dients. 
 
 5. Mix the materials well before you bake them, 
 and if the past be not sufficiently baked the first time, 
 bake it again a second time in the potter’s furnace, 
 and never break the pot till you see ’tis baked, for if 
 you do, the pasts will be foul and lull of blisters. 
 
 6. Leave the vacuity of a finger’s thickness in the 
 top of the pot, especially where ’tis said it swells 
 much, or that you must put it in leasurely, lest the 
 materials run out into the fire, or stick to the cover, 
 and so make a foul colour. 
 
 CHAP. LXXVII. 
 
 How to make Oriental Emeralds. 
 
 TAK E of Crystall prepared two ounces, ordinary 
 red-lead four ounces, mix and incorporate them 
 well together, good Verdigreas two peny weight, 
 Crocus Martis made with vineger eight grains, mix all 
 well, and set them in a potters furnace, in the hottest 
 place thereof, as long as the fire lasts. To see whe¬ 
 ther the past be sufficiently baked and purified, clear 
 and transparent, take only off the cover made of lute, 
 and if the past be pure and transparent to the bottom 
 ’tis a sign ’tis baked enough. Otherwise, relute and 
 bake it again, without breaking the pot, for then the 
 past will be full of points and blisters. Let the fire 
 be continued 24 hours with dry wood. 
 
 I set up a furnace at Antwerp a purpose, wherein 
 I kept 20 pots of divers colours, and with a fire in 
 24 hours melted and purified all of them ; and, to be 
 the more secure, continue the fire six hours more, and 
 by this means the past will be very well baked, and 
 little wood wasted. These pasts may be cut and 
 wrought in every thing as ordinary Jewels, they 
 wholly receive the same polishing and lustre, and 
 are set in gold with foils, as the other commonly are. 
 This past is harder than ordinary. 
 
 CHAP. LXXVIII. 
 
 To make a deeper Emerald colour. 
 
 TAKE of Crystal prepared an ounce, of ordinary 
 red-lead six ounces and a half, mix them, and add 
 of Verdegreas about three peny weight and 13 grains, 
 of Crocus Martis made with vineger 10 grains. Pro¬ 
 ceed according to the rules, and you shall have a 
 marvellous Emerald colour for small works, and to be 
 set in Gold. This past must be baked more than or¬ 
 dinary, to wast that imperfection which lead usually 
 gives. This past is britler, but fairer than the former. 
 
 CHAP. LXXIX. 
 
 To make a more boa tful Past for Emeralds. 
 
 TAKE of Crystal prepared two ounces, ordinary 
 red-lead seven ounces, mix and add to them of 
 Verdegreas about 10 grains to every ounce, and of 
 Crocus Martis made with Vinegar ten grains only at 
 a time, mix them and proceed according to rule, and 
 you shall have an Emerald past for small works, very 
 fair and beautiful, but not hard, by reason of the 
 plenty of lead. Wherefore bake it more than ordinary 
 to take away the blackness, and uuctuosity lead na¬ 
 turally yields. 
 
 CHAP. LXXX. 
 
 Another most fair Emerald. 
 
 TAKE of Crystal prepared two ounces, ordinary 
 Minium six ounces, mix them, and add of good 
 Verdigreas well ground 80 grains, mix and bake them 
 for a most fair Oriental Emerald. 
 
 CHAP. LXXXI. 
 
 An Oriental Topaz. 
 
 TAKE Crystal prepared two ounces, ordinary Mi¬ 
 nium seven ounces, mix them, and bake them, 
 for a marvellous Oriental Topaz, to work any kind of 
 work you please. 
 
 CHAP. LXXXII. 
 
 An Oriental Chrysolite. 
 
 TAKE of prepared Crystall two ounces, ordinary 
 Minium eight ounces, mix them, and add of Crocus 
 Martis made with vineger 12 grains, mix and bake 
 them more than ordinary, by reason of the great quan¬ 
 tity of lead. 
 
 CHAP. LXXXIII. 
 
 Sky-colour. 
 
 TAKE of Crystal prepared two ounces, ordinary 
 Minium five ounces, mix them, and add 21 grains 
 of Zaff'er prepared and ground, remix and bake them 
 for a most beautiful Sky-colour. 
 
 CHAP. 
 
Book V.] 
 
 THE ART 
 
 OF GLASS. 
 
 23 
 
 CHAP. LXXXIV. 
 
 A Sky with a Violet colour. 
 
 TAKE of Crystall prepared two ounces, ordinary 
 Minium four ounces and a half, mix them, and 
 add about four grains of Painters blew smalts, mix 
 and bake them. This past will be a most fair Violet, 
 and pleasant sky-colour. 
 
 CHAP. I.XX XV. 
 
 An Oriental Saphyre. 
 
 Take of Crystall prepared two ounces, ordinary 
 Minium six ounces, mix them well, and add of 
 Zaffer prepared five grains, mix with the Zaffer of 
 Manganese prepared seven grains, remix and bake 
 them for an Oriental Saphyre, which will have a most 
 beautifnl violet colour. 
 
 CHAP. LXXXVI. 
 
 A deep coloured Oriental Saphyre. 
 
 TAKE of Crystall prepared two ounces, ordinary 
 Minium five ounces, of Zaffer prepared about 
 42 grains, add to the Zaffer of Manganese prepared 
 eight grains, mix and bake them well, and they will 
 make a deeper Oriental Saphyre, with a violet colour 
 of notable fairness. 
 
 CHAP. LXXXVll. 
 
 An Oriental Garnet. 
 
 TAKE of Crystall prepared two ounces, ordinary 
 Minium six ounces, mix them, and add about IG 
 grains of Manganese prepared, wherewith mix three 
 grains of Zaffer prepared, mix them all together, and 
 bake them for a most fair and sightly Garnat. 
 
 CHAP. LXXXVIII. 
 
 A deeper Oriental Garnat. 
 
 TAKE of Crystall prepared two ounces, ordinary 
 Minium five ounces and a half, of Manganese 
 prepared 15 grains, wherewith mix four grains of 
 Zaffer prepared, mix them all, this swells much, bake 
 them for an oriental Garnat, which hath in it a very 
 fair Violet colour. 
 
 CHAP. LXXXIX. 
 
 Another fair Garnet. 
 
 TAKE of Crystall prepared two ounces, ordinary 
 Minium five ounces, mix them, and add 52 grains 
 of Manganese prepared, wherewith mix six grains of 
 Zaffer prepared, mix them all well, and bake them 
 for an Oriental Garnat, fairer than any of the former. 
 
 CHAP. XC. 
 
 Observations for Pasts and their Colours. 
 
 QBSERVE, that the colours in the aforesaid Pasts 
 may be made deeper, or lighter, according to the 
 works they are to be used for. and also the will and 
 humour of the maker. Small stones for rings, pen¬ 
 dants, and ear-rings, require a fuller, but greater 
 stones a lighter colour. No rules can be herein given, 
 though those given by me will give some light to the 
 curious Artist, to whose judgement it must be left, 
 and who may find out and invent more and better 
 colours. Besides, 1 set down here onely colours from 
 Verdigrease, Zaffer, and Manganese. But a curious 
 person and practical Chymist, may extract a wonder¬ 
 ful lied from Gold, and another fair Red from Iron, 
 from Brass an exceeding fair Green, from Lead a 
 Gold colour, from Silver a Sky-colour, and a much 
 fairer from Granats of Bohemia, which are low prized, 
 for, being small, you may draw a tincture from them, 
 as I have often done in Flanders, and this doth nota¬ 
 ble effects. The same may be done with Rubies, 
 Saphyres, and other Jewels. To write of these things 
 would be a business too long for me, who speak so 
 clearly in this present work. But the colours above- 
 said will make pleasant works. 
 
 CHAP. XCI. 
 
 The way to make the ahovesaid Pasts, and to imitate 
 all sorts of Jewels, marvelous and never used. 
 
 THIS way, which l have taken from Laac Hollandus 
 when I was in Plunders, to imitate Jewels, is not 
 much used, and known perhaps to few persons ; and 
 though it be somewhat laborious, yet by how much ’tis 
 more laborious, ’tis so much the fairer and beautiful 
 than any made in any place whatsoever to this day, or 
 at least not shewn to me by any person. Wherefore 
 I will shew the manner to make them so clearly, and 
 with so many observations, that any one versed in 
 Chymistry will be easily capable thereof, and will do 
 the work perfectly. Take Ceruss, otherwise called 
 white-lead, grind it very fine, and put it into a gi'eat 
 glass body, and pour therein as much distil’d Vine- 
 ger as will rise a palm above it. Observe, that at 
 first the Vineger boils and swels, wherefore put it in 
 by little and little, till all the fury and noise is gone. 
 Then set the Vineger on a hot furnace in sand, and 
 evaporate away the eighth part of it, take it from the 
 fire, and when the body is cold, decant leasurely the 
 Vinegar coloured enough, and impregnated with salt, 
 which set aside in a glass vessel, then pour more fresh 
 distild Vineger on the Ceruss, and evaporate and de¬ 
 cant as before. Repeat this till you have extracted 
 all the salt from the C eruss, which is, when the Vine¬ 
 ger is coloured no more, nor hath any more taste of 
 sweetness, which usually succeeds the sixth time.— 
 
 Then 
 
24 
 
 THE ART OF GLASS. 
 
 [Book V. 
 
 Then filtre these coloured Vinegers mixt together, 
 evaporate and dry them in a glass body, and the salt 
 of Lead will be at the bottom of a white colour, which 
 set in sand in a glass body from the neck downwards 
 ■Well luted, but the mouth of the glass must be open, 
 and the furnace heated for twenty-four hours conti¬ 
 nuance. Then take the salt out of the receiver, pow¬ 
 der it, and if it be yellowish and not red, set it 24 
 hours in the fire, till it become as red as Cinaber. 
 Make a good fire, but not to melt it, for then all your 
 labour and pains will be lost. Pour distilled Vineger 
 on this Red-lead calcined, repeating this work as be¬ 
 fore till you have extracted all the salt from it, and 
 separated all the dregs and terrestriety in whole or in 
 part. Keep these coloured Vinegers in earthen pans 
 glased six days, that all the terrestriety and imperfec¬ 
 tion may sink to the bottom Then filtre them, leav¬ 
 ing the grosser part at the bottom as unprofitable, then 
 cover the Vinegers in a glass body, and there will 
 remain at the bottom a most white salt of lead, and 
 sweet as Sugar, which dry well, and dissolve in com¬ 
 mon water, let the solution stand six days in glased 
 pans, separate the terrestriety at the bottom, filtre 
 and evaporate as before, and there will remain at the 
 bottom of the glass, a salt as white as snow, and 
 sweet as sugar. Repeat this solution, filtration, and 
 evaporation, thrice. This salt is called Saccharum 
 Saturni. Which put into a furnace into a body of 
 glass in Sand, and at a temperate heat for many days, 
 and it wdl appear calcin’d into a colour much redder 
 than Cinaber, and as subtile and impalpable as the 
 finest serced wheaten flour. This is called the true 
 Sulphur of Saturn purified from all terrestriety, foul¬ 
 ness, and blackness which Saturn had at first in itself. 
 Now, when you would make pasts for Emeralds, 
 Saphyres, Garnats, Topaz, Chrysolite, Sky, or any 
 other colour, take the same materials, colours, and 
 quantities as abovesaid in the former receipts, except, 
 that instead of ordinary Red-lead, you shall take 
 Sulphur Saturni, working exactly in every thing as 
 before, and you shall have Jewels of marvelous fair¬ 
 ness in all colours, which very far surpass the fore- 
 mentioned made with ordinary Red-lead. For this 
 
 true Sulphur Saturni outgoeth all others, more than I 
 wiite thereof, as 1 have seen and often made it at 
 Antwerp. Pasts made with this Sulphur, have not 
 that unctuosity and yellowness, as the other ordinary 
 ones have, which in time shew their foulness, and the 
 moisture and sweatiness which coming from within 
 men much soil them, which happens not to those 
 made with the said Sulphur. Wherefore think not 
 that pains much, which will be well recompensed 
 with the work and effect. 
 
 CHAP. xcir. 
 
 Ilow to make very hard Past of all colours. 
 
 'J'AKE of prepared Crystall ten pound, salt of Pol- 
 verine six pound, made as in Chap. 3. well dryed 
 and ground on a Porphyrie, mix and serce them well 
 togethei. Sulphur Saturn two pound, mix these three 
 powders in earthen pans glased and clean, and with a 
 little common water make with them a hard Past, and 
 of the Past little cakes, each weighing three ounces, 
 with a little hole in the midst of them, dry these in 
 the sun, and then calcine them in the highest part of 
 the potters furnace, or in other like fires, then powder 
 and grind these cakes on a porphyrie, and serce them 
 fine, then set them in pots in glass furnaces, to , urifie 
 three days, and cast them into water, and return them 
 to the furnace for 15 days to purifie, that all the foul¬ 
 ness and blisters may vanish, and the past remain 
 most pure, like natural Jewels. And moreover, this 
 sort of purest glass will be tinged into all colours 
 you desire. For example into an Emerald with Brass 
 thrice calcin’d, as is done in ordinary glass, into a 
 Sea-green, with Brass calcined to redness, made as in 
 Chap. 24. and with Zaffer into a Topaz, into a Sa- 
 phyre with Manganese and Zaffer, into yellow with 
 Tartar and Manganese, putting them in by parts, and 
 into a Garnat also with Manganese and Zaffer divi- 
 dedly put in. And indeed this Past imitates all 
 Jewels and colours, and hath a wonderful shining 
 and lustre, and in hardness too it imitates the jewels, 
 especially the Emerald, which will be made most fair 
 and almost as hard as the true. 
 
Book VI.] 
 
 THE ART OF GLASS. 
 
 25 
 
 Cl )t g#tl) Eoofc, 
 
 Wherein is shown the way to make all the Goldsmiths Enamels, to Enamel upon Gold in 
 divers colours, with rules, and the materials which colour, and what Jires make those 
 Enamels, with exact diliyence and clearest demonstration possible. 
 
 Enamelling on Gold and other metalls is a fair 
 and pleasing thing, and in it’s self not only laborious, 
 but necessary, since we see metalls adorned with Ena¬ 
 mels of many colours make a fair and noble shew, 
 enticing beyond measure the eyes of the beholders. And 
 because ’tis one of the most principal, and a most 
 necessary part of glass, and it appearing to me to be 
 a thing grateful and pleasing to all, I set my self to 
 describe many ways to make several sorts of Enamels, 
 as a thing not vulgar, and belonging to this Art, and 
 one of it's most noble appurtenances. And that this 
 Work might not be deprived of a matter so pleasant, 
 profitable, and necessary, I have made this sixth Book 
 for the delight and benefit of all. 
 
 CHAP. XCIII. 
 
 The Material wherewith all Enamels are made. 
 
 ’PARE of fine Lead 30 pound, of fine Tin 33 pound. 
 Calcine them together in a Kil, and serce them, 
 Boil this Calx a little in clean water in clean earthen 
 vessels, take it from the fire and decant off the water 
 by inclination, which will carry with it the finer part 
 of the Calx, put fresh water on the remainder, then 
 boil and decant as before; repeat this as long as the 
 water carries off any Calx. Recalcine the gross re¬ 
 maining Calx, and then draw off again the more sub¬ 
 tile parts as before. Then evaporate the waters which 
 carried off the finer Calx at a gentle fire, especially at 
 the last, that the Calx may not be wasted, which will 
 remain at the bottome much finer than the Ordinary. 
 Take then of this fine Calx, of Crystal Fritt made 
 with Tarso, ground and serced fine, of each 50 pound, 
 of white salt of Tartar eight ounces, powder, serce, 
 and mix them well: Then put this stuff into a new 
 earthen pot baked, giving it a fire for ten hours, then 
 powder and keep it in a dry covered place. Of this 
 stuff are made all the Enamels of whatsoever colours. 
 This shall be called, The Stull'for Enamels. 
 
 To avoid our Author's Repetitions, observe — 
 
 1. The pots wherein Enamels are made must be 
 glased with white glass, and bear the fire. 
 
 2. Mix and incorporate well the colours and stuff 
 for Enamels. 
 
 3. When the Enamel is refined, and the colour 
 good, and well incorporated, take it from the fire 
 with a pair of tonges for the Goldsmith’s use. 
 
 4. The way to make Enamels is this : Powder, 
 
 H 
 
 grind, and serce well the colours and mix them first 
 well one with another, and then with the stuff for 
 Enamels, then set them in pots in the furnace. When 
 they are all melted and incorporated, cast them into 
 water, and when dry, set them in the furnace again to 
 melt (which they soon do), make a proof, and if the 
 colour be too high, take out some of it and add more 
 of the stuff for Enamels, and if too light, add more of 
 the colour at pleasure to your content, then take it out 
 of the furnace. 
 
 CHAP. XCIV. 
 
 A Milk- White Enamel. 
 
 ’J’AKE of the stuff for Enamels six pound, of Man. 
 
 ganese prepared 48 grains, cast it thrice into water 
 when refined and melted. 
 
 CHAP. XCV. 
 
 An Enamel of a Turcois colour. 
 
 r J\AKE of the stuff for Enamels six pound, melt, 
 refine, and cast it into water, set it in the furnace 
 again ; when ’tis melted and refined, put in of thrice 
 calcin’d Brass three ounces ,Zaffer prepared 96 grains, 
 wherewith mix well 48 grains of Manganese prepared, 
 mix them well and put them into the stuff at four 
 times, mixing them well every time, let them incorpo¬ 
 rate, make a proof with your eye that you may know 
 by the eye when the colours are good, as I have al¬ 
 ways done, because sometimes the powders colour 
 more, and sometimes less. Thus 1 did at Pisa, and 
 by mine eye, without weights, coloured all sorts of 
 Glass. 
 
 CHAP. XCVI. 
 
 Another Azure Enamel. 
 
 ’PARE of the stuff for Enamels four pound, where. 
 
 with mix of Zaffer prepared two ounces, and mix 
 with it at first of thrice calcin’d Brass 48 grains, mix 
 these two powders well with the stuff for Enamels, 
 set them in the furnace, and work according to the 
 rules. 
 
 CHAP. XCVII. 
 
 A Green Enamel. 
 
 ’PARE of the stuff for Enamels four pound, put it in 
 the furnace, and in ten or twelve hours ’twill be 
 melted and refined, cast it into water, and put it again 
 
 into 
 
26 
 
 THE ART 
 
 OF GLASS. 
 
 [Book VI. 
 
 into the furnace into its own pot, when ’tis refined, 
 give it of Brass thrice calcin’d two ounces, wherewith 
 mix of scales of iron well ground two ounces, put 
 them in at three times, mixing and incorporating them 
 every time, and ever and anon see whether the colour 
 please, when ’tis well take it from the fire. 
 
 CHAP. XCVIII. 
 
 Another Green Enamel. 
 
 Take of the stuff for Enamels six pound, where¬ 
 with mix well Fcrretto of Spain well ground three 
 ounces, and mix with it 48 grains of Crocus Martis, 
 put them into the furnace, &c. These furnaces are 
 made from about four to six inches for all Enamels. 
 
 CHAP. XCIX. 
 
 Another Gfeen Enamel. 
 
 PARE of the stuff for Enamels four pound, which 
 in few hours will be refined, then cast it into 
 water, and put it again into the furnace, and let it 
 refine, then add these two powders well mixed at three 
 times, to wit, of Brass thrice calcined two ounces, of 
 Ci •ocus Martis made with Vineger 48 grains, put them 
 in the furnace, and when they are well incorporated, 
 take them from the fire. This is a fair and good 
 Enamel. 
 
 CHAP. C. 
 
 A Black Enamel. 
 
 PARE four pound of the stuff for Enamel, of Zaffer 
 and Manganese, of each two ounces prepared and 
 well mixed, incorporate the stuff and colours, put them 
 in the furnace in a large pot, and when refined, cast 
 them into water, then put them in the furnace again, 
 and they will soon refine, and make a velvet Black. 
 
 CHAP. CI. 
 
 Another Black Enamel. 
 
 PARE of the stuff for Enamels six pound, of Zaffer 
 prepared, of Crocus Martis made with Vineger, of 
 Fcrretto of Spain of each two ounces, grind and mix 
 well together these three powders with the stuff for 
 Enamels, put them into the furnace, and when refined, 
 cast them into water, put them in the furnace again, 
 and take the Enamel out when ’tis incorporated and 
 the colour pleaseth you. This is a fair Black. 
 
 CHAP. CII. 
 
 Another Black Enamel. 
 
 pAKE of the stuff for Enamels four pound, Tartar 
 four ounces, Manganese prepared two ounces, 
 grind and mix these two powders well with the stuff 
 for Enamels, set them in the furnace in a large pot. 
 
 when melted and refined, cast them into water, and 
 put them into the furnace again, let them refine. This 
 is a most fair velvet Black to Enamel upon metalls 
 ordinarily. 
 
 CHAP. CIII. 
 
 A Red Enamel. 
 
 P'0 four pound of the stuff for Enamels, add two 
 ounces of Manganese prepared, mix them well, 
 and set them in the furnace in a large pot, when ’tis 
 refined and melted, cast them into water, set them 
 again in the furnace, and when refined take them out. 
 This is a fair purplish Enamel. 
 
 CHAP. CIV. 
 
 A Purplish Enamel. 
 
 PARE of the stuff for Enamels six pound, of Man¬ 
 ganese prepared three ounces, of Brass thrice cal¬ 
 cined six ounces, mix them all well together, set 
 them in a furnace, and let them refine, then cast them 
 into water, and put them into the same pot, let them 
 boil, and when refined take them from the fire. ’Tis 
 a good Enamel. 
 
 CHAP. CV. 
 
 A Yelloiv Enamel. 
 
 PARE of the stuff for Enamels 6 pound, of Tartar 
 three ounces, of Manganese prepared 72 grains, 
 grind and mix well these powders together, and then 
 with the stuff for Enamels, put them into the furnace 
 in a large pot, when refined cast them into water, and 
 set them again in the furnace. This Enamel is of a 
 fair yellow to enamel on Gold, where it shews not 
 well, if you add not Enamels of other colours. 
 
 CHAP. cvr. 
 
 A Sky-coloured Enamel. 
 
 PARE of the stuff for Enamels 4 pound. Brass cal¬ 
 cined to make a Sky-colour, as in Chap. 21. of 
 Sea-green made as in Chap. 28. of each two ounces, 
 of Zaffer prepared 48 grains, mix first these powders 
 well together, then with the stuff for Enamels, when 
 they are refined cast them into water, return them into 
 the pot, let them melt and refine. This is a very fair 
 and beautiful Sky-colour. 
 
 CHAP. CV1I. 
 
 A Violet-coloured Enamel. 
 
 PARE six pound of the stuff for Enamels, of Man¬ 
 ganese prepared three ounces, of thrice calcined 
 Brass 48 grains, mix these two powders well together, 
 then remix them with the stuff for Enamels, put them 
 into the furnace, and cast them into water, put them 
 into the furnace again, and do as before. 
 
Book VII.] 
 
 THE ART OF GLASS. 
 
 27 
 
 <H\)t i^etientl) Boolt, 
 
 Wherein is shown the manner how to extract Yellow Lake for Painters from Broom 
 fowers, and all other colours; with another way to extract Red Lake, Green, Azure > 
 
 Purple, and all colours from all hindes of Herbs and Flowers. - And to make Blew, 
 
 Ultramarine, and Lake, from Cochneel, Brasill, and Madder for Painters; and also 
 to colour discoloured Turcoises. Another way to make a transparent Red, and a fair 
 Red to Enamel upon Gold and Metalls, things neither vulgar nor common. 
 
 P this Book is shown the way to extract all colours 
 from Flowers and Herbs, for the use of Painters, 
 which may serve also for glass ; and Lakes of many 
 colours, and Ultramarine from Lapis Lazuli, all which 
 things, though in particular useful for Painters, may 
 notwithstanding, serve to colour glass in the super- 
 fices, and also in the tire of the furnaces, such is the 
 Ultramarine, and also the way to make a transparent 
 Red in glass, which seems at this day to be wholly 
 lost, as a thing not profitable, and to make a fair Red 
 to enamel upon gold all materials in the Art of glass, 
 and at this day much conceal’d, and known to few, 
 and many other things which I judged meet to be 
 put in this present work, which 1 believe will be ac¬ 
 ceptable to curious and ingenious Spirits. 
 
 CHAP. CVIII. 
 
 A Yellow Lake to Paint, from Broom Flowers. 
 
 MAKE a Lee of Barillia and of Lime, reasonable 
 strong; and in this Lee boil at a gentle fire fresh 
 Broom Flowers, that the Lee may draw to it all the 
 tincture of the Flowers, which you shall know by 
 taking the Flowers out and seeing them white, and 
 the colour well taken out, anti the Lee will be yellow 
 like good Trebian wine : then take out these Flowers, 
 and put this Lee in earthen dishes (glased) to the fire, 
 that the Lee may boil, and put into it so much Roch- 
 alum, that with the fire, all the Alum may be dis¬ 
 solved ; then make a fire, and empty this Lee into a 
 vessel of clean water, and it will give a yellow colour 
 at the bottom : then let them settle, and decant off all 
 the water, and again put upon them other fresh water, 
 and decant it off; let the tincture first sink to the 
 bottom, and do this so long, till you have taken out 
 all the salts of the Lee and Alum from the tincture; 
 observing, that by how much the more you wash this 
 tincture from the salt of the Lee and Alum, by so 
 much more will the tincture of the colour be fairer, 
 and more beautiful, washing it always with water to 
 carry away the salt of the Lee and Alum, and at each 
 time before you decant the water, let the Fellow tinc¬ 
 ture settle to the bottom. Repeat this process, until 
 
 you perceive the water run out sweet and without 
 saltness as ’twas first put in, and then at the bottom 
 will remain a beautiful and fair Lake ; which spread, 
 when wet, upon pieces of white cloath, and dry it 
 upon new baked Bricks in the shade, and you shall 
 have a beautiful Lake of a Yellow colour for Pain¬ 
 ters, and also for glass. 
 
 CHAP. CIX. 
 
 To extract Lake from wilde Poppies, Flower-deluces, 
 Reel Roses, Red Violets, and from all sorts of Green 
 Herbs. 
 
 UJET what quantity of the leaves of Flowers, of 
 what colour soever they be, let every colour be 
 by itself, fair Green Herbs by themselves: proceed 
 with them as in Chap. 108. and you shall have a Lake 
 and true tincture and colour from every FI ower and 
 H erb, which will be a fair and beautiful thing for 
 Painters, and without doubt worthy to be much es¬ 
 teemed. 
 
 CHAP. CX. 
 
 To extract a Lake, and colour to Paint, from Orange 
 Flowers, Red Poppies, Flower-deluces, ordinary Vio¬ 
 lets, Carnation and Red Roses, Borage and Cubage 
 Flowers, Gilli-Flowers, from all Flowers whatsoever, 
 and Green f om Mallows, Pimpernel/s, and all other 
 Herbs. 
 
 r fAKE of whatsoever Herb, or Flower, of whatsoever 
 colour you will, which, being bruised green upon 
 a leaf of white Paper, tinges it with it's colour, these 
 are good, but the Herbs and Flowers which do not 
 so, are not good ; then put into a glass body ordinary 
 Aqua Vitce, the head must be as large as possible, and 
 in the top thereof put the leaves of whatsoever Flower 
 or Herbs from which you would draw a tincture, then 
 lute the joynts of the head, and thereto fit a receiver, 
 then give a temperate heat, that the thinner parts of 
 the Agua Vita;, ascending to the head, and falling 
 upon the leaves and Flowers, may suck out the tinc¬ 
 ture, and distill thence into the Receiver coloured 
 
 Red, 
 
28 
 
 THE ART OF GLASS. 
 
 [Book VII. 
 
 Red, and full of the tincture of the Flowers, making 
 all the subtile part of the Aqua Vita; to ascend so long 
 as it comes coloured, and then distill this Aqua Vita 
 coloured in a glass vessel, which will come over 
 white, and may serve at other times, and the tincture 
 will remain at the bottom, which must not be dried 
 too much, but moderately : and thus you shall have 
 the tincture or Lake from all Flowers and Herbs, sin¬ 
 gular for Painters. 
 
 CHAP. cxr. 
 
 A Blew to make. 
 
 TAKE Quick-silver two parts, flour of Brimstone 
 three parts, sal Armoniack eight parts, grind them 
 all upon a Porphery, and with the Quick-silver, put 
 them in a glass with a long neck luted at the bottom 
 in sand, make a gentile fire till the moisture rise, then 
 stop the mouth of the glass, and increase and continue 
 the fire, as in sublimation, till the end, and you shall 
 have a Blew most fair and excellent. 
 
 CHAP. CXII. 
 
 How to colour natural Turcoises discoloured. 
 
 PUT Turcoises discoloured, and become white, into 
 a glass, pour upon them oil of sweet Almonds, 
 keep this glass upon temperate ashes, and warm, and 
 in two days at most the stones will have acquired a 
 most beautiful colour. 
 
 CHAP. CXIII. 
 
 A Mixture to make Sphears. 
 
 TAKE of Tin well purified and purged three pound, 
 Copper well purified one pound, melt these two 
 metals, first the Brass, then the Tin, and when they 
 are well melted, cast upon them six ounces of Tartar 
 of red wine onely burnt, and one ounce and a half of 
 Salt-peter, then a quarter of an ounce of Alum, and 
 two ounces of Arsnick, let them evaporate, then cast 
 it into the form of a sphear, and you shall have a good 
 material, the which you shall cause to be burnished 
 and polished, which will shew well, and this is the 
 mixture called steel to make sphears. 
 
 CHAP. CXIV. 
 
 The manner how to colour within Balls of Glass, or 
 other Vessels of White Glass, with all sorts of colours, 
 which will imitate natural stones. 
 
 TAKE a Ball, or other sort of Glass that is white 
 and fair, and Isinglass which must be infused two 
 days in common water, then put this infusion into a 
 white pan with fair water, and boil it till all be well 
 tempered, observing, that the Isinglass will be very 
 tender with much water, then take it from the fire, and 
 
 when it is warm, put it into a Ball of Glass, and turn 
 the glass round, that the Isinglass may fasten and wet 
 every where the Glass within; this being done, let 
 the moisture drain and run out, then have in order 
 these colours powdered, to wit, Red-lead ; and cast¬ 
 ing it into the glass it will make the said colour stick, 
 (which will run in waves), cast it into many places 
 through a tube, then throw in blew smalts, making it 
 stick in waves within the Ball. Then do the same 
 with Verdigreas, then with Orpiment, next with Lake, 
 all well ground, always casting the colours in many 
 places in waves, which by means of the Isinglass 
 which hath moistned the glass within, those powders 
 will every where stick to the glass ; and so shall you 
 do with all colours. Then take Gesso well powdered, 
 and put enough thereof into the Ball, and suddainly 
 turn it about, that it may stick every where to the 
 glass within. Do this work nimbly, whilst the mois¬ 
 ture of the Isinglass lasteth, that the powder may 
 stick well, then empty by the hole of the glass the 
 Gesso which is within the Ball, which shall then ap¬ 
 pear of divers colours with a most fair appearance 
 like the natural Toies of hard stones, and at last these 
 colours (when the Isinglass is well dryed,) stick, so 
 that afterwards they will not fall off, and alwayes 
 their colour is most fair without. Fit to these Balls 
 a foot of wood, or of other stuff painted, and they are 
 held for beauty before Cabinets, and for Merchants 
 counting-houses very fair, 
 
 CHAP. CXY. 
 
 Ultra-marine. 
 
 TAKE fragments of Lapis Lazuli, found plentiful at 
 Venice at a low price, let these fragments be well 
 coloured with a fair Skie-tolour, lay aside those that 
 are not coloured, calcine them well in a Chrysible, 
 and so heated, cast them into cold water, repeat this 
 twice, then grind them upon a Porphyrie to an im¬ 
 palpable powder, as fine as wheaten flour sifted. 
 
 Take then three ounces of the Rosin of the Pine, 
 Black Pitch, Mastick, new Wax, Turpentine, of each 
 three ounces, Linseed Oyl, Frankincense, of each an 
 ounce, dissolve them in a new earthen Pipkin at a 
 gentle heat, stir and incorporate them with a Spatula, 
 then cast them into cold water, that they may cleave 
 in a lump for your need. 
 
 Take, for every pound of Lapis Lazuli ground as 
 before, ten ounces of the aforesaid past of gums, 
 which dissolve in a Pipkin at a gentle fire, and when 
 it is well dissolved, cast in by little and little the said 
 powder of Lapis Lazuli, and incorporate it with the 
 gum with a Spatula ; I cast all the materials thus hot, 
 being incorporated, suddenly into cold water, and 
 bathing my hands with Linseed Oyl, made a round 
 pasts 11 hereof long and proportionally thick. Of these 
 pastills you may make one, or more, according to the 
 cpiantities of the materials, keep these pastils fifteen 
 days in a great vessel full of cold water, changing 
 
 the 
 
Book VII.] 
 
 THE ART 
 
 OF GLASS. 
 
 29 
 
 water every two days, then shall you boil in a kettle 
 common clean water, the pastils in clean and well 
 glased earthen pans, and cast upon them warm water, 
 and so serve them till the water is cold, the said water 
 being emptied out, cast upon them new warm water, 
 and when it is cold empty it out, putting in again 
 warm water, and when it is cold, empty it out, putting 
 in again warm Avater, repeat this so many times till the 
 pastils be dissolved by the warmth of the water, then 
 put in new warm water, and you shall see the water 
 will be coloured of a Sky colour, decant the water 
 into a pan well glased and cleansed. This casting on 
 of warm water upon the pastils must be repeated till 
 it be no more coloured, but observe that the water be 
 not over hot, but luke warm onely, for too much heat 
 makes the ultramarine grow black. All these co¬ 
 loured waters strained into pans, have in them the 
 unctuosity of the gums, therefore they must be left to 
 settle 24 hours, that all the colour may sink to the 
 bottom, then the water with its unctuosity must be 
 leasurely decanted off, put upon the pastils clear 
 water, and then strain the cold Avater through a fine 
 strainer, stirring the colour that it also may pass the 
 strainer, and by this means a great part of the foulness 
 and unctuosity will remain in the strainer, wash the 
 strainer always with fair water. And with new water 
 pass the ultramarine thrice through the serce, washed 
 every time, and then usually all its filthiness will re¬ 
 main in the strainer. Put the ultramarine into clean 
 pans, decant the water softly off, Avhich dry of itself, 
 and you shall have a most beautiful ultramarine, as 1 
 have often made it at Antwerp. The quantity from a 
 pound of Lapis Lazuli shall be more or less, accord¬ 
 ing as the stone is of a fuller and fairer colour. Then 
 grind it to an impalpable powder on a Porphyrip (as 
 is above said), and ’twill arise most beautiful. If you 
 take common blue smalts, ground on a Porphyrie to 
 an impalpable powder, and incorporate it with the 
 gum pastils with the foresaid quantities, keeping them 
 in digestion in cold Avater 15 days with Lapis Lazuli, 
 and work throughout as in Lapis Lazuli, you shall 
 have a very fair and sightly Blue Bice, which will 
 seem to be an Ultramarine. These blues not only 
 serve for Painters, but to colour glass excellently. 
 
 CHAP. CXVI. 
 
 A Lake from Cochineel for Painters. 
 
 JNFUSE one pound of the shearings of the finest 
 Woollen Cloath in cold water a day, then press 
 them well to take away the. unctuosity the Wool hath 
 from the skin, then alum these shearings after this 
 manner:— 
 
 Take four ounces of roch-alum, two ounces of crude 
 tartar powdered, put them into a small pipkin with 
 about three flagons of water, when it begins to boil 
 put in the flox, and let them boil half an hour at a 
 "•entle fire, then take them off to cool for six hours. 
 
 after take out the flox and wash them with fair water, 
 let them stand two hours, then press the water well 
 from them, and let them dry. 
 
 CHAP. CXVlt. 
 
 A Magistcry to extract the Colour from Cochineel t 
 QOLD Avater four gallons, Avheaten bran four pounds, 
 saline of the Levant, fenugreek, of each a quarter 
 of an ounce, put them into a pipkin over the fire, till 
 the water become so hot one may not hold his hand it; 
 take them from the fire, cover the pipkin with a cloth 
 for twenty-four hours, to preserve well the colour, 
 then decant the Magistry for use. 
 
 Put into a clean pipkin three gallons of cold water, 
 and one of the said Magistery, when it boils, of Cochi¬ 
 neel powdered, after this manner, in a brass mortar, 
 and serce one ounce of Cochineel, so many times, till 
 all pass the serce, at last take a little crude tartar, 
 pound it in the mortar, and ’twill take up all the tinc¬ 
 ture sticking to the bottom of the mortar, and to the 
 pestle ; mix this tartar Avith the Cochineel serced, and 
 as soon as the Avater in the pipkin boils put in the Co¬ 
 chineel, and let it colour the water whilst you can say 
 a Miserere. 
 
 Then take the flox alumed as before, which must 
 first stand in a pan of cold water for half an hour, and 
 when the water is well coloured, press well the water 
 from the flox, put it into a pipkin, and stir it about 
 very often, with a little stick, that the flox may be 
 well tinged; let it stand half an hour over the fire 
 that it may boil gently, then take the pipkin from the 
 fire, and take out the flox, mixing it Avith a clean stick, 
 put it into pans full of cold water, and in half an hour 
 let all the water drain off - , and put more cold water, 
 let that drain, and press it well, and set it to dry in a 
 place where no dust falls ; spread it abroad that it 
 may not become musty and heat again. Take heed 
 that the fire be always very gentle, for with too strong 
 a fire the colour becomes black. Then shall you 
 make a Lee in this manner, to wit, 
 
 Take ashes of vine branches or of willows, or of 
 other soft wood, put them upon double canvas, and 
 pour gently on them cold Avater, let the water run into 
 a pan, pour tAvice this strained liquor upon the ashes, 
 and let the lee settle 24 hours, that the ashes may 
 sink to the bottom, and Avhen ’tis pure and clear, de¬ 
 cant it oft' into other pans, putting by the terrestriety 
 which is not good. 
 
 Put the said coloured flox into a clean and cold 
 pipkin, Avith the Lee ; boil them at a most gentle fire, 
 for so the lee will be tinged with a red colour, and 
 Avill drarv the tincture from the flox ; and at first take 
 a little flox and press it well, and if the colour be dis¬ 
 charged, take the pipkin from the fire, and this is a 
 sign that the lee hath drawn the tincture of the Cochi¬ 
 neel from the flox. 
 
 Hang an Hypocras bag of linen over a great and 
 capacious pan, strain through this bag all the tincture 
 
30 
 
 THE ART OF GLASS. 
 
 [Book VII. 
 
 from the pipkin, and let the Flox also go into the bag, 
 when the Lee is drayned, press the bag where the 
 Flox are, that you may have all the tincture. Then 
 wash the bag from the hairs of the FJox, turning them 
 inside outwards, that they may come forth pure and 
 clean. 
 
 Then take 12 ounces of Roch-alum powdered, put 
 it into a great glass of cold water, let them stand till 
 all the alum is dissolved, then fitly place the said bag, 
 well washed from the hairs of the Flox, betwixt two 
 sticks in the air. The bag must be large at the mouth, 
 and narrow at the bottom, sowed in the manner of a 
 round pyramid, and under the bag set a clean pan, 
 then cast all the Alum water into the pan where the 
 tincture of Cochineel is, and you shall see the alum 
 water suddenly separate the tincture from the Cochi¬ 
 neel like as a coagulum doth. Then with a clean 
 dish cast into the bag all the said tincture and Lee, 
 which will run clear out of the bag, but the tincture 
 will stick to the bag. And when all the water is well 
 neer out, if haply any strain through somewhat colour¬ 
 ed, pour it again into the bag, and then this second 
 time ’twill leave all the tincture in the bag, and the 
 Lee will then run white, and discharged of tincture. 
 Then take clean sticks, and therewith mix the tinc¬ 
 ture which sticks on the bag in gross pieces, and have 
 in readiness new baked bricks, whereon spread little 
 pieces of linnen, and on the linen small pieces of Lake 
 which you shall take out of the bag, let them dry 
 well, spread them not too thick, that they may soon 
 dry, for when the Lake stands long wet, it grows 
 musty, anil makes a foul colour. Wherefore you 
 may, when the Brick hath sucked out much moisture, 
 take another new brick, and so you shall soon dry it. 
 when ’tis dry, take it from the linnen, and this is a 
 good Lake for painters, which I have oftentimes made 
 at Pisa. Observe, that if the colour be too deep, you 
 must give it more Roch-alum, but if too light, less 
 Roch-alum, for so the colonrs are made according to 
 your gust and will. 
 
 CHAP. CXVIII. 
 
 / 
 
 Lake of Brasil and Madder very fair. 
 
 I F you would make a lake of these materials each of 
 them by themselves, you shall do in every thing as 
 is beforesaid of Cochineel, colouring the water with 
 one of these materials, but you shall not use so much 
 Alum by an ounce as you did in Cochineel, for Coch¬ 
 ineel hath its tincture deeper than Brasil, and Madder 
 have. Wherefore, you shall give them their propor¬ 
 tion, which you shall find by practice. And also to 
 one pound of Flox you shall use more Brasil or Mad¬ 
 der, for they have not so great a tincture weight to 
 weight as Cochineel hath. And in this manner you 
 shall have a very fair lake for Painters, and with less 
 charge than that from Cochineel, and that from Mad¬ 
 der in particular will arise most fair and very sightly. 
 
 CHAP. CXIX. 
 
 Lake from Cochineel, after another and more easie 
 manner. 
 
 JN this way invented by me at Pisa, you meet not 
 with Flox nor Magisterie, nor Lee, nor dying the 
 Wooll, nor so many things as do the former, which 
 indeed is a very laborious way, though most true. 
 But this way is most easie, and worketh the same 
 effect. And ’tis this which followeth. 
 
 In a pottle of Aqua Vitae of the first running, put 
 one pound of Roch-Alum, well powdered, when it is 
 all dissolved put in an ounce of Cochineel powdered 
 and sifted in every thing as before, put all this in a 
 glass body with a long neck, and shake it well, and 
 the Aqua Vitae will be wonderfully coloured, let them 
 stand four days, then empty this stuff into a clean 
 earthen glased pan, then dissolve four ounces of Roch- 
 alum in common water, cast this into the pan of Aqua 
 Vitae coloured with Cochineel, and put this into the 
 Hypocras bag, and so proceed throughout as in the 
 117 chap. This is a most noble Lake from Cochineel, 
 made with small pains, and in much greater quantity. 
 All this was tryed at Pisa. 
 
 CHAP. CXX. 
 
 A transparent Red in Glass. 
 
 'PAKE Manganese, ground to an impalpable powder, 
 mix it with as much more refined salt-peter, set it 
 in an earthen pan to reverberate and calcine 24 hours, 
 then take and wash it with common warm water from 
 it’s saltness, the salt being separated, dry it, and it 
 will be of a red colour, hereto add its weight of sal 
 Ammoniack, and grind them together on a Porphyrie, 
 wet them with distilled vinegar, let them dry, then 
 put them in a retort which hath a large body, and a 
 long neck, give them a subliming fire in sand for 12 
 hours, then break the glass, and take all that is sub¬ 
 limed to the neck, and body of the Retort, and mix it 
 with the bottom and remaining residence, weigh them 
 and add as much sal Ammoniack as shall be wanting 
 in this first sublimation, grind them all together on a 
 Porphyrie, imbibing them with distilled Vinegar, then 
 sublime them in a retort as before, and this sublima¬ 
 tion is to be repeated after the same manner so long 
 till the Manganese remain all at the bottom fusible. 
 
 This is the medicine that colours Crystal and Past 
 into a red diaphanous colour, and into a rubie colour. 
 There are used of this medicine 20 ounces to one of 
 Chrystal or glass, but more or less may be used there¬ 
 of according as the colour requires. The Manganese 
 must be of the best from Piemont to colour glass of a 
 fair and very sightly colour. 
 
 CHAP. CXXI. 
 
 A Red as red as Blood. 
 
 PUT six pound of glass of Lead, common glass ten 
 pound, into a pot glased with white glass, when 
 
Book VII.] 
 
 THE ART OF GLASS. 
 
 31 
 
 the glass is boiling and refined, give it Copper calcined 
 to redness according to discretion ; let them incorpo¬ 
 rate, mixing well the glass, then give it so much 
 Tartar powdered that the glass may become as red as 
 blood, if it be not so much coloured, add Copper 
 calcined to redness, and Tartar, till it come to this 
 colour. 
 
 CHAP. CXXII. 
 
 The Colour of a Balass. 
 
 pUT Chrystall Fritt in a pot into a furnace, cast it 
 thrice into water, then tinge it with Manganese 
 prepared into a clean purple, then take Alumen Cati- 
 num sifted fine; put in thereof so much as will make 
 the glass become purple, and this you shall do eight 
 times, and know that Alum makes the glass grow 
 yellow, and a little reddish, but not blackish, and it 
 always makes the Manganese flie away ; and the last 
 time that you add Manganese, give not the glass more 
 Alum, except the colour be too full, and so you shall 
 have a most fair Balias colour. 
 
 CHAP. CXXIII. 
 
 To extract the Anirna Saturni, which serves so many 
 things in Enamels and Glass. 
 
 PUT Litharge, well ground, into an earthen pan, 
 well glased, pour upon it distilled Vinegar, which 
 must be higher than it four fingers ; let them stand 
 till the Vinegar is coloured into a milkie colour, which 
 it will svddenly be; decant off this coloured Vinegar, 
 and put new upon the Litharge; repeat this work till 
 the Vinegar becomes no more coloured. Then let 
 these coloured Vinegars stand in earthen pans glased, 
 that the milkie substance of the Lead may sink to the 
 bottom, decanting off the clear Vinegar: this milkie 
 material is the Anima Saturni, to wit, the most noble 
 part, which serves for Enamells, and glass in many 
 things, and if this white stuff" precipitate not well, 
 cast upon it cold water, which is wont to make it fall 
 to the bottom, and when it doth not precipitate, 
 evaporate the Vinegars and Waters, and the move 
 subtile part remains at the bottom, good for many 
 things in this Art. 
 
 CHAP. CXXIV. 
 
 A fair Red to Enamel Gold. 
 
 X AKF. Cry stall Fritt made in this manner, to wit, 
 Salt of Polverine ten pound, white Tarso, finely 
 ground, eight pounds; make a solid paste with this 
 
 stuff and water, and make thereof as it were small 
 and thin wafers. Put these on earthen pans in a 
 little furnace made in the fashion of a calcar, that 
 they may be calcined with a good fire ten hours, and 
 in defect thereof put them in the furnace, near the 
 Occhio, for three or four days, till they be well cal¬ 
 cined. Take calcined Lead, and Tin prepared as in 
 Chap. 93, Tartar of white wine calcined, of each two 
 pounds; mix them well together, and put them into a 
 pot glased with white glass, let them melt and refine 
 well, then cast them into water: do this twice, then 
 put them in the furnace, and when well refined in the 
 pot, give them of Copper calcined to redness ten 
 ounces. Let the colour purifie well, then give it 
 Crocus Martis made with Aqua-fortis, putting it in by 
 little and little, as you do with Manganese, then let it 
 settle six hours, and see whether the colour be good, 
 if not give it Crocus by little and little till you have 
 the desired colour. 
 
 CHAP. CXXV. 
 
 A fair Red for Gold, after another manner. 
 
 XAK L Crystall Fritt, made as in Chap. 124, four 
 pounds, melt it in a clean pot, glased ; cast it, 
 when refined, into water, and refine it again in the 
 furnace, cast into water a second time, and refine it 
 again; then put in, by little and little, of calcined 
 Lead and Tin purified, half an ounce at a time, let the 
 Calces incorporate, and, when the Glass becomes of 
 an ash colour, put in no more Calces, for too much of 
 them makes the colour white and not good. Let the 
 glass refine with the Calces, then put into the glass 
 fine Red Lead two ounces, and when incorporated 
 and refined well, cast them into the water, and set 
 them into the furnace eight hours, then take of the 
 Copper calcined to redness and of white crude Tartar, 
 of each half an ounce, put them and mix them well in 
 the pot, then add of Lapis Haematites, wherewith the 
 Cutlers burnish, and of fixed Sulphur, of each one 
 drachm; mix and incorporate these powders, and see 
 if the colour be too deep, give it a little Manganese, 
 which makes it lighter, and if it be too light a colour 
 give it fixed Sulphur and Lapis Haematites, and a little 
 of Copper calcined to redness, and a little Tartar of 
 white wine with discretion, and do this till it come to 
 the desired colour. 
 
 CHAP. CXXVI. 
 
 To fix Sulphur for the Work abovesaul. 
 
 gOIL Flow r ers of Brimstone in common oil an hour, 
 take them from the fire, and cast upon them the 
 strongest Vinegar, and the Sulphur will suddainly 
 
32 
 
 THE ART OF GLASS. 
 
 [Book VII. 
 
 sink to the bottom, and the oyl will swim upon the 
 Vinegar, and put new oyl upon the Sulphur; repeat 
 this thrice, and then you shall have a fixed Sulphur, 
 for the work abovesaid. 
 
 1 -r. • ■ .. 
 
 ■ ■■■ CHAP. CXXVII. 
 
 Glass as Red as Blood, which may serve for the above- 
 said fair Red. 
 
 ]y|ELT in a pot of glass of Lead six pounds, Crystall 
 Fritt, ten pounds, cast them, when refined, into 
 water, put them again into the pot; when they are 
 well refined, give this glass four or six ounces of 
 Copper calcined to redness, let them boil and refine 
 well, then give them red Tartar powdered, which in¬ 
 corporate with the glass, let them refine, and see if 
 the colour please you, and if it be not heightened with 
 the Copper and Tartar, put it again to anneal, till it 
 come to be sufficiently red: this is done to heighten 
 the colour. 
 
 CHAP. CXXIX. 
 
 A Transparent Red. 
 
 QALCINE Gold with Aqua-regis, many times, 
 pouring the water upon it five or six times, then 
 put this powder of Gold in earthen pans to calcine in 
 the furnace till it become a red powder, which will be 
 in many days, then this powder, added in sufficient 
 quantity, and by little and little, to fine Crystall glass 
 which hath been often cast into water, will make the 
 transparent Red of a Rubie as by experience is found. 
 
 CHAP. CXXX. 
 
 The way to fix Sulphur for a Rose Red, to Enamel on 
 
 Gold. 
 
 ]y[AKE a strong Lee of Lime and Oaken ashes, 
 boil sufficiently Sulphur in this Lee, which takes 
 away a certain unctuous and combustible colour which 
 Sulphur hath in it; by changing the Lee the Sulphur 
 becomes white and incombustible and fixed, good to 
 make this rose red for the Goldsmiths to enamel upon 
 Gold. 
 
 CHAP. CXXXI. 
 
 Vitriolum Veneris, which was begun at the end of 
 31 Chap. 
 
 §ET Chrysibles luted and covered in an open wind 
 furnace, with burning coals over them ; let them 
 
 stand two hours, and then at last let the furnace cool 
 of itself, then take out the Chrysibles, and you shall 
 find the Copper calcined to a blackish colour, having 
 an obscure purple, which powder and serce well, then 
 take a round vessel of baked earth, plain at the bot¬ 
 tom, which will bear the fire; set these pans in an 
 open wind furnace, on iron bars set across, fill th& 
 pans with kindled coals, and put in the aforesaid caU 
 cined Brass, wherewith you have first mixed to every 
 pound weight thereof six ounces of common brim¬ 
 stone powdered, and when the fire begins to heat the 
 pans, and the Brimstone to flame and burn, continu¬ 
 ally stir the Copper with a long iron having a hook 
 at the top, that it may not stick nor cleave to the 
 pans; continue this till all the Sulphur be burnt and 
 smoak no more; then take the pans from the fire thus 
 hot, and all the Copper, with an iron lade or like 
 thing, powder it well in a Brass mortar, and serce it, 
 which will then be a black powder; proceed thrice 
 with the same quantity of Copper and Brimstone in 
 every thing as before. Observe, that at the third 
 calcination you let the pans stand over the fire so 
 long that the Copper acquires a red Lion colour, then 
 take it from the fire and powder it in a Brass mortar, 
 and you shall have the said colour to make the said 
 Vitriol as we are about to say. 
 
 CHAP. CXXXII. 
 
 Vitriolum Veneris without Corrosives, from which is 
 extracted the true and lively Blew, a thing marvellous. 
 
 make then the Vitriolum Veneris abovesaid, take 
 one or more very capacious Glass bodies, accord¬ 
 ing to the quantity of the Copper calcined and pre¬ 
 pared, to wit, to a pound of Copper take a body which 
 will hold six pints of water; put this common clean 
 water into the body with calcined Copper into a sand 
 furnace, give them a temperate fire for four hours, 
 until of the six pints of water there be evaporated 
 about two, which is seen by the eye ; let the furnace 
 cool, and gently decant off the water into earthen 
 pans glased, and the Copper which remains at the 
 bottom put into pans in a furnace to evaporate all the 
 moisture, and the water which is decanted into the 
 pans will be coloured with a full and wonderous fair 
 blew ; let them stand thus in the pans two days to 
 settle, and part of the Copper will sink to the bottome 
 in a red substance, then filtre the said water with 
 usual linguets into glass vessels, and evaporate from 
 the said Copper all the moisture, and with six ounces 
 of Sulphur calcined, powder and serce it to a black 
 powder, as in Chap. 131, and then, as in the begin¬ 
 ning of this, pour in water and extract the blew 
 colour. Consider that in this work many pots will be 
 broken, wherefore, as often as the pots are broken or 
 cleft, take a new one, lest they break in the furnace, 
 
Book VII.] 
 
 THE ART OF GLASS. 
 
 33 
 
 and al! your labour be lost; when the humidity is 
 evaporated, put the same quantity of Sulphur pow¬ 
 dered and serced, and do as before. The reason why 
 the Copper is to be taken out whilst it is hot is, be¬ 
 cause then it is better separated from the pots, and it 
 is impossible to separate it if you suffer it to be cold, 
 although you break the pots. Repeat this process 
 not onely four, but five or six times in every thing as 
 before; then the Copper will remain as a soft earth, 
 and the better and most noble tincture of it will be in 
 the filtered waters, all which mixed together must be 
 filtered with the usual linquets, and the settlings and 
 dregs may be cast away as unprofitable, then you 
 shall have a most limpid water, and coloured with a 
 most marvellous blew colour. 
 
 CHAP. CXXXIII. 
 
 The way to extract Vitriol from the said coloured 
 Waters. 
 
 £)ET then a great glass body that will hold three 
 Flasques of liquor in ashes or sand in the furnace, 
 and, with a temperate fire, evaporate the said coloured 
 waters, and neer to the furnace keep other glass 
 bodies full of these coloured waters, that they may be 
 warm, and now and then fill the great body, which is 
 in the sand with glass ladles, do this that the coloured 
 waters may be put in warm, for being put in cold they 
 will make the great glass body break; evaporate the 
 coloured liquor from ten flasques to two and a half or 
 three, then these waters will be deep and full of tinc¬ 
 ture, which put into earthen glased pans, in a cold and 
 moist place, for a night, and you shall finde the 
 Vitriol shot into points like Crystals, which will ap¬ 
 
 pear like true Oriental Emeralds; decant off all the 
 water that is in the pans, dry the Vitriol, and let it 
 not stick to them, then evaporate half this water, 
 which will yield you new Vitriol as before. Repeat 
 this till you have gotten all the Vitriol. Put this 
 Vitriol in a retort well luted with a strong lute; see 
 you put no more than one pound of Vitriol in a 
 Retort, which must not be very large, and have a 
 large and capacious receiver; make for four hours 
 together a most temperate fire, for if it be too strong, 
 the moist and windy spirits which first arise from 
 this Vitriol are so powerful, and arise with so great 
 force, that no receiver is able to hold them; let 
 thejoynts also be very well luted. At last make a 
 strong fire when the spirits begin to rise in a white 
 form; continue the fire till the receiver begins to wax 
 clear, and to be quite cold, then make no more fire, 
 and in 24 hours let the joynts be unluted, and the 
 liquor which is in the receiver must be kept in glass 
 very well sealed. This is the true lively azure with 
 which marvellous things are done, as you may well 
 perceive by its smell, which is as powerful and sharp 
 as any this day knowu in nature. Many things might 
 be said which are past over as being not pertinent to 
 the Art of Glass, which happily you may judge upon 
 better occasion; the feces then which remain at the 
 bottom of the Rerort will be black, which left some 
 days in the air of themselves, will take a pale blew ; 
 powder and mix this with Zaffer, and put it to Crys¬ 
 tal metall as before, and with the said quantity will be 
 made a marvellous sea green. Wherefore I have here 
 set down the way to make this powder with much 
 clearness, presupposing that I have not published an 
 ordinary way to make it, but a true treasure of nature, 
 and that to the content of noble and curious spirits. 
 
 FINIS. 
 
 F. Crees, 
 
 Typis Medio Montanis 
 impressit, 1826 . 
 

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 INDEX. 
 
 LEAD to calcine .... 
 
 Chapter 
 
 
 
 Chapter 
 
 62 
 
 Chrysolite in Past 
 
 
 82 
 
 Do. To prepare Crystall 
 
 . 70, 76 
 
 Emerald in Glass 
 
 • 
 
 32, 33 
 
 Manganese ...... 
 
 13 
 
 Do. In Glass of Lead . 
 
 
 65, 66 
 
 Sulphur to fix 
 
 126,130 
 
 Do. In Pasts .... 
 
 77, 
 
 78, 79, 80 
 
 Vitriol to make Aqua-fortis . 
 
 39 
 
 Green in Glass .... 
 
 
 33, 34, 35 
 
 Tartar to calcine .... 
 
 37 
 
 Do. In Enamels 
 
 • 
 
 97, 98, 99 
 
 Ditto to burn ..... 
 
 41 
 
 Girasole in Past .... 
 
 
 74 
 
 Ditto to extract the Salt 
 
 11 
 
 Granat in Glass 
 
 • 
 
 . 47 
 
 Zaffer to prepare ..... 
 
 12 
 
 Do. In Glass of Lead . 
 
 
 69 
 
 To make Aqua-fortis 
 
 38 
 
 Do. In Past .... 
 
 • 
 
 87, 88, 89 
 
 Aqua Regis ...... 
 
 40 
 
 Lapis Lazuli in Glass of Lead 
 
 
 72 
 
 Crocus Martis with Sulphur 
 
 ! 6 
 
 Marble colour in Glass 
 
 • 
 
 56 
 
 Do. With Vinegar .... 
 
 17 
 
 Opal in Past .... 
 
 
 74 
 
 Do. With Aqua-fortis 
 
 18 
 
 Peach in Glass 
 
 • 
 
 57 
 
 Do 1 With Aqua Regis 
 
 19 
 
 Paste, Observations on them 
 
 
 90, 91,92 
 
 Crystall and Crystalline Metall . 
 
 9, 10 
 
 Pearl colour in Glass 
 
 • 
 
 . 60 
 
 Frit. 
 
 3, 8 
 
 Purple Enamel .... 
 
 
 104 
 
 Frits of Crystall .... 
 
 59 
 
 Red deep in Glass 
 
 • 
 
 58 
 
 Brass to calcine ..... 
 
 20, 21 
 
 Do. As Blood .... 
 
 
 121,127 
 
 Do. For Ferretto of Spain 
 
 . 14, 15 
 
 Do. In Enamels 
 
 • 
 
 103 
 
 Do. To Redness ..... 
 
 24 
 
 Do. Transparent in Glass 
 
 
 120 
 
 Do. Thrice ..... 
 
 25, 28 
 
 Rose Red in Glass . . . 120, 124, 125, 128 
 
 Vitriolum Veneris . . 31,13 
 
 ,132, 133 
 
 Ruby in Past .... 
 
 
 74 
 
 Glass of Lead ..... 
 
 63 
 
 Sea-green in Glass . 22, 23, 26, 29, 30, 31, 131 
 
 Saccharum Saturni .... 
 
 123 
 
 Saphyre in Glass 
 
 
 49, 50 
 
 Salt from Polveriue Rochetta and Barillia 
 
 1 
 
 Do. In Glass of Lead 
 
 • 
 
 70 
 
 Do. A better way .... 
 
 3 
 
 Do. In Pasts .... 
 
 
 85, 86 
 
 Do. From Fern and other herbs 
 
 5, 6, 7 
 
 Sky Colour in Glass 
 
 • 
 
 23 
 
 Lakes .... 108,109,110,118 
 
 Do. In Glass of Lead 
 
 
 68 
 
 Do. From Cochineel . . . 116,117,119 
 
 Do. In Pasts .... 
 
 • 
 
 83, 84 
 
 Sphears ...... 
 
 13 
 
 Do. In Enamels .... 
 
 
 106 
 
 Turcoises that have lost their colour 
 
 112 
 
 Topaz in Glass of Lead 
 
 • 
 
 67 
 
 Ultramarine ..... 
 
 115 
 
 Do. In Past ..... 
 
 
 74, 81 
 
 Blew ....... 
 
 111 
 
 Turcois in Glass 
 
 • 
 
 36 
 
 
 
 Do. In Enamels .... 
 
 
 95, 96 
 
 Colours to make. 
 
 
 Viper Colour in Crystall 
 
 • 
 
 73 
 
 
 Violet Enamel .... 
 
 
 107 
 
 Amethist in Glass .... 
 
 48 
 
 White Enamel 
 
 
 94 
 
 Balass in Glass .... 
 
 122 
 
 White called Lattimo in Glass 
 
 
 54, 55 
 
 Do. In Crystall ..... 
 
 74 
 
 Yellow in Glass 
 
 # 
 
 46 
 
 Black in Glass .... 
 
 51, 52, 53 
 
 Do. In Enamels .... 
 
 
 105 
 
 Do. In Enamels .... 100, 101, 102 
 
 Gold Yellow in Glass of Lead . 
 
 
 71 
 
 Calcidony ..... 
 
 42, 43, 44 
 
 Observations of Yellow in Glass . 
 
 
 4 
 

 
 
 
 
 
 
 
 
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