T R A N S A C T I O N S

OF T H E

A M E R I C A N P H I L O S O P H I C A L S O C I E T Y

HELD AT PHILADELPHIA

FOR PROMOTING USEFUL KNOWLEDGE

NEW SERIES—VOLUME H PART 4

MAPPAE CLAVICULA
A LITTLE K E Y TO THE WORUD OF MEDIEVAL TECHNIQUES

C Y R I L S T A N L E Y S M I T H

MtMockuKtli .'-r 'aXr of TechtoLtyy

JkEii

J O H N G H A W T H O R N E

THE AMERICAN PHILOSOPHICAL SOCIETY

INDIPINDIKC1 HQtflRE
PHILADELPHIA
 MAPPAE CLAVTCULA

A LITTLE KEY TO THE WORLD OF MEDIEVAL TECHNIQUES

A n a n n o t a t e d t r a n s l a t i o n b a s e d o a a c o l l a t i o n of t h e S £ l e s t a t a n d P h U U p p s - C o m i n g
manuscripts;, w i t h reproductions of t h e t w o m a n u s c r i p t s

C v u l Stanley S m i t h and John G. j I a w t h o i k e

C O N T E N T S covered a n d i t u d i e d the manuacriptE have done t o for

linguistic or philological reasons, b u t they were made
as records of technology and the relationship between
„ pp^t a
iLwipta and their ttick^mnil . . . . . * * * . B - t i P 3 the words preserved i n the libraries a n d the operations
Selntat n a n i K T r p t r » 4 a c t u a l l y being carried o u t i n workshops provides a
The ft)illlpp^Ccmuk2 manuscript * -. - S fascinating p r o b l e m .
Sir Thomas PMlquaS prirtcflMd |g 4*^aWa*fjh 1<4T t 7 N o t a single original note on the technology of
Note on chapttf taumcratkta 9 materials has survived in a n y European language
Table St C O H C O n l u i a between manuscripts 10
A note an the translation 4..**f+»»*»i***?-i U front the period of half a mlllenninin f o l l o w i n g the
The Mappa* Ctamvfa as a source for die hujtory of ttch- A l e x a n d r i a n Greek papyri now i n Leyden a n d Stock*
nnloffV - M I 14 h o l m a n d presumably d a t i n g f r o m the t h i r d c e n t u r y
The tnckpouDd and pla« of the Mofipus Omnia in. A.D. 1
These Consist of simple compilations o f recipes
th* hurtwy o f a r t By Jeflrey Koftrld •, ?D for m a k i n g colored m e t a l * a n d artificial gems, for
Adenowledfineiits- * . , . *.. * . 22
To* tramLarion M i » - t
M 3J dyeing fabrics, and for a few other related operations.
L i H bf chapter? T ...
T r + , * 23 T h e l i t e r a r y t r a d i t i o n d i d . however, somehow con-
Tat * t i n u e a n d i t comes t o the surface agaia a r o u n d the year
Apper*d«*.._.. • TT 300 w i t h the appearance o f t w o manuscripts i n much
•V I ^ t m ^ j r t i w flJ ctf S C ^ Q T rrua w r i p l TT
B. Plwtrrtjworliicr™ W the same f o r m as the Alexandrian ones b u t now i n
C A CCteon u s r a m B Erie P H * m * - . . . . -
T P HT L a t i n , n o t Greek, and w i t h a somewhat w i d e r range
Bibliography - 120 of topics included- T h e first one t o be studied b y a
Ehht 1» modern scholar is a late-eighth- or e a r t y - n i n t h - c t n Q t f y
manuscript a t Lucca where i t is associated w i t h the
Liber PtrntifUuiU i n Codex Lucensis 490. T h i s was
fflTHODUCTION
published in 1739 b y the eminent I t a l i a n scholar
T H E MANUSCRIPTS AND L u d o v i c o A n t o n i o M u r a t o r i i n his essay on I t a l i a n
THEIR BACKGROUND a r t after the fall of Rome w h i c h appears Ln the second
v o l u m e o f his sumptuous Antiquitntes Itnlitae mtdii
T h e r e a r t l e w conventional w r i t t e n records t h a t
atvi- I t has since been repeatedly analyzed b y
have s u r v i v e d f r o m the early M i d d l e A g o i n Europe.
historians o f chemistry for i t s technical c o n t e n t as
B o t h scholarship a a d c q m m e m were a t a lcrw ebb,
well as b y paleographers, philologists, and latinlsta 1

b u t there w u p l e n t y of creative a c t i v i t y i n the field

o f art* a n d also, as has become increasingly apparent
i n recent y e a r * / i n tEchodogy- T h e practical people
who were developing stirrupa, s u b s t i t u t i n g w i n d a n d
water power for man's labora. and enlarging the scale
o f metallurgy w r o t e v i r t u a l l y nothing* and even i f
Chey had done so their notes would n o t have seemed
i m p o r t a n t t o the custodians o l state or ecclesiastics!
documents. T h e evidence for the technology ties
m a i n l y oa the waDs and i n the treasure rooms of
ecclesiastical buildings a n d i n the objects uncovered
b y archaeologist^ spades. There are h o w r v e r a few
h p
l i t e r a r y remains a n d these, of course, deserve the
closest s c r u t i n y - M e e t of the people who have d i s -
uor^aPy Lyon ftlir^ Jr^ a f t * * * * T**m**£?
*m*fr (Oxford, Z9A2J.
5
1
MarccElia BerTbelot h u Den t h a n a i r j « else ahem t h e
icrrcortawe e i ikcst lor the batory of djcuuiur- For tbt t e x t
K# Berriiek* (111*, IBM) and L a p r r n n t x ( ! * " } , and for U
EngEuh translation bated oa Bertbctat/s Fraacri m Caley
(1926. 19ZT). [J**tt. A n i f f l foUowtd try a date l i u t t n -
thrftughotjt thu wnrk aj a reference to chr* com pimp
bLbEusgraphy oa paaw [20 to I H ]
*5ee the bfbtkiffraphy Cor edition? by M-iratoH
Ducbune (ISWJH B u r u m (mOi, ^ B p a i e l U (1924), and
Htiiccm {1QJJ)_ We hava been unable trj abtflifl * copy d
Scbiiaf 1
which i * • complete p n o t o c r p f of the EnanuaeriptH
HcfilOrt indudt* t German rjuanirjan and O W m v i notta:
it B by far tha beat edition. B U T U I D ' I editaorit with 1-_._HILTJ]
truaUt»iu a irierur. Syeuud) (L4il} a m l f t t d the (ram-
malical *iyle tbc LtKCS m a n u a m p t in dctaiL We b a n found
tia 4±iacuiaic« ul the crif ui* mu^CHaa. and t r a n s m i u i o D >rf mao-r
wurdi to he ol (rt*r M p n dealiot :„-!._•. _ :^e» in tba
 SMITH AND
T h e Lucca manuscript, called b y M u r a t o r i Gwn-
fmtiifmi id tintend* m a i m i b u t more properly
called Cempoirti&na n r w ( f t . P. Johnson [ 1 9 5 4 -
193SJ) is, however, only one member of w h a t is
+
actually a series of medieval L a t i n manuscript) con-
taining recipe* lor making pigments dyes, and colored
rnetaJi, and f n other operations relating t o the
practical crafts Contemporary w i t h the Lucca maxiu-
script, b u t north of the Alps insftad o l i n I t a l y , there
was transcribed another compiration which includes
v i r t u a l l y everything t h a t is in Lucca plus many a d -
ditional recipe*. Thta m the llappat Ciavkutd. Of
t h t i there exist a fragment from the early n i n t h
century an extended manuscript of the t e n t h c e n t u r y ,
h
and the most complete one d a t i n g f r o m the twelfth
century, which we translate hert- f a a d d i t i o n t o
these there are the quite separate worfca of i- r a d i u s ,
abri&us tl arttinu Rpm&iwrum (the earliest of
which is also tenth century) and i n the early t w e l f t h
century the superb treatise Dt diaerxii arttbtu b y the
pseudonymous T h e o p h i l u i . T h e last is qf a q u i t e
different character f r o m the other manuscripts, being
not a compilation hut an original treatise w r i t t e n b y
a man i n l i e workshop himself w r i t i n g f r o m first-hand
knowledge. B y t h * twelfth c e n t u r y , however, scribes
w m busily copying a n y t h i n g t h a t seemed of interest,
and there are innumerable manuscripts which c o n t a i n
p o r t i o n ! of all erf these i n various different arrange-
m e n u and w i t h decreasing accuracy.
There w u a remarkable f l u r r y of interest i n the
literary history of painting i n the IS30 s. especially
p
in England under the leadership of Charles E u t l a k e .
M « t productive was the remarkable M a r y P h i l a -
delphia Merri&eld who w u commissioned b y the
British government t o travel t o I t a l y for the purpose
of collecting and s t u d y i n g manuscripts " w i t h a v i e *
principally erf ascertaining the p r o c e « e s and methrjds
o* oil painting adopted b y the Italians*" T h e decade
also saw the publication (among several later works)
of two editions of TheophiIua one of Eracfiu* a n d
T t h o u g h Lucca could perhaps be a n excerpt f r o m a
the liret appearance of the t w e l f t h - c e n t u r y Mappae
GovKidfi, which was published b y i t s owner, the
famed book collector Sir T h o m a s P h i l l i p p s , i n 1B47.
Despite the fact t h a t the Mappae Oavicuk contains
a good deal more m a t e r i a l erf technical interest t h a n
d o « the C&nponhvna K T J W no o t t e r edition o f i t
t
hat been published. I t fa well k n o w n for its p i g m e n t
r e c i p » b u t it has been inadequately explored b y
historians of other aspects of technology, a n d i t is
hoped t h a t tfte present translation w i l l serve t o i n -
crease i n t e r a t b o t h i n the manuscript itself a n d i n t h e
state of technology t h a t i t reflects.
T h e earliest dated evidence for the e n t e n t e of a
w a l e e n t i t l e d Afappa* Otmcnla appear* t o be the
e n t r y reading " M a p p a c O a v i o i l a de effidendo a u r a
vrJumeo r i n a catalog of the l i b r a r y of the B e n -
edictine monastery of Reichenau on L a k e Constance
a a t was made i n the years B K U (Johnson, I M S -
HAWTHORNE
Mulder, I '>II L e h m a n n . 19I8J. T h e m a n u s c r i p t
itself is no longer i n existence- As Herthelot (1093)
i n v e s t e d , however, i t is l i k e l y t h a t even t h i s m a n u -
script w a j itself a copy o f one or more earlier ones.
Thia view is based solely o n i n d i r e c t a n d c o m p a r a t i v e
evidence, but the t r a d i t i o n a l nature of the recipes*
m a n y of which go back f o r centuries, the several
different styles o f both the processes described a n d
their language, a n d the fact t h a t this was an age of
widespread copying a n d i n t e r n a t i o n a l exchange of
knowledge makes i t h i g h l y probable.
I n 1941 W i l h d m G a n v n m d l l e r described a t w o -
leaf parchment f r a g m e n t of the Afappae Clavkuia
w h i c h had been f o u n d i n the l i b r a r y o f the Augustine
Chorister? Foundation a t Klosterneuburg (near
V i e n n a ) b y K e r r C e r n i k a n d dated b y h t m , o n paled-
graphic evidence, as first t h i r d of the n i n t h century-
M r . B. j . Hennessey of the D e p a r t m e n t of Classics.
H a r v a r d U n i v e r s i t y , t o w h o m the present translators
showed the facsimile published b y GanxenmOUcr i n -
dependently commented t h a t the w r i t i n g "seems t o be
v e r y early C a m l i n g i a n . most p r o b a b l y f r o m the late
eight or early n i n t h c e n t u r y . N o t enough survives
to f o r m a v e r y good idea o f the script. T h e letter
forms o n these leaves a r e t y p i c a l a n d widespread.
N o ligatures are used a n d o n l y one a b b r e v i a t i o n
(scdrn) w h i c h again is k n o w n t h r o u g h o u t E u r o p e . I t
could have been produced i n the N o r t h e r n p a r t s of
France* G e r m a n y , or B e l g i u m * "
T h e K l o a t e r n e u b u r g fragment is therefore v i r t u a l l y
contemporary w i t h the L u c c a m a n u s c r i p t , b u t the
fact t h a t only f o u r o f the seventeen recipes o n the t w o
sides o f folio 1 are i n L u c c a , w h i l e a l l of t h e m are i n
the t e n t h a n d t w e l f t h - c e n t u r y versions of the Mappn*
Cltivimla places i t squarely a t the head of the latter
tradition. F o l i o 2 of the K l n t e r n e L i b u r g fragment
contains m a t e r i a l c o m m o n t o a l l . T h e f a c t t h a t Lucca
is included i n the Mappa a n d not « M versa suggests,
of course, t h a t t h e Mappa is the later c o m p i l a t i o n ,
larger w c r k . A H one can say w i t h confidence is t h a t
b o t h t r a d i t i o n s w o e a l r e a d y i n existence i n Europe
at the very beginning o f the n i n t h c e n t u r y — t h e
C&npasiiumes varia* s o u t h of the A I p s the Mappa* h
CLiricula n o r t h of t h e m .
THE SfiLESTAT MASL"5CKIFT
W i t h the S d e s t a t m a n u s c r i p t — w h i c h is reproduced
in i t s e n t i r e t y i n A p p e n d i x A — w e are a t last o n firm
ground. I t is the earlier of t w o existing compre-
hensive manuscripts o f the Nuppac Claticula and
forms p a r t of a v o l u m e preserved i n the L i b r a r y of
the town o f 5*lestat ( B a ^ R h i n ) . Designated M S 17
(previously L a t i n 360}, i t consist* oi 215 parchment
leaves, I 4 6 X 19-1 crn a n d includes also V i t r u v i u s
P +
<U Arckii€ctur* (which c o n s t i t u t e * the longest p a r t o f
the manuscript) a n d miscellaneous o t h e r m a t e r i a l on
b u i l d i n g and o t h e r topics. I t was discovered a n d de-
VOL, u , I T . *. I N T R O D U C T ION"
scribed b y A . G i r y (1878) who dated i t as t e n t h
c e n t u r y , a date accepted both b y EkrtheJot (1393)
w h o used i t extensively a n d Johnson (1937) who
briefly examined i n M r . B a r r y Hennessey has studied
a photocopy for the present translators and w r i t e s as
follows:
The Selestat ms, is written in a tarolingtan minuscule
of the early ninth century One can be tesa certain about
P
lt3 place o£ Origin, f t was lifcrJy St_ Arnand. near Tours,
in northern France. E. A Lowe (introduction to Codices
r
Latins Antiquwrcit voir 10) lists eleven features which
characterize the: St- Amand script, advising that several
of them, but never all, appear together in any one ms_
Four of these features are found i n the Selesta tr the shafts
of the J and F descending well below the line; the tall T
with sinuous top in ligature with N; the abbreviation of
esl and ctst as c and i f j and the lon^ tail on the R in. the
OR ligature, sweeping below the Line, However, many
m s i of the St, Amand style, were; written at Salzburg.
Austria. A m o abbot of St_ Amand 7&3-S21. was iiUo
h
b^hop of Salzburg 785-821+ arid many scribes from St.
Amand travelled to Salzburg and worked in the scriptorium
there, ff the ms had b e n i n Austria or Germany at an
r Phillipps n o t bought i t * b u t the very existence of the
earlier time, Salzburg w^uld be its Jilctly ortgin, but its
later provenance strongly suggests the S L Amand
scriptorium.
W e have worked w i t h photocopies graciously provided
b y the librarian of the S&lestn: t o w n l i b r a r y and the
Centre N a t i o n a l de la Recherche Scientifique, As
can be seen f r o m our T a b l e of Concordance, pp.
10-14 F the Selestat manuscript includes v i r t u a l l y
a l l of the Lucca recipes a n d adds i m p o r t a n t new ones,
b u t i t is only a p p r o x i m a t e l y half as long as the t w e l f t h -
c e n t u r y version now t o be described.
T H E PHfLLIFPSTORNING MANUSCRIPT
T h i s manuscript widely k n o w n as Phillipps M S
h
3715, is now in the C o m i n g Museum of Glass a t
C o m i n g , N e w Y o r k . A complete reproduction forms
A p p e n d i x B of the present edition. Thts is the most
Comprehensive of the manuscripts of Mappae Ciavitula
a n d is the best k n o w n , for reasens t h a t are not far t o
seek: i t is the o n l y one t h a t has been published.
T h i s was done b y i t s owners S i r T h o m a s Phillipps i n
1347.
T h e Phillipps manuscript is i n the f o r m of a small
v o l u m e , 17-0 X 11-9 c m . , w r i t t e n i n a d e a r hand on
v e l l u m , bound En old calf (not o l course contemporary)_
I t contains 67 leaves, most w i t h 21 lines t o the page,
w i t h the spacing marked b y marginal prickings or
pounce m a r k s . T h e leaves are numbered i n A r a b i c
numerals, obviously n o t b y the original seribe* T h e r e
are no colored decorations, b u t the chapter i n i t i a l ^
a n d the rubrics for the chapter t i t l e s wherfc they are
inserted alternate i n red and green. (See frontispiece,
w h i c h id a natural-size reproduction of folio I B ) . A l -
t h o u g h occasionally the r u b r i c s tor erred, this chro-
matic a l t e r n a t i o n is the best i n d i c a t i o n of the i n -
tended division i n t o chapters. T h e early chapters
c a r r y R o m a n enumeration i n the original h a n d , b u t
5
after N o . L X V I the chapters were w i t h o u t numbers
u n t i l some were assigned rather a r b i t r a r i l y b y
Phillipps- M a n y of the chapter tides were also
o m i t t e d , although spaces had usually been left f o r
thern evidently w i t h the i n t e n t i o n of later r u b r i c a -
h
t i o n * W h e n the spaces t h a t had been left were
inadequate, the titles often extended i n t o the margin
or i n t o spaces between the regular lines-
T h e life o f S i r Thomas Phillipps (1T92-1S72) a n d his
amazing career as an almost maniacal collector of
manuscripts has been described i n interesting d e t a i l
b y A . N . L . M u n b y in his PhiUipps Studies (5 v . ,
Cambridge. 1951 t o 1900). summarized i n his Portrait
tf/ an Obstosivn (London. 1967). Phillipps had a
passion for historical manuscripts, though his huge
collection of over 60,000 items was made w i t h l i t t l e
principle or perspective. Something as obviously
interesting as the Atappac Cbxuicuia w o u l d doubtless
have been preserved i n some other l i b r a r y had
good m a r k e t treated b y PhiELippas activities u n -
d o u b t e d l y saved many other manuscripts f r o m the
wastepaper dealer. A f t e r PhiTlipps's death o n 6
F e b r u a r y , 1S72 the collection passed t o his son-in-law,
F
Thomas F i t i r o y Fenwick w h o sold m a n y items a t
p
a series o f i m p o r t a n t auction sales t b a t created great
excitement i n museum a n d l i b r a r y circles. A f t e r his
death i n 193S. the unsold items became the p r o p e r t y
of his nephew A l a n George Fenw i c k , b u t W o r l d W a r
I I prevented f u r t h e r disposal. E a r l y i n 1946 the
entire residue of Phillipps s collection, w h i c h was s t i l l
P
enormous, passed i n a courageous purchase for the
sum of £100.000 i n t o the possession of the booksellers
W i l l i a m H . R o b i n s o n L t d - o f Pall MaU- F r o m t h e m ,
in October, 1952 M r . A r t h u r H o u g h t o n purchased
P
the m a n u s c r i p t of the Mappa b y p r i v a t e t r e a t y o n
behalf o f the Corning Museum of Glass* where i t
now is+ I t became water-soaked when the museum
was inundated d u r i n g the disastrous flood t h a t oc-
curred i n upper New Y o r k State on 23 June. 1972.
b u t i t was retrieved and immediately transferred t o a
deep-freeting u n i t t o preserve i t A s we go t o press
(January, 1974) the manuscript still awaits v a c u u m
d r y i n g , b u t M r s . C a r o l y n H o r t o n reports t h a t i t is
in good condition* w i t h the v e l l u m unharmed a n d t h e
red a n d d a r k - b r o w n t e x t perfectly legible. She p r e -
dicts t h a t the o n l y damage f r o m the flood t h a i w i l l
be visible after restoration ts complete w i l l be some
* M u y of the r u b r a id Folic* fi to 13 in SeLeatj i art limilarly
Wiring together with the initials. Such amnions are of course
common Ln medieval tnauuvcrLptii lor the njbrkaticm w u dont
later than the maid, text and often by a dtflerent ichbe. In hia
published traucript Philhpp* frequently failed to EoAEow chc
rubricated initials and title*, ifld, r w n i n j title* U tat be baa
collapsed two or more of the original chapters into One. HUE
suggested to ns the pombitity that PhiUippa rtiay have bten color
blind: indeed when uriog a pictocopy of the manuscript weour-
itlvea nude the urne- errors and only amTwJ at the correct divi-
sion of chapters on the- t u i l of the unmHSfcabk black, r f m ,
Attj red of the ocitEitaL
 6 SMITH AND
TW o w o c n i * sctrop vJ Jurrjue* Amine Rabmul-F.wn*r (1744-
](H})_ From folio ]7r of t r * rVn*pp»-Ctn^ -MnLaOlpt-
IraruJcr o( the blue initials ( w r i t t e n i n folium?) o n
t o the opposing vellum l u r f a t t . T h e photORtaphs
which f o r m the frontispiece and appendix B of the
p r n c n t edition vere prepared before the fl™l.
Sir T h o m a j Phiilippa had acquired the manuscript
ol the Mappac CUmada in l » 2 i f r o m the Rev, M o n * .
AJlard i n Pari*. Joseph-t>l!x AlLard was b o m i n
P n r w n n a t an unknown date and after taking order*
became professor of rhetoric at a small seminary i n
M w e i l l e s . H e published a t n m l a t i o f i of T e r t i i l l i a n ' i
ApoioptitMm i n 1327. T o enable h i m t o pursue h i t
literary t t t i d i a in greater depth he was released b y the
bishop of his own district and became attached t o the
parish of S l Eustadie i n Pari*, b u t be died on the
twenty-eighth of October* 1 W 1 , w h e n he was h a r d l y
more t h a n t h i r t y years d i d , (Dittuptn&ire de Bu>-
[rapki* f r a * f * t o j [Paris. 1 9 3 6 ] 2 : p. 115.)
Prior t o t h k tbe m a n u K r i p t h a d belonged t o
Jacques Antoine Rabaut^Pomier. whose stamp a p -
pear* o n several ct the l e a v e r Rabaut-Pornier
(IT44-1SZ0) was a pastor of the French prntestant
church who held minor public offices d u r i n g a n d a f t e r
the R e v o l u t i o n H e claimed, apparently w i t h j t u t k e ,
t o have luggested vaccination in 1784 as a m u l t of an
earlier observation o f the i m m u n i t y of men who had
contracted m i l d disease f r o m handling pustulated
cattle. N o historical p u b l i t a u o n * are a t t r i b u t e d t o
h i m and neither he nor any earlier owner seem t n have
done a n y t h i n g w i d i the i n f o r m a t i o n i n the itappa.
Phillipps published the entire text of his manuscript
in the j o u r n a l Arckitrivjpj in 1847, a n d this version
is all t h a t has h i t h e r t o been available t o scholars T h e
background of t h t * publication a n d the i m p o r t a n t
p a r t played b y A l b e r t W a y . Director of the Society
of Antiquaries at the t i m e ia discussed below (pp
h n
7 t o 9).
On the o r i g i n of hid manuscript. Philtippa observed
t h a t tbe hand appears t o be t h a t used i n F l a n d e n
or England a t t h e bote of H e n r y I I (r- 1154-1 I t t j
b u t ukfct h i t view t h a t " t h e p A u m p t i o n w i l l be . .
in favour of E n g l a n d / ' T h i s he bases o n the use of
two English words g a t e t r i u " (goat tree) and " g r t n -
H
injtpert ' (greningwert - grefliriEwort} i n chapter*
1
190 and 19L T o this he could have added the fact
t h a t the l a b i a of runes (Chap. 2SSB a n d 288P)
follow i h Anglian system- However, this doea not
f l
i m p l y t h a t the a u t h o r of the Mappttf Clawicul* was an
Englishman, o n l y t h a t one i n the long seriea o f
HAWTHORNE I n w A u t: i _ ntti_ IOC.
transcribers m a y have been. Phillipps could equally
well have argued t h a t the a u t h o r was f r o m the M i d d l e
f l a s t for m a n y A r a b i c terms appear i n chapter? 195
1
t o 201. T h e r e waa, of course, no single a u t h o r b u t a
whole sequence of contributors, editors, a n d copyists.
N o t e the frequent use throughout of latinized forms
o f Greek words w h i c h indicate the v e r y ancient
classical o r i g i n of some of the recipes, the B y z a n t i n e
o r i g i n of others, and the i n t r u s i o n of t r a d i t i o n a l recipes
from m a n y sources i n t o the rather p o l y g l o t L a t i n
v o c a b u l a r y of the t i m e .
R- W H u n t and N K e n of O x f o r d U n i v e r s i t y
+ +
studied a photocopy of some pages of the m a n u s c r i p t
f o r Roosen-Runge a n d were sure t h a t the w r i t i n g was
not E n g l i s h , w h i l e D r . M . G . 1. L i e f t i n c t of L e y d e n
t h o u g h t i t was p o b i b l y northwest France, « - 1170
(Rooften-Runge, 1 9 6 7 : 1 : p. 70). Quite independendy*
M r . B- J - Hennessey of H a r v a r d U n i v e r s i t y * D e p a r t -
m e n t of ClasicSp examined our photocopies a n d re-
ports as follows I
The script of PhiEllpps is a Late caraliuRtan minu-
icuJe already showing many features o f the ^othic i t y l e
h P
which appeared i n the thirteenth century. Tt u unfortun-
ately very difficult to date manuscripts from this period,
since no pretax m t e r i a have been established. Un*
published studies In the files of Dr Peter Elder dealing
r
w i t h dated French manuscript* of the eleventh and twelfth
cent Lines yield a lew gene n I guidelines which suggest a
mid-twtiflb-century date tot the Phillipps r n a n u x r i p L
T h e fairly round bowi in tbe b and J. the prominent h-iir-
Itnt* at the root o l the vertical shafts, the use of hyphens,
the clubbing o f theb. fk a n d L and the regular use of uncial
F
a—all these are most commonly found en manuscript) o f
the early twelfth century. •] chough they certainly alsoftctur
i n the eleventh and late twelfth centuries. I know of n o
attempt that has yet been made to establish 9 pattern in
the abbreviation* and ligatures used.
W i t h regard to the place o f origt;i. again 1 a m vague>
The same script was employed all over northern Europe,
w i i h little of what might be called distinct local style*
T h t one manuscript I found most closely resembling the
Phitlippt comes from Rouen, but is dated I 2 1 l quite p
later than 1 would hive expected. Germany n » ia pomble-
There i r e facsimiles of two G e n u a manuscripts i n our
collection which do somewhat resemble Phillipps, though
the similarities did nor seem u striking a* i n the French
manuscript. Both are from Erfurt and d a t e f m m the middle
O f the twelfth century—one precisely f r o m 1147. The
only parallel for the abbreviation * used i n the
Phillipps is lound i n one o f these German manuscripts;
in other manuscript^ q d teems to have been the accepted
form of the abbreviation, [f the Germanic influence in rhe
r u n « is i n fact weD substantiated* then Germany is your
most likely alternative. I i • afraid that considers n o m I
palaeography, given :he small amount of study doo* on
manuscripts of [h*s period, c«p provide only broad guide-
l i n e for daring PhiLuppa, or for identifying its origin.
N o t only the paleography b u t the l i t e r a r y s t y l e ( i f
•uch i t can be called) deserves s c r u t i n y . N o r m a l l y
i t E§ v i r t u a l l y impossible to place either geographically
or chronologically a medieval manuscript o n t h e basis
o l s t y l e alone. N o t o n l y w u the g r a m m a r c o n t i n u a l l y
a n d r a p i d f y changing, b u t there was a b e w i l d e r i n g
VOL. 6 i . n r . 4. ipjil INTRODUCTION
a r m y of s t y l i s t i c i d i w y n c r a d e s due to general e o d a l
a n d historical conditions, to the w e a h h , a u d i t i o n a n d P tone and a more educated grasp of the t r a d i t i o n a l
even r a t i o n a l i t y of the establishments responsible for
manuscripts a n d t o the particular circumstances of
the a u t h o r or copyist. T h i s is especially so i n the case
of a collection of recipes compiled over several cen-
turies b y no identifiable author, b u t b y a series of
u n k n o w n scribes. Y e t some observations are viable
i n the case of our m a n u s c r i p t s * S a n d P a l t h o u g h
r preferred to t h e Lucca, w i t h the i m p l i c a t i o n t h a t
t w o hundred years a p a r t , exhibit a relationship o f
t r a d i t i o n t h a t is n o t shared b y L a n d A" T h e f o r m e r
are, so to speak closer to Classical L a t i n i n vocabulary,
B nological i n f o r m a t i o n .
g r a m m a r a n d f o r m . A s rioted elsewhere i n this i n t r o -
h
d u c t i o n ! the cause of this is that they shared i n the
Classical revivals of the t e n t h a n d t w e f f t h centuries.
T h u s t h e i r vocabulary, while containing many words
borrowed f r o m elsewhere* seldom shows traces of
vulgarization as does £ , t g . . grand ( I t a l i a n granckio)
for L a t i n cam or K. :.- ^ indict* ( I t a l i a n indigt?} f o r
indicum. I n g r a m m a r the verb forms of the second
personal singular present indicative, imperative, sub-
j u n c t i v e a n d the f u t u r e indicative are surprisingly i n -
terchangeable i n a l l f o u r M S S but far less so i n l a n d S
w h i c h tend to use the Classical imperative f o r m f o r
such orders as " M i x t h i s , " " g r i n d t h i s , " " b r e a k t h i s / *
etc- although even F has a l l f o u r verb'forms i n six
h
lines in chapter 210. F o r m is more difficult to assess h
b u t hedfors notes i n £ m a n y examples of confusion be-
tween e_g. the accusative a n d a b l a t i v e cases, often
T
occurring even when two words are i n appeal don w i t h
each other, w h i c h is not nearly so often the case i n J*
a n d 5. On t h e other hand some of these irregularities
may be due t o a b b r e v i a t i o n , p a r t i c u l a r l y i n the case of
final f» w h i c h is n o r m a l l y w r i t t e n as " over the preced-
P
ing vowel i n a l l four manuscripts, a n d a poor copyist,
as apparently was the case i n L could easily w r i t e ,
r
for example crocu for crocu (=crocum). Spelling is
irregular and i n t e r n a l l y inconsistent i n all manuscripts
b u t more so i n £ a n d T h u s we find interchanges
between « t a n d y , ph a n d / ch a n d £ c and g,/and &.
H t P h
a n d ff for ae. W i t h regard to the last i t appear? to
have been the general usage t h r o u g h o u t the M i d d l e
Ages for the d i p h t h o n g ae to be replaced b y the vowel
P a n d £ do so regularly, though cases are n o t
infrequently to be f o u n d i n S a n d i f . T h e L a t i n
w o r d for " a n d / ti is spelt o u t i n L , b u t K and S use
1
r
the ampersand (S using i t also for the syllable tt i n
other words) while P uses the more sophisticated
sign 7 ,
O n all these m a t t e r s i t is imperative to consult the
discussion of w o r d m u t a t i o n . style and g r a m m a r i n
h A n t i q u a r i e s i n L o n d o n . T h e full t e x t o f the m a n u -
the Lucca manuscript given by Hedfors (193?) and
especially b y Svennung (1941). A s i m i l a r l y detailed
analysis o f the Mappa manuscripts w o u l d be de-
s i r a b l e : H o e i t is perhaps sufficient to repeat t h a t
Hereafter the abbreviation! L, K. 5, and P Trill freqif-tfltly be
1
ufl«t fur the Luce** Kkrternuburc* SSestat. and Phfliipp*-
Cornirjg manuscripts rwptrtivrly.
7
s t y l i s t i c a l l y P a n d S represent a higher, more classical
L a t i n language t h a n either £ or K T h e r e Is so l i t t l e
of K t h a t i t is h a r d to judge, although GauzenjttOiler
leels t h a t i t is poor i n quality* a n d stands somewhere
between the popularization or i t a l i a n i z a t i o n of Lucca
and the finer expertise of S£lestat a n d Phillippo. A l l
ol t h i s suggests t h a t the Mappa t r a d i t i o n is to be
n o r t h e r n E u r o p e is more i m p o r t a n t t h a n I t a l y for the
compilation a n d preservation of medieval tech-
O u r conclusion based o n the consideration o f t h i s
paleographjc a n d stylistic evidence combined w i t h
the surprisingly l i t d e t h a t comes from the nature o f
the contents is t h a t the Mappae Claricuia o r i g i n a t e d
in n o r t h e r n France or contiguous areas o f Germany*
T h e s l i g h t presumption i n favor of the former,
m a i n l y based upon the first definitely k n o w n location
of the m a n u s c r i p t , is balanced b y the h i n t of G e r m a n
pronunciation i n the transcription of the runes
(chapters 238-C a n d P) a n d the fact t h a t i t seems u n -
l i k e l y t h a t a French w r i t e r w o u l d have designated as
French the soap o f chapter 28S-D. There is no d o u b t
t h a t some of the m a t e r i a l t h a t was copied i n t o t h i s
manuscript from a source other than SGlestat h a d been
w r i t t e n i n E n g l a n d a n d subject to a l a t e r G e r m a n
influence a n d , f u r t h e r , t h a t the final m a n u s c r i p t is
n o t English* Since items i n b o t h the fore a n d a f t
blocks o f the additions to Sfilestat i n Phillipps h a d
appeared i n the earlier Klceterneuburg fragment* the
manner of aggregation was obviously complex a n d
cannot be established w i t h any c e r t a i n t y .
T h e Lucca m a n u s c r i p t had i t s roots i n a v e r y ancient
t r a d i t i o n . Shifts t a t grew from the same stock, b u t
gathered i n some i m p o r t a n t n i n t h - c e n t u r y a d d i t i o n s
T h e Phillipps m a n u s c r i p t retains all of these a n d i n
a d d i t i o n contains m a t e r i a l of probable E n g l i s h o r i g i n ,
some of t t altered i n a w a y to suggest Germanic
influence. Altogether* the PhilLipps-Gorning M a n u -
s c r i p t of the Mappa* Ctavkula stands a t the v e r y
apex of the t r a d i t i o n a l compilation o f recipes o f
chemical technology a n d i t has a sampling of i n f o r m a -
tion o n other topics.
SIR THOMAS P H I L L I P P S ^ PUBLICATION
I N ARCB4BOIOGTA, 1WT
PhilTipps's first public announcement regarding
his manuscript was i n a f o r m of a paper t h a t was
read o n 22 J a n u a r y , 1846. before the Society of
s c r i p t was published a year later i n the Society's
j o u r n a l . Arckawtegia, i n w h i c h i t occupied pages 1&3
to 244 o f v o l u m e 32, published i n 1S47. I t bears the
cumbersome t i d e " L e t t e r f r o m Sir T h o m a s P h t l l i p p s h
B a r t . F-R.S-. F 5 A addressed to A l b e r t W a y , E s q . .
h
Director* c o m m u n i c a t i n g a t r a n s c r i p t of a M S .
Treatise on the p r e p a r a t i o n of pigments, a n d o n
 SMITH AND HAWTHORNE
s
variouft proces&w o l the Decora l i v e A r t * practised
d u r i n g the M i d d l e Affes, w r i t t e n i n the twelfth ceo-
t u r y , a n d entitled Mappa r C l a v i c u l a r There is a
c e r t a i n justice in the fact that, following a misunder-
standing b y Berthelot, i t is often listed La bibliographic
note* under W a y ' s name, for W a y d i d far more t h a n
just t r a n s m i t a communication.
T h e correspondence between W a y a n d Phillipps on
the e d i t i n g of the M&pp& is among the P h i l l i p s ' s
paper* new preserved i n the Bodleian Museum a t
Onford. and photocopies were made available t o us
through the courtesy of D r . R W H u n t , Keeper of
+
Western Manuscript*. I t is obvious t h a t A l b e r t W a y
{IBQ5-1BT4) had a great deal t o do w i t h e d i t i n g the
transcript as well as persuading his Council a t the
Society of Antiquaries t o authorise its p r i n t i n g i n
Arckaeolagta despite heated opposition b y a radical
group w i t h i n the Society, T h e Mappa may have cost
h i m h a b e l o v e d directorahip (or he w u forced t o
T
resign s h o r t l y after. Moreover, a l t h o u g h P h i l l i p p s
s a w the importance of his manuscript in connection
w i t h early p a i n t i n g techniques (then the subject of
active r w r c h by Charles Eastlake. Robert Hendrie H
M a r y M e m C e i d , and others), i t waa W a y who grasped
i t s much broader l i g n i f i o D c e . O n 22 J a n u a r y 1847, h
reporting t h a t the last pages of h i s edited transcript
w a t t now In the hands of the p r i n t e r s , Way w r o t e t o
PbOlspp*:
. . . I e n d o w i proof of the l e t t e r , with w h i c h your com •
m • t u . n of t h e Transcript w i f i f f i n n ponied u d
b r o u g h t b e l o r e t h e Society t b i h aeoardin^ to c u f l t f l t r t a r y
usa^t should p r e c e d e the t a t o f t h e ClaYieula* w i t h t h e
addition of any further o t « r v a t i o r u , if you think proper
to add *nj- Might I v e n t u r e t o H Q C A u y o u c o m m e n d
i t to n o t i c e Mi*iy OA a c c o t r n t of its i n t e r e s t id c o n n e x i o n
with the A r t o f painting, that i t is scarcely l u v a l u a b l e
a n d attractive i n regard t o the curious information It
conveys connected w i t h metallurgy, t b e manufactures of
s ! A - > c o l o u r e d leather, bone and horn of wap. u d W i t h
F
working Ivory and crystal. The i n s t r u r l i o c H f o r the fonna-
tion o f f o u n d a t i o n s o f b u i l d i n g ! and b r i d g e s , And t h e
preparation - r cements* a r e h i g h l y curious a n d v a l u a b l e
t q the Architectural Antiquary, a n d n o t t h e l e u t important
portion o f t h e Treatise is t h a t w h i c h r e l a t e s t o the proto-
types o f Artillery t h e flying arrowy a n d i - \~. ./..-r. • •
h
rim respecting w h i c h meat curious iafortnitjcm is here
: be obtained. \ . one o f these subjects woukl form m
ample t h e m e f o r a v e r y interesting Dissertation, most
p r o p e r l y a n d e M t n t i a J k y s u b j e c t matter f o r the A n t i -
quaries—How mortifying t h e n was t h e i n t e r with w h i c h
my r e c o m r n e n d A l w a t o t i e Council r e s p e c t i n g L T J a v i r j I j
was m e t , that i t might b e more suited possibly lor the Com-
misWonot F L i e A r t t - t t t V t o P h i l l i p p s , 22 January,
I n ± t a same letter W a y calls a t t e n t i o n t o the
existence and significance of t h e English words
" g o a t t r e e " a n d " g r a i n g w o r t / referred t o above.
1 and. Oddly enough, a quarto f-p^je phlrnphkt hevled H. S**-
O n tbe basis of t h i t , Phillipps entirely rewrote the
letter t r a n s m i t t i n g the paper t o the Society a n d p r r >
duced the v e r a on incorporating all these points w h i c h
serves as preface to t h e published t e a t T b e o r i g i n a l
letter (undated b u t obviously w r i t t e n at a b o u t the
t i m e of the presentation a t the Society** meeting o n
22 J a n u a r y . 1 M 6 ) consisted o n l y of a brief description
of the manuscript and its a c q u i s i t i o n :
M y dear Sir
This manuscript » a small 12rno Volume of 67 leaves on
Vellum, written i n the L2th Century. & was purchased at
Paris in of the Reverend M r Allard. C u r t of St
Eustacht I t is entitled "Mappae Clavicula. L * . Tbe
L i t d e Key of D r a w i n g I t appears t o be quite perfect
except a Little cropping in one leaf. I t has always appeared
to me to be one of the most curious & interesting books
relating to the A r t of Painting i n existence & under that
impression I once begged The R.".yn_l Stupe t y of l - i t l e r t -
t u r t to print i t in their Annual Transactions but they did
not think it worth while [1 would have printed it myself
but the Booksellers have condemned all my Publications
so that they cannot be sold in the market. J * I t has
thfrefore remained untill some Penon of taste 1 judge-
merit should think St to give i t to the World.
1 am my dear Sir
Very truly yours ^
Albert Way Esrjr. Then Phillipps
A l b e r t W a y h a d previously worked oc other m a n u -
scripts i n P h i l l i p p s * collection, beginning a t least as
1
early as 1841, a n d the t w o men had corresponded
frequently. W a y * c o n t r i b u t i o n t o the p u b l i c a t i o n of
1
the Mappa* Clattula was far greater t h a n is usually
expected of a n e d i t o r H e was one of the founders
o f the Archaeological I n s t i t u t e a n d i t was d u r i n g tbe
first meeting of this organization, a t Winchester i n
l84S t h a t the question o f the p u b l i c a t i o n o f the
h
XfuppG seems t o have first come u p . T h e I n s t i t u t e
sought help f r o m the Society of Antiquaries t o p u b l i s h
some o f the s u r f e i t of papers t h a t had resulted f r o m
this meeting, a n d W a y , w h o was an officer ct b o t h
organizations, t i l l e d P h i l l i p p s t o s u b m i t i t for i n c l u -
sion among these. H o w e v e r , on I S December. 1545
P
after receiving the m a n u s c r i p t a n d teeing t h e m a g n i -
tude of the e d i t o r i a l j o b before hi :TI . he w r o t e suggest-
ing t h a t i t m i g h t f o r m the first article i n t h e v o l u m e
scheduled t o appear i n the s p r i n g of 1847. i t was W a y
•The « t e n c * in bncketa is a cmttmponry i w r u c i in
P h 3 % f * i hand. I t Is a reference to the p u b t i a r i o u of
p
PnLQkprrt t pcrvat* peeea, t h * Middle Hill Prea*. which had i n -
deed (though underMandsblv) proved unpopular with the book
(radt. The pubLicattOua at thu pees art Overwhe[mingly con-
cerned with genealogy and Eaguafc local blarney chough they
contain *om» i u m of ttchsjeaJ interest. T V tint u d by far
the mr*t important was a refnat in lSZft .4 t~hj-=iTopber Merretfs
annotated irtulatLon of tier** AH if d w i (London, I6&2}.
Then followed a bit n* science action euritjed A j r V f W t f * f I**
Vfiyatavf Ur frrtjidJ Gulii**r which s h o n u interest
m but ignorance of. aeronaut^*, aatmomy. [pe] aaipe—SB! [
F
O u r r DEVILLE ON ALVUIXtCM W t u CfawwisJ C«*-
t t * 4 * n j IS54. Thia but. ia an abbreviated Enjlish tnnalarion
of D*vtik * l^per in C*wtf**i rrndu* (IBS4: p. 279} together pitb
other short cniitributiffu cm the svne »uh}tct try Chape I K
Wflhler and «P*ciaEL)r Cheenot. (Copies of the Gulliver and
h
DeYillepamphLttiir* jr^onj thePluJI^H rf^terol im. the Ho^£Q-
ttn Lkhrarr^ Har«rd Unrvmity.)
VOL. FY- 4. V H
w h o presented P h i l l i p p s 5 tetter describing the m a n u -
s c r i p t a t one o f the Society's meetings ag a preliminary
t o g e t t i n g Council approval for publication. W h e n
r e p o r t i n g this action t o Phillipps o n 27 M a r c h , 18*6,
W a y remarked t h a t the manuscript was n o t i n a
shape for the p r i n t e r b u t he offered t o prepare good
c o p y himself. H e w a n t e d the scribe's abbreviations
t o b e expanded because, h e later said h itself bears the published chapter numbers w r i t t e n
, . . the Mappa as 1 would hope, may b e taken up b y
1
practical men such as Eastlake. or IJeodrie, or Owen
h
janes, and b e turned to useful ^ c c Q u n t , as Theqaphilug
has been already- The nitre bbdoltre technical Latin of
this land o l writing 13 already sufficiently discouraging—
but IQ superadd the difficulty o l reading contractions would
be 1 think needlessly to make a discouragement to any
use of the work, which would b e very inexpedient. . .
[ W a y t o Phillipps. 19 A p r i l , 1S46].
I n preparing the new t r a n s c r i p t for the p r i n t e r ,
W a y w o r r i e d about the same questions of style,
paragraphing, a n d chapter enumeration t h a t have
bothered us 120 years later. I n a Fetter of 30 Decem-
ber, 1846, W a y p l a i n t i v e l y refers t o ' t h e hopeless
+
effort . . . o f endeavouring to make a copy fit for
the compositor w i t h o u t the o p p o r t u n i t y of looking
a t the m i , w h i c h you u n f o r t u n a t e l y w o u l d not p e r m i t . "
Phillipps waa a rather t r u c u l e n t i n d i v i d u a l a n d h i s
strange behavior i n w i t h o l d i n g the manuscript was
o n l y p a r t l y accounted for b y the fact t h a t he mislaid
i t f o r several months- H e finally d i d offer t o show i t
t o W a y i n M a y , 1847> somewhat after he had r e t u r n e d
the page proofs w i t h his o w n corrections.
T h e correspondence also shows t h a t first M r s .
M e r r i f i e l d a n d later Sir Charles Easdake ( b o t h of
w h o m were famed f o r editions o f early treaties o n
p a i n t i n g ) were approached regarding the prepara-
t i o n of an E n g l i s h version of the Afappae Clavicula
b u t i t throws no l i g h t on the subsequent failure t o
c a r r y through.
NOTE ON CHAPTER ENUMERATION
O n l y the first 66 chapters bear numbers i n the
original manuscript. T h e numbering of the chapters
beyond this p o i n t was established b y PhtUippa a n d
W a y d u r i n g the setting of t y p e for the ArckaeolQiia
publication- T h e actual page proofs w i t h Phillipps'a
a n d W a y ' s corrections were preserved t o be e v e n t u -
a l l y included i n Sotheby's Hodgson *-room sale on 15
p
M a y . 1969, T h e y are presently i n the pcesessiou of
Messrs. H o f m a n n a n d Freeman L t d . o l Sevenoaks,
K e n t , w h o graciously p e r m i t t e d one o f the translators
t o see them-
I n a batch of page proof 9 of w h a t arc now chapters
61 through 192C ( r e t u r n e d b y Phillipps t o the printers
w i t h the postmark 7 F e b r u a r y , 1847} chapter 76 a n d
77 are unnumbered, so t h a t 78 became 76. Some
f u r t h e r omissions occur later, a n d , beginning w i t h 117
(which is 113 i n the proof) m a n y chapters were marked
I N T R O D L'CT I O N 9
for subdivision i n t o new ones w i t h new n u m b e r s I n
this proof the entire lack of numbering after chapter
177 was n o t amended- E v e n i n a b a t c h of later u n -
dated page proofs for the chapters following 205 there
are s t i l l error? i n numbering, and i t is obvious t h a t
the numbers b y w h i c h the chapters are urjw k n o w n
were arrived a t casually a n d late. T h e manuscript
in the appropriate places i n the m a r g i n - T h e y are
i n l i g h t pencil, i n a hand t h a t is neither P h i l l i p p s *
nor Way't-
A s indicated earlier, we have followed the original
numbering of chapters, which has necessitated sub-
d i v i s i o n o f m a n y o f the sections t h a t w e n regarded
B b y Phillipps a n d W a y as a single chapter. Since i t
seems undesirable t o change their widely quoted
e n u m e r a t i o n , we have kept i t i n this e d i t i o n , b u t
have i n d i c t e d the m a n u s c r i p t s Original division i n t o
chapters b y alphabetic suffixes wherever necessary 1
e.g. P h i l l i p p r A chapter 176 has become 176, 176A,
176B, 176C, etc, through I 7 6 L T h e r e is no s u b -
sidiary w other relationship implied b y this
destgnation-
Tn m a n y cases w h e n the Phillipps manuscript lacks
a chapter t i t l e we have provided one f r o m S£lestat
a n d occasionally, when the contents require i t , we
have used a 5£lcstat t i d e i n preference t o t h a t i n
Phillipps. These are a l l noted b y the appropriate
symbol, S or P.
T h e final listing of chapters appears on p p . 23 to 26.
O n pp. 10 t o 14 is given a table showing the location
of the various sections i n each of the three early
manuscripts.
Of the 38? recipes in Phillipps. 100 had previously
been i n both L u c c a and S£lestat 109 h a d appeared
P
previously o n l y i n StEestat, 7 only i n Lucca a n d 166
are unique t o P h i l l i p p s . Of the last group, about t w o -
thirds have a style and content t h a t suggests a n older
sou r e t (similar t o Lucca or earlier), w h i l e the r e m a i n -
ing t h i r d t h o u g h miscellaneous i n character and a p -
pearing a t the beginning, m i d d l e , and end o f the
manuscript read relatively freshly a n d may have
originated n o t m u c h before the time they were copied
in b y the t w e l f t h - c e n t u r y scribe. T h e r e are eleven
chapters i n 5 t h a t are n o t contained i n P
Phillipps contains two prologues, the first a p -
parently r e l a t i n g o n l y t o the eleven unnumbered
chapters o n pigments, and the second preceding a
l i f t i n g of chapters and the main body of the t e x t .
T h i s l i f t differs considerably f r o m t h a t i n S£lestat.
though neither list conforms very closely t o the con-
tents of either. T h e concordance of chapters, given
in the table pp. 10-14 reveals no apparent Logic b e h i n d
the reordering of the chapters i n the different versions r
T h e 209 entries i n the list o f chapter? i n P follow the
actual chapter n u m b e r i n g i n the t e x t up t o chapter
56, after w h i c h there are m a n y interpolated chapters
bearing numbers so t h a t w h e n tbe list ends o n 209
 SMITH AND HAWTHORNE LIUMS. AM*-, rait. toe.
10
it c o t r a p o n d i to PhiUipp*"* chapter number 261, fifty other* t h a t a m n o t listed a n d m a t of these are
F o l l o w i n g t h k chapter the actual text contain* over Dot present i n the older manuscript*.

TABLE OF CONCORDANCE BETWEEN MANUSCRIPTS'

Ear as.

Inapt LI 2S 12B. 13 uUf

— 24 12F.19 ill
1 1.*
1 1*1 — IT 12B.11 HI
m feU — 21 13,4 12.10
Is. 19 — 29 IU U14
V 14 •* JO 11.10 n i l
i |i
•

«• U i 11 IUI lltr.l
—
m is. 12 —
—
a
3J uii
MM
Dnf
12i,ll —
Si b 14
m M 13B.12 IU

•
•i

i
i*L9
4.U
U I
u
4J
•
11
14
11.
1411
if IU
ttftl
_

t u ft.15 IT 1404
j u fW. 14 14 14*1 ,

_
4 114 7.T 39 14*15 —

5 M T.U 40 m
6 ftUI Hi 4L 15.9
7 M4 U tt 1113 Ah ^—
• On H D •« 41 15.17 I2J.1J
•
9 • M
9t.lft a. 1 Cr
fe.9 44 HOJ —

10 uu HB IV 41 ISrJ _
It
11
11
!oi:

10*21
9.5
* J
9v.1T
44
47
is#.g
15«.13 _
48 15ff.1T
H 111 9r.l9 4» I V . 19 — —

• LL19 10.14 SO 144 _

LB II.J 10*3 SI IU ,
IT Llr.Ll l(W.9 11 16-10 m

11 Lit. 14 10ff.Il u 1QJ0 _

1 11*11 lb-14 14 KM — —

• 11*11 uVll 51 14*19

31 III IU M 13 N
m 1112 ItU IT 11 J l
u ll>.10 54 17ff.4
24 Uff.fl Ur.ll 54 17i.fi

f
Hit (HPD c o p t e r Aumbtn W chs p r a c n t e d i t n a AIT . d e n t a l (W4I1 Fol* reft* trf S hia c h i p t ^ LOT. LT2. L73, 1?4 u d
with tfcl-M i; . • by t^jji]]Ippa ID his publication of the bnt In
(

though ffiuy ol hi* chipttfsj have been subcC.vHkd nd H

2tfc!W
u t i c n d u i U t K l A , B . C t t t - The folio and line number, c-rtii • • i n n * ( t b e" pwt
i l S F
- *-G.17fr.H, 176-1.and 177; F o b o i r ^ t f .
1T

on iron „ljr}, jift^. , U 4 220,

••••T-rtpajxl ta t b l b-tftnniiiE ol" th* chapter ifl question. The W f 2 J 9 B p

letter i fdknrinf * f o l i o • • dencilw w r w ; r*to ia unmtflunL J f i i f ^ ™ * ™ ^ * a i " c h i J21-A. 221-B. 221-C,

P I m

H i * lis* identification* the Lucca. TTUiiuHipt a n bu«J on

the u t M f i w n b y H. HedilOT, CmfMiXianti ttlgHll W I H
rTtpp—t- 19J2> t W ^ ^ A t t n t u d PhttlippifrompkiXixopin
P

of tbr OMiiiKn[ c • t k f l w h n rtpradLiccd u Appmdacct A u d

Ek ™-p«tiwIy. in die p m n t ed.cW.
T l » Sm f J m f l caaptrrt Of JTritlipfw i r U i i i J K n p E ( i h w - « ^ r i 2 i i ' ' ^ ^ ? "
D
" ••
L a c e
» uw LFIB« d a i p a
r f f U , K l

tb# 2 n d /mic^l u d t b e E H o f c h i p t t o j w t n U t S t i n 1 J ^ ^ " ^ °*«. • UAW MSfaLZir^u

by ham. We derifnatt tSrA by nnall Roma
I to s i . TbCT *™ H -se::=w r e t e r r t d to* f o u o v t a g
H-rfJwx ** A 1 , A L • - - AH¬
A:i H t t r i t h n prrordj^f i n u r t W in (EM cdamn d t r m t *
o n e o f tbe f n ctupwr* thai * n t - d » p m n t LIL L the n i n t T i -
tfqeurr K k v w m t v r j ( n p n t ifaiiibed by GtunmuJkrr
•CIJ u H D M o u m . « j ^ ™ , UML pp. 102-101
VOL. 44, r r . <. M d I N T R O D U C T I O N ' 11

no. r a I
40 17* T4 98 21.13
41 1S.I 99 •24*3 228.18
tt 13.5 100 24B. 10
43 19-7 101 24B. 17 14.1
44 14.9 102 25.10 14.16 211*11 & I I
4J ia.12 103 Ul* 14*5 211*1 H I
64 14.13 HI 2S..2 14B.10
41 B M
14.14 105 MM 14.11 223.10
44 14-IT 106 14., 14
4V It*J 223*12
107 23.10 14.19 223.16
70 14-. 19 10J..A 2 Sr. 13 111 223.14
Tt 1*13 10S 25*17
72 U-5" 224J2
19.211 109 I**» 16.12
n 19i.4 110 24B. 10 13..2 234*17
H I9ff.10 HE 24r. 15 15*1
74 I9tr.l7 112 15.16
74 19rr.lB
MM 226J2
113 27.14 17.6 226*fi
7! t%.20 113- A
78 27.14 17.8 224*1
1*4 114 27.11 17.10 226*11
79 20.9 115 17*1 17.14 726*14
40 20.14 116 17*1
41 20.17 17.20 22fl*20
tt 20.19 117 27*14 I7*5\
113.4/ 224.22
43 20r 1
44 20r.8 118 1MI 17.9\
2L3.8; 214.26
10 27*19 I7r.l0 n

41 20E1J ' 226*27

3U-9 1
44 21,4 120 141 17.14
47 21.1* f 226*32
49 213.U
21n1
m 2U.4
121 28.3 lt*15
213.14 226*34
2UG 122 2*4 17.. 14
2 If. 12 213,17 227.2
B9-C 2 U.I 6 122-A 17*10
B9-D 2 IB, 17 2373
90 213.19
21*20 122-B 14. L
217.6
213.20
41 22.9 m-c 18.4
• 227.1
91- A 22.14 213.1
92 22-21
92-A Z2*4
92 B 123-D L46 1
22*3
211*2,f 227 11
L23 28,4 18 9 227.14
92- C 22*10 124
22*14 28.11 18.14 225.13
92 D 125 14--U
9J-E 121-17 24*12 225*30
93 22s JO m 29.5 L9.5 226.8
*VA 2J.4
m 29*2 1920 224.21
93- B UA /22427
128 19*7 19*4 1230.1
93-C 23.10
94 ZJ.lt 129 304 20.1 23012
95 -'IT T 130 JO. 10 20.5 230F6
95-A 23B.13 130-A 2*1 230 18

9S-B 23K.14 131 30.U mu 220J2

95-C 23*21 132 30.14 20IS 23026
94 24.4 1J2-A 30 20 20.18 13*29
9fi-A 24.1 133 30r.4 30*2 23035
97 2440 IM K*.6 10*3 230*1

In S nfcLnpttr lOft c o n t i r j u " Td l & v . J ( h n t o f r j . t f t

P which u a until >_iJ i™rta| «jrh chr ^ n b r ' j ctrnKtion.
 12 SMITH AND HAWTHORNE [ T K A » A H * n r i -

r P a I

135 30.15 2th. 10 2 JO* IU 174-A '37*15 48.19

114 31,11 21.4 230*23 175 14.4 44*11 215.11
137 31.17 21,10 210*54 176 36-14 48*18 22V4
114 31*3 2114 2516 1T6-A 36*2 49.4
139 31*7 22.7 227*20 176.B 39*5 49.7

140 31*17 Z2.II 227*32 1T6-C 18*9 49.11

141 3 lvJO 22.19 227.34 ITU) 38*10 49.12
143 32,4 22*1 2284 176-E 38*9 4*32
144 12.14 22*15 228,11 176-F 58*11 49.14 —
144 3230 25.7 317.30 I76-G 38*14 49.16

143 32*6 24.13 317*4 176-H 14V16 4938

14* 32>.10 25.17 217*12 176-1 38*19 49*2
1*6-A 31*13 225.32 Iff 34.1 49*5
1*6-fi 32*20 178 19.1 49.4 —
L46-C 33,9 179 1*1 49*11

144-D 33,19 180 39,12 49*14

146-E 3331 181 39.14 49*16
32*6 182 39.16 49*19
146-F 13*9 183
144-G 13t.l4 52*11 3930 403
184 30*3 mi 22 V 1 0
146-H 34,1 32*18

14T 3U 45.13 229.1 185 39*6 50.9 223*22

ia 14-12 45.17 229.4 186 39*9 SO 12
4530 187 19*12 50.15
149 34.15 2J9.7 188
m 34*1 45.2 39.1 J 50.18
45*4 189 39*1* 50*2
131 34*J

190 MJ
152 34*7 45*6
191 4*16
in 14*8 45r,4 217.1 191-A
154 3**9 45*10 40*1
217.4 191-B 40.14 50.9
212.17 4131
15S 14,11 192 50*14 223*25
45*12
212.1° 217.7
154 34*11 45.-14 143-A 41,10 513 223.27
212*31 217.9 192-B 4LE3 su 221-28
192-C 4133 123*39
192-D 5U
41*2 29*10 3206
132 34* IJ *S*U 1*3 42.lt
2113 21730 29.3 220* 12
154 34*14 45.17
213? 217,12 194 42x11 39*1
15* 34*13 45*1? 194-A 40* \
2113 217.14 212.1/
160 34.19 43* 21 193 43.16
217,16 196 —
161 34.20 45*22 217.18 43*13
197 43».16
• i ••
45*23
mi 217.19 • 98
L63 46.3 443
33.6 199 44.4
164 1S.B 44.5 200
145 15.11 46.7 444
201
164 15-11 44-9 224*21 302 44.10 —
44.19
m 13*4 46*3 325J 203 44*3
16T-A 16.16 47.6 204 +4.3
167-B 16*7 47.14 205
164 36-30 44.31
47*6 106 44.16
169 17.14 47*18 207 43.4 226*16
170 37.14 47*20 108
171 37.17 48 2 m o 228*20
209 45.17
173 '37*6 48 10 225 23 210
44.15 43*1
I7J •3**10 211 45*6
174 *1T*I2 48.17
212 45*9

k
VOL. at. rr. t, i9ii\ INTRODUCTION I)

Carter
on. P | L * P L

213 450.13 252

_ _ _
54*21 — 222*21
214 46.19 21.18 22720 33.3
215 4t*3 21*1 227.23 254 IMS 33c.l4
216 46*20 21*16 227*9
21 J 47.4 22.1 227*14 I U 34.14 —
34*1
213 47.9 22.19 2271.34 257 56*2 34*3
219 '47.16 22*19 228.13 258 54*6 34B 6
219-A '47*9 2321 22331 259 56*8 34*3
219-B •47*13 73.18 T-ja, T
219-C •47*17 23*3 223*. 11 260 56*11 34C.10
220 '48.4 23*13 228*27 261 56*13 34*32
262 50*16 34*14
221 •4S.9 23*16 229.13 263 56*19
221-A '48. ]& 242 229.19 263-A 57.5
221-B 24.4 22920
21V4 263-B 5725
221-C *n -
24.7 far ilQ 14 244 5*L4 41.1 —
213*5 265 57*13 41.11
221-D *4*U7 24*1 229*3 266 5 7.. 16 4LI4
267 58.15 41*13 —
231-E 24*3 1 229*6
213*17/ 268 58.18 41*17
212 269 58P.3 423
214.1 J 270 58*15 42.12
233 24*16 229.21
124 44 1 253 21735 271 S9.9 42*6
224-A m ± 25U4 218.15
272 59.17 42.39
225 49.7 2520 217*34 £'& 59.20 431
226 49.19 25*4 210.10 274 UJ 4i l*
22T 25i.lS 218.20 275 59*11 43.11
49*6
223 218,25 276 59*16 43.19 224.1
J4 AL. IT
LI
229 jig- r
Crt |
•jnji ± JaUr2* 277 60*18 44.1 fi
130 50.18 26.. 1 278 61*19 444T-23
230-A sto.i 26*4 278-A 62.5 45^
231 5Q..T 26*3 218*14 279 62.10 45.10
232 •Li 273 219.1 240 62.13
233 51.17 27,9 219.3
231 62*17
234 $1*4 219.31 232 63.4 —
235 51*9 27.15 1UUS 233 63 7 r —
236 51*17 27*1 219.20 284 63.11
237 51*20 27*4 219.23 235 6317
234 522 27*6 219.25
236 63*9 — —
239 32.9 27P.1I 219.3 — —J— *—
240 52.17 27*17 219*8 287 63*17
283 63*31 — —
241 52*4 283 219*14 238-A 64.1
242 52*9 23.7 219*16 288-B 64.3
243 52*12 28.10 219.19
288-C 64.9 <*) — —
243-A 2123 219.21 64.21 (b>
i•LAD
d * - Lrl k
243-B 24.17 219.35 64*14 —
28*4 220.1 2B8-E
244 57*16 — —
243 53.1 29*14 221*16 298-F 63.1
288-G 65,2 — —
245-A 53.13 302 221.35
238-H 65J — —

_
246 53.18 30.6 221*37
2+6-A 222 15 298-1 65.4
247 53*13 30.18 288-J 65.6
30*7 222.34 23B-K 65.9 — —
243 54.5 288-L 8521
_
249 54.9 30*20 2233

250 54*2 31.10 12119 2S8-M 65.12

---
M
_ __ _ .
251 54*18 31*10 2S8-M 63.14
 S M I T H A N D H A W T H O R N E n u m u nuL. s o t

!• 3 L H F S
—
_ M 46-70 —
65.15
2S8-P 64*1 _
«...
66*9 —
—
—
liB-Q — — 2W 66*19 —*

289 293-A 6U — 1
65-11
290 •4J 1 J* — — 194 67*1 —

A NOTE ON THE TRANSLATION A w o r d is o e e k d cm m r c h o r t t of t i t l e . The title

T n i s edition has l o r its principal *,m the p r e s e n t s £ * • Jfajpw g ^ * ; ? " J C * ^
t k * i n English o f ihe t e c h n i c ^ ^ ^ ndiindant U m l l y t n u h t e d it A little key H

in the Mappae OavictUy. T h e translation first t o the chart. It^ comes from the f m e w h e n p a r c h -
prepared f r o m the t e x t of ihe P h i l l i p p i ^ o m i n g m a n u - •»r»"" l j) * J<-f - n - h i - M D * M > the
script « the most complete, b u t i t has been compared ^ P
T ! * ^ ^ ^ * ^
k a
^ ^ J J ^ f P
C ^ ; T O

word l o r w o r d against a photocopy of the Selestat J " * , " M « * mamiacnpi T n e L i t t l e

0 E H E 0 1 h l s

manuscript a n d GanienmUller'a published text of the W " ™ * ? Pamtifla. and both the contents w

K l o a t e m e u b i i r g fragment. rJiKrepancies have been ™ P - ^ ^ a o emphasize'•painters a n d o t h e r k i n d s

settled i n f a v o r of whichever seemed moat p h i l o - * " - « W * * Omul* o r k
m i g h t almost be taken f l

l e g a l l y and technically convincing. Usually Seiestat • I M Q of Abstracts,

M E A
b u t the w o r k itself
N

gave the b e t t e r reading. I f donbtful points remained J " m o

compilation of compilations.
r t n e a
Our v a

m those p a r t s t h a t were also i n the Lucca manuscript,
the t w o texts o f the Mappa were compared w i t h the
latter l e s t as given b y Hedfbrs (1032). Wherever ure
have chosen a reading t h a t differs lignificandy f r o m
translation, " A L i t t l e Key t o the W o r l d of M e d i e v a l
T e r i n i q u M / ' is intended t o catch the overtones o f the
^ L a t i n words of t h * t i d e and t o r e f l e c t t h e c o n t f n i s
I
" accurately t h a n a more literal t r a n s l a t i o n w o u l d
T X

the Phillipps m a n u s c r i p t w e have indicated b y a "*vedone.

parenthetical [ 5 ] or [ £ j whether Sefeitat or Lucca, is
followed. T H E MAPPAE CLAVKULA AS A S O U R C E
W e have been less concerned t h a n previous scholars FOR T H E H I S T O R Y O F T E C H N O L O G Y
w h o have studied the m a n u s c r i p t i w i t h the rather _ . t

horrendous teatual variations and have not annotated n F™ ' ? s « o n d oniy t o T h e o p h i l u s s

numerous differences i n spelling and grammar t h a t l ? " ^ ™ ^ t t ™ »™rce »
1
s ^ r f y of rtr T M a

convey Utile difference in meaning. A r r i v i n g at the ™ J ^hnology.l t

I t sits s q u a r d y i n the m a i n
v

technical i n t e n t is a somewhat easier problem t h a n ""5° coilecnons dealing w i t h metals, p i g m e n t s ,

t h a t of philological c r i t i c i s m , for knowledge o l the *j" ' * chemical operations t h a t began w i t h
d m t a t t l | a n e o 1

properties of m a t t e r often places a modem reader i n J™ * J * J • Nineveh and B a b y l o n (see R . C

t a b L c Q

a b e t t e r position t h a n a medieval c o p y i s t Our ^ ^ f " ^ - continned i n E g y p t w i t h the A l e x -

1

translation is u n f o r t u n a t e l y b a t inevitably more i n - • Papyn now i n Ley den a n d S t o c k h o l m .

n d n a f l C r e d t

telligibJe t h a n the original L a t i n lo a good many places a n

° " *• » * * " V P*** b«|k t o I t a l y (Lucn
(a fact t h a t anyone w h o has n o t seen the original w i l l ™** W C o w p c r i / ™ Vance) and to northern
find haxd t o believe!) b u t o u r intent has always been E
^ ^ t h thehrstevidenceof the Mappae
u
Omnia
t o decide w h a t was w r i t t e n i n tbe L a t i n , preferably i n There followed Eraclius Dt cotortfna ct Arlibas H

an early u n c o m i p t e d f o r m , rather than w h a t should J

™ " " . Theophiltis. De dimersis artilms (a c o m -
a n o r t

have been w r i t t e n . * realistically p r a c t i c a l

o n i n a ! ffaric f a r

T b e result may be safely used b y readers of English " i a n the others) and eseerpra of all of them c o n t i n u e d
t o o b t a i n a good idea of the content of this i m p o r t a n t 1 0
, P d i n innumerable different c o m b i n a t i o n s
r e c o i e

c o m p i l a t i o n of medieval techrjoJogical i n f o r m a t i o n . P * ™ ™ ^ ™ I ^ l y the basis of the many B o o k s of

1

T b e serious scholar needs no warning of the dangers appeared s h o r t l y after the i n v e n t i o n o f

inherent i n dependence on other peoples interpreta- 7
P * ™ * ^ * ^ " h o s e influence can even be seen i n the r i

tiona. a n d i n i m p o r t a n t cases, w i l l always r e v e r t t o h &

lormnlariei of the present c e n t u r y .
u a e n Q l d 1

the original L a t i n , indeed t o a l l the original L a t i n . i r . ,

versions w i t h their differences, and reach his own b f ™ - ^ * ™ . °
Y f ™ * d-c—^ p h n t a 3 u w

conclusions. Perhaps he should t h ^ p r ™ d f ™ ^ f e ^ ^ ^ ^ ^ 6 l

^ ™ l
the 1- t . r : i r > - t o lh*T museum liDor.iCofy in order t o •*^ * P^TTjontjiM ei u>
rr%«-ctiarr
r
F 1555). ta the cifhicrntb c*ntury
find o u t f r o m the physical a a m i n a t j < X L of e r t a n t H**^"1^Wlamtmmmtmt^mm*tMmw*tl^tt*mik\m±
object* w h a t really h a d betn dorw in medieval t t T ^ ? Z ? T V ? J * J • " d 1***) ; th*

S M S = S U » ±
 INTRODUCTION
T h e earlier members of t h i s series have long fas-
cinated scholars. W i t h l i t e r a l l y hundreds of recipes
m e n t i o n i n g such things as mosaics, p u r p l e , gold. glass
bronze a n d a h c e t of pigments* dyes, a n d changes of
h changing the previous g r o u p i n g , a l t h o u g h there are
color, the chapter titles premise i n f o r m a t i o n on the
background of medieval craftsmanship i n metal and
paJnt* nn the v e r y b i r t h of alchemy, a n d o n the begin*
rung o f modern science a n d technology,
M u r a t o r i (1739) w h o discovered the L u c c a m a n u -
s c r i p t and first described i t M e m f i e l d (1849), G i r y
p
(1878), I I (1SJ4). B e n h e l o t ( 1 8 8 7 1 1 . 1887ft, IS93)
E h
Berber <19l2) t Hedfors ( 1 9 l 3 )
h Burnaro (1920),
Johnson (1935, 1938. 1939), a n d others i n the beat
t r a d i t i o n of medieval scholarship have examined tbe
several m a n u s c r i p t , and have traced t h e i r h i s t o r y
a n d the influences of one or another school or region
i n the successive compilations. These show some
influence of Dioscorides P l i n y , a n d o t h e r Greek a n d
d s c r i p t can throw m u c h l i g h t o n b o t h the customs a n d
R o m a n w r i t e r s , b u t In general t h e y are q u i t e i n -
dependent of the mainstream of classical literature
a n d make no pretense at l i t e r a r y cohesion. I n origin
they were c e r t a i n l y p r a c t i c a l , however f a r f r o m the
w o r k s h o p they l a t e r d r i f t e d . Superimposed on the
d i r e c t c o n t i n u i t y of some a l l o y recipes transcribed
i n t o L a t i n f r o m the G r e e t sources, used i n the A l e x -
a n d r i a n p a p y r i , there are l a t e r additions w h i c h
originated v a r i o u s l y under the influence of l t a l y
classical and B y z a n t i n e Greece, E g y p t , the M i d d l e
E a s t , a n d even K e n t . Nevertheless none of the
s u r v i v i n g manuscripts of the Mappa are the w o r k of
an a u t h o r who knew the technical realities behind
the words- T h e i n f o r m a t i o n was n o t even edited t o
produce a consistent p i c t u r e b u t was s[mply recopied
t
w i t h additions f r o m other sources, occasionally more
u p - t o - d a t e , t h a t seemed t o relate t o the general area.
T h e compiler? made no a t t e m p t t o reconcile the
m a n y glaring discrepancies a n d du plicationSi and
p r o b a b l y d i d n o t k n o w enough even t o notice t h * m
T w o types of scholarship have been p a r t i c u l a r l y fer-
t i l e : philological studies based on w o r d v a r i a n t s w h i c h
reveal c u l t u r a l contacts a n d influences, and a r t -
historical studies i n w h i c h m e n t i o n of a g i w n tech-
n i q u e provides an indication of interest i n i t a t the
place where the c o m p i l a t i o n was made a n d occasionally
provides a clue as t o how various e x t a n t w o r k s of a r t
were a c t u a l l y made- T h e former studies, of course,
illustrate the t r u i s m t h a t n o r m a l l y the earliest t e x t
is preferable* b u t i n the case o f the Mappat Ckmitxte
there was h a r d l y a n o r i g i n a l in the usual l i t e r a r y
sense | the t e x t was born o f d r u d g e r y , n o t i n s p i r a t i o n .
L i t t l e a t t e m p t was made b y a n y o f the compilers t o
the handbooks u d dictionaries such 4_s Denied •-: twd* . l c
lh* Aftf (London* or Philippe Maajuer'j Didioimirt
des Arts 4 Uriwrr (Pari*. 1761) and Andrew L re'» Dictionary fff
T as technical instructions- - - - T h e y have t o be con-
Arts *M4 Umftctvrzj (London* lS42),wliich were written- to
high editorial -M-rfards by experienced author* u d today pro-
vide I D excellent picture ol accepted knowledge on varum*
subjects eren if they w t K not always at the very forefront cf
15
bring together a l l the recipes dealing w i t h a certain
type of operation i or to r e c t i f y their inconsistencies*
h T h e additions are m a i n l y In blocks o f recipa w i t h o u t
a few casual insertions of i n d i v i d u a l recipes. The
several chapters i n P h i l l i p p s which show obvious
Arabic influence [196-201) are d e a r l y a later i n t e r p o -
l a t i o n , t h o u g h they unaccountably appear i n the
m i d d l e o l the m a i n block of recipes f r o m the Lucca
tradition-
W i t h ancient l i t e r a r y or historical works the p r i -
m a r y a i m of scholarship is t o reconstruct an a u t h o r ' s
original words. T h i s is impassible w i t h manuscripts
of the present sort* and interest has largely focused on
the misreading* t h a t arose because of the under-
or over-zealousness of the scribes, their blindness a n d
their misplaced ingenuity. A technological m a n u -
customers of medieval scriptoria because the con-
tents were n o t understood b y the c o p y i s t a n d be-
cause h i s incorrect associations a n d his preference
for one l e t t e r over another were less subject t o the
c o n t r o l o f s t y l e or common sense than was usual i n
legal, l i t e r a r y or ecclesiastical transcriptions.
h
Whatever m a y have m o t i v a t e d the o r i g i n a l writers
of i n d i v i d u a l chapters, the M&ppat Cbmtuia as i t now
t
elands is a c o m p i l a t i o n of compilations. I t was n o t
edited a n d i t shows no evidence of a c r i t i c a l i n t e l l i -
gence or definable practical need governing the as-
sembly. A t every stage there w o u l d have been m u c h
other m a t e r i a l t h a t anyone really concerned w i t h
technical processes w o u l d have added, a n d certainly
auch a m a n w o u l d have rejected a Lot t h a t is included.
T h e frequent u m n t e U i g i b i i i t y a n d technical i m p l a u s i -
b i l i t y o f the recipes i n these manuscripts are n o t proof
t h a t they do n o t reflect the technology of the times
i n w h i c h t h e y were w r i t t e n , a l t h o u g h the mere
l o n g e v i t y o f a n y technical description is i n itself a
P
f a i r l y good indication of its u n r e l i a b i l i t y for t h i s
purpose. Moreover, compilations almost never repre-
sent c u r r e n t knowledge; those who w r i t e o n c u r r e n t
technology f r o m t h e i r o w n knowledge usually ignore
t h e m . T h i s means t h a t the Lucca manuscript* the
Mappa* Ci\rricula and others i n t h e i r class are pre-
M
carious sources, though they cannot, of course, be
disregarded for a t least they exist a n d they come f r o m
a period v i r t u a l l y devoid of other technological w r i t i n g .
T h i s mis-match between the w r i t t e n record a n d
contemporary technology extends far back i n h i s t o r y .
I n discussing the famous tablets o n glass-making
f r o m the l i b r a r y o f K i n g Assurhampal of N i n e v a h
{663-627 B.C.), Oppenheim (WTO) remarks. " I n spite
of their c o n t e n t , these t e x t ! cannot be t a k e n s i m p l y
sidered . . . as l i t e r a r y creations w i t h i n a complex l i t -
erary t r a d i t i o n . "
T h e Huppa* Ckfiftttda seems t o have been preserved
m a i n l y because o f the apparent connection of i t s
l 6 SMITH AND HAWTHORNE
recipes w i t h the arts of the M M B There fa nothing
D O ceramics a n d almost nothing on the moat flourish'
ing and characteristic arts of the day—architecture,
sculpture, brofl2*-founding. and goldsmith's w o r k ,
T h e compile™ scarcely noticed such thing*, a n y more
t h a n they d i d the contemporary stirrings of a more
powerful technology t h a t would l a d to v a s t l y cheap-
ened and enlarged production of everyday objects a n d
t o vast social changes. Though aesthetic m o t i v a t i o n
continued t o lead t o the discovery o l technologically
i m p o r t a n t materials a n d processes, the scale of tech-
m o v i n g away f r o m the artist's workshop
and even more f r o m the interests of those who w r o t e
and preserved manuscript!. As with all beginnings,
the most i m a g i n a t i v e and portentous technology of
the d a y was r o t appreciated enough to be recorded*
a t least i n a n y w r i t i n g t h a t achieved the h i g h l y i m -
probable state o f s u r v i v a l I D the present day.
Earle Caley (1926: ;>. 1164), i n commenting o n the
ineompletenos and redundancy of the recipes i n
Leyden X . states t h a t they were " r a t h e r in [he nature
of reminder* f o r skilled workers . . , t h a n detailed
descriptions l o r purposes of general information,
. . . T h i s papyrus w j i a k i n d o l laboratory notebook
of the operations of the chemical arts of the time*/*
Possibly this was t r u e of Leyden X (though t h a t
manuscript was i n a f o r m far l o o elegant for the w o r k -
shop) b u t b y the t i m e similar recipe* appear i n Lucca
and the Mappae Clancula t h e y are no more than a
distorted echo of a much earlier period of technology,
T h e y comprise i n t h e m a i n information t h a t would
have been unnecessary for a practitioner and are given
i n a f o r m t h a t is q u i t e inappropriate for the i n s t m c -
tion of a novice. Perhaps they were once workshop
receipts, b u t if so t h e y reflect an earlier technology n o t
a medieval one- Contemporary technology is, h o w -
ever, t o be f o u n d among t h e Later accretions, es-
pecially t h e i n i t i a l c h a p t e n o n pigments ( i t o j t i ) ,
those on a « a y i n g a n d d i s t i l l a t i o n , and some of those
o n uscendiary stuffs, chrysography. and building-
One cannot help b u t feel t h a t the record of medieval
techniques t h a t is preserved i n s u r v i v i n g objects is
more T u m b l e i n checking i M interpreting the w r i t t e n
s < * ™ t h a n the l a t t e r are for interpreting the objects,
T h t s caution against over-valuation of the Mappa*
^ "S ^ ™ ^ ™ ? *° ™, U
^ ^
tomnology does n o t deny t h e m coc^derable sujml-
icance, l o r there » a * a technological origin aomrwhere,
T h e b t f t o r j a n is c x a t a n t i y mncHTied w i t h the deg-
r a d a m u of his t n t i , a n d w . m the problem, of t h e
r e l a t i o n between w h a t a c t u a l l y c c ^ r r e d c r j ^ a t was
verbal p o v e r t y of m e workshop aggravates relat™
witf» t h e s c r i p r o n u m . However the e a c h ™ of
poetic meaning f r o m technological writings and t h e
fact t h a t they reflect a real w o r l d of p h y s « l sub-
stances and chem.caJ r e a s o n s t h a t was p a r t l y u n ; m chapter 22UE the scribe, of ? and S refer t o s a l t ,
k n o w n t o the scribes make t h e m p s r t . c u l a r l y useful
[THA« rnn,. mc,
t o reveal tbe transmission and decay o f words a n d
letters uninfluenced b y concept*.
D e SantiUana a n d von Dechend (1969) suggest t h a t
the mnemonics associated w i t h early astronomical
observation* became the basis of the common m y t h s
o f m a n k i n d , which persisted long after t h e y h a d
ceased rn be regarded as useful astronomical k n o w l -
edge There was no comparable p o e t r y in verbalized
chemical technology before mystical alchemy took i t
over, b u t perhaps the recipes were preserved b y
Learned, or a t least literate. Librarians i n the n a t u r a l
belief t h a t w h a t is w r i t t e n is more i m p o r t a n t t h a n
w h a t is done. Moreover, doing so w o u l d assuage t h e i r
bad consciences regarding their ignorance of p r a c t i c a l
things even if i t was of Questionable service to t h e
practitioners themselves. Though t h e commercial
motives w h i c h c r i s t today for overproducing stuff o f
this k i n d were probably lacking tn the M i d d l e Ages,
there were undoubtedly m a n y custodians o l m a n u -
script collections who took a certain pride i n being
broad-minded enough t c place technology beside
theology, even i f no one came f r o m the local w o r k s h o p
t o read ic.
T o d a y ' s scholar has an advantage over earlier
readers of the Mappae Clarncuta in t h a t he can use
m o d e m knowledge of the properties of m a t t e r t o
i d e n t i f y some of the substances and processes. T h u s ,
one can f a i n t l y glimpse through the v e r b a l haze o f
chapter 69 the use of an annealing process t o change
the properties of glass. B o t h decadent Greek a n d
chemistry confirm t h a t caucuceammeivm is copper
oxide, and psimitkin is lead carbonate, b u t words such
as tkamema, anikanu, dedamia and even such c o m -
m o n words as eiidnum a n d lamr occur i n such diverse
chemical contexts t h a t identification w i t h a single
substance w o u l d be q u i t e misfeading. M a n y wards
t h a t we have t h o u g h t i t safer t o leave u n t r a n s l a t e d
a r e undoubtedly corruptions of once m e a n i n g f u l
words, if o n l y i n the jargon of the workshop
I n tn article o n the danger* inherent i n t r a n s l a t i o n ,
D . V . Thompson (1967) inveighs against t h e easy
assumption of c o r r u p t i o n i n a p p a r e n d y meaningless
phrases, rightly p o r t i n g oal t h a t these serve t o flag
unusual and therefore most interesting sections, a n d
so call for p a r t i c u l a r effort a t understanding w i t h o u t
T h i s k certainly true b emmectkm
w i t h relatively literate source, like the earlier versions
of Theophilus. b u t c o r r u p t i o n nevertheless d i d occur.
M a n y examples are provided b y the changes t h a t
occur i n t h e Lucca, S e h r a t , and PhEIlippi m a n u -
scripts. F o r example, aurocoilon, gold solder, w h i c h
J u n e i n chapter & ) is a misreading b y tne s c X of
F for ox-glue, as i t appears in S a n d L -
Similarly in chapter 220 » has shVverb fr-r i r r i n d
f o r the noun a ™ , e a r t h , of S and > r r cA%nd0
* f r a n d m f r m , where the l i m e aikt o f £ a n d K is
V O L 6 4 . F T . 4. 19?t] I N T R O D U C T I O N
clearly c o r r e c t F o r t u n a t e l y there 15 a n a l t e r n a t i v e
T literation. drawn with much probability, from a Greek
record of medieval technology. Tt is n o t h i n g b u t
scholars fondness for words t h a i ha£ Ted them l o
1
prefer the w i t ten record l o the far better one pre-
served i n medieval objects themselves. More can be
learned f r o m a detailed l a b o r a t o r y examination o f
medieval paintings, textiles, ceramics, and m e t a l -
w o r k than could have been t o l d b y the makers
themselves A s the importance of the technical p a r t
of man's past experience becomes more w i d e l y r t c o g -
n i i e d i t w i l l be necessary t o establish new kinds of
libraries a n d reading devices, namely coHectioris of
artifacts associated w i t h l a b o r a t o r y facilities to s t u d y
t h e m . A l t h o u g h a good s t a r t has been made o n
archaeological m a t e r i a l f r o m periods l a c k i n g verbal
records o f a n y k i n d , the extension of such studies
i n t o later periods has h a r d l y begun, t t w i l l be noted
t h a t s u r v i v i n g examples of for example, medieval
h
m e t a l w o r k indicate the use of a m u c h smaller range
of a l l o y compositions a n d techniques than w o u l d be
inferred f r o m the evidence of the Mappa* Clavicufa,
I n the m a n u s c r i p t , the on-going d o w n - t o - e a r t h
technology of the workshops is submerged i n w h a t
seems t o be a host o f records of occasional experiments
local compromises, and t r i c k solutions- I n many
p a r t i o f the Mappa wherein past scholars have seen
alchemy, magic, or v i t a l c o n t e m p o r a r y technique, tbe
present translators see m a i n l y c o r r u p t i o n 1
T h e above is s i m p l y a plea f o r the a p p l i c a t i o n of the
historian's usual critical approach t o sources of a n y
k i n d . T h e PhiElipps-Coming m a n u s c r i p t is the most
Complete exemplar of its genua a n d i t does contain
h w i t h a place of o r i g i n , a very necessary precaution
several sections t h a t were nearly contemporary a d d i -
tions a n d so reflect new technology. A n d , o f course,
from a period of w h i c h so l i t t l e record exists even
inadequate evidence must be examined for whatever
i t can y i e l d i
W h a t is the significance o f the Mapped Ctsmtukt
for technological h i s t o r y ? T h e r e is no d o u b t , as the
great B e r t h e l o t a n d others have shown, t h a t there was
a continuous t r a d i t i o n f r o m much earlier material
joined w i t h threads f r o m m a n y o t h e r sources- J o h n -
son (1939: pp SS 89) who has analyzed the influences
3
detectable i n the Lucca m a n u s c r i p t sums up as
follows:
Tbe C&mptisitietui Vari*w is drawn from, or indebted
to the works of varioos peoples- This dependence has
F of w h a t e v e r they had i n stock.
been traced back through many centuries by means of
successively interdependent works. The collection is
baaed mainly on Italian knowledge and practice, greatly
influenced by Graeco-By ran tine learning and s t i l l - The
various works and peoples m which i t is indebted are t h e e [
T h e Spanish influence is shown by palaeographical evi-
dence the parallels from Isidore. and the fact that ex-
tracts from his works ait: included at other places i n the
general body of the codex• ita debt to the Arab* is mani-
fested b y its occasional use of Arabic words (this in*
tiutnee s e e i m n ^ to come by way of the Greets); the
Graeco-Bytautme source is evidenced by recipe t » 126
^Mappm ClotritiJa recipe no. I 3 1 ] * n obvious trans-
F
17
p
source brought by an artist Seeing the Iconoclast persecu-
tions: the parallels frpm Qlympiodoms. Oribasius. and
p&eudo-Democritus, offer additional evidence of this
important influence; recipe no. 67 [ I f a p ^ n no. -lo] L* a
•i--.T word-for-word translation of recipe no- 73 {actually
74J of the Leyden Papyrus X and manifestly attests a
direct line of written traditinn t n third-century E g y p t ;
the parallels from Dioscorides and Theophrastus show
indebtedness to the early Greek*, especially when we re-
member the importance of the Leyden Papyrus, together
with the fact that its last eleven section* are drawn direct
from Dioscorides: the parallels tram Pliny and Vitruvius
and the recipes of Cato indicate that much of the same
material was akaady in the hand* of men not only i n the
early Roman Empire but even i n the Republic; the quota-
tions from the Charain and the Assyrian Cu n c i t r m
Tablets are indications of indebtedness t n tbe chemical
knowledge {used i n tbe industrial arts) accumulated b y
t h e a n d e n t Hindus, Mesopotamia!!*, and Egyptians (glass
having been discovered i n Egypt). We see, therefore, that
our w o r t representing the knowledge of the arts accumu-
lated up t o that time, is successively Indebted to Italian.
Spanish, Arabic (via the Greeks), Graeco- Byzantine.
Alexandrian, Ronian Greek. Hindu. Assyrian and
T h
Egyptian source^ Like the Papyrus of Leyden, the
CtfmppffjiwHer Verio* utilized all available /ources.
p
T h e compiler of the Mappae Gttsicuta incorporated
all t h i s : i n a d d i t i o n he included some freshly t r a n s -
lated accounts o f A r a b i c alloys, n o r t h European
runes, ancient Greek pneumatic toys* and a number
of other recipes f r o m various places on pigments a n d
dyes, alcohol, sugar candy> coffer-dam construction,
and incendiary mixtures.
M a n y o f the ingredients of the recipes are identified
before t h e da_ys of chemically purified substances.
V i t r i o l a l u m , steel, a n d even copper f r o m different
sources w o u l d be v a s t l y different i n composition a n d
properties. E v e n today " S w e d i s h " steel or S t r a i t a
iB T1
t i n has some meaning. H u t i t w i l l be noted t h a t a l -
most a l l of the place designations i n the Mappae
Ctarituia are classical i n n a t u r e — a n indication t h a t
the recipes are n o t contemporary w i t h the c o m p i l i n g
of t h e m a n u s c r i p t None of the recommended
simples come f r o m the central or n o r t h e r n E u r o p e a n
sources on w h i c h the artisans i n these areas must have
depended i n practice. T h e names would t o some ex-
tent be retained as a k i n d of index of q u a l i t y , t h o u g h
merchants w o u l d doubtless be w i l l i n g t o affix labels
corresponding t n a n y requested origin on t o packages
T h e emphasis i n the Mappae CiauKuia is more on
composition and a d m i x t u r e t h a n i t is o n process.
Some o f the recipes convey straightforward i n f o r m a -
t i o n such as t h e composition o f w h i t e copper, niello,
a n d solders ( t h e last including both alloys s i m i l a r t o
today's h a r d a n d soft solders as well as the old r e -
d u c t i o n - a n d - a l l o y i n g process of soldering using copper
Oxide On gold or silver), and the preparation of metallic
pigments for the m i n i a t u r i s t - T h e r e are a n u m b e r o f
recipes on g i l d i n g a n d others t h a t seem t o be aimed a t
IB SMITH A N D HAWTHORNE
g i v i n g a good col™ t o gold b y the superficial removal
-
of a l l o y b y chemical a t t a c k , w h i l e others a i m at p r o -
dncing t h e superficial appearance of gold or aflver on
a base a l l o y .
T h e m a j o r i t y of the recipes are d e a r l y intended t o
achieve some k i n d oi decorative effect at Utile c o a t
T h e compilation, almost certainly arose somewhere
on t h e fringe of t h e decorative arts, made not b y an
a r t i s a n for his o w n use but perhaps t o satisfy the
c u r i o s i t y of a p a t r o n of a r t who t h o u g h t he m i g h t
w a n t t o h a v e someone: reproduce wondrous effects of
w h i c h he h a d heard.
T h e dearest recipes of all. b o t h i n the older sections
amj the new. deal w i t h the production of pigments for
the p a i n t e r . I t is rightly i n connection w i t h t h e h i s t o r y
of p a i n t i n g t h a t t h e manuscript has been most i n - -
q u e n t l y studied i n the past. I n i n excellent treatment
of e a r l y medieval book [11 n i t r a t i o n , Roosen-Runge
:''''>•• gives the t o r t of chapters v i i . i r , x, and v i
a n d m a n y other paragraphs i n the i . ' ippa dealing w i t h
pigments, w h i c h he compares w i t h similar sections
i n T h e o p h i l u s . E r a d i u s , L e Begue (1431). a n d other
sources t h a t have been published- Rooaen-Runge
describes t h e results of microscopic examination of
several i l l u m i n a t e d manuscripts, m a i n l y English, and
reproduces i n color over MO fine low-magnificatioo
photomicrographs of various pigment combinations-
His discussion of vehides and pigments, b a n s based
o n a c r i t i c a l s t u d y rt* textual m a t e r i a l combined w i t h
m k r o s c o p i c studies of contemporary artists' w o r k , is
the most a u t h o r i t a t i v e y e t t o be published,
I t should be noted t h a t though there is a g u i l d l i k e
o a t h of secrecy i n the Prologue, a cipher i n the chapter
o n alcohol, a n d a reference t o prayer i n one of the
now missing chapters i n the S*lestat l i s t , ' there is no
h i n t of magic or of a n y desire to hide t r u e meaning
i n l y m b o l i s m of the sort t h a t later beclouded a l -
chemical literature. I f many of t h e words are ob-
scure. t h i s i s s i m p f y an opacity resulting f r o m copyists'
f r t
. T i
! 2 ! d
™ f ", 1 ? V h
«
a
f
t 6 r T l
d o w n I D t u . record of t h e unfam.Iuu: terminology used
to deacr.be strange operations o n unheard-of sut>
5
i™-
U
. . . m u t a t i n g i t and m a k i n g a l i m i t e d a m o u n t of i t go
T h e magic spell t h a t B e r t h d o t saw m chapter 2 W G
„ s i m p l y a misreading of a rmssmg figure caption, and
the t t a r t h n g m i x t u r e used m c u t t i n g rock crystal
• t o c m - R i i i i t * p M s l i n » • PI•••«iij of \m oa i t *
m i i w f r n l cnl™>recip« l i t e r a i m u p u t of a cHpentr«*
ccfirc-tsblfl book d o l i i i f wiih kkbrniy m d i n background. 11
> u rut i i i l a b k until aftar the ftmm *ofk had t*en completed-
-T- ^ u» t « c W « M » ^ B«^bi [LHJ
PO. -oml<ik>S*. I c J k ^ n , - c+p*^ mtxicd M n * ^
f o r p j l d . " Thi* r e * * Pr**m f k H d4L>t < *j»r / ^ j 55.
pu
mitrm [ i « l * a j wf & m m T l w pnyrr which you mbr.
w h e ™ you 0fm * w p . J . S & I * *
m r t i i j »o t f n i • a ™ * out I O T L P«tup* M i * iBBsms*
• U I K H tfan • r-yr,, [or a U w u c tf t h . i^un^g
o* D M da.v"s murit "SS"rnmnmtpk*«i l»en«pUii»d ic tf» « < i
d u p a t fnilomii, J r i f ^ f l s a . H 7 w n - tffii -'Th,
H™. ™ - « -
(chapter 290) is, we believe, not a dependence on
occult science as T h o r n d y k e suggests b u t a m p l y a
result o i the natural tendency, visible i n m a n y other
chapters w i t h leas colorful materials, t o b u i l d u p a n d
retain an unnecessary degree of complication i n p r o -
cedures that had once been found t o w o r k . I t was
magic of a k i n d , perhaps, because i t involved forces
not understood, b u t surely not the i n v o c a t i o n of oc-
c u l t powers. When there were no purified chemicals
i n labeled bottles a n d no general theory t o g u i d e h i m .
t h e artisan would n o t l i g h t l y change his practice,
Moreover, the more spectacular recipes are t h e least
l i k e l y t o be o m i t t e d by a compiler: feeding a v i r g i n
goat w i t h i v y and using his mined blood a n d u r i n e t o
carve crystal w i l l impress the l a y m a n more t h a n the
suggestion simply t o d i p it i n turpentine. T h e r e is a
recipe for cutting crystal in Theophilus ( H I . 95) that
is very similar t o this one and he also has a q u i t e
wondrous recipe for Spanish gold ( I I I . 43) b u t this
a t t i t u d e is even less t y p i c a l of his treatise t h a n i t is
of the Mappa- Both t h e magical overtones a n d the
theoretical structure later imposed b y t h e alchemists
were, we believe, totally absent f r o m the minds of the
men who originated most of these recipes. The
Theban mortar. S c y t h i a n v i t r i o l , and L y c i a n or
Arabian saflron were local supplies, o o t e r o t i c ones,
i n the workshops where t h e recipes originated-
Jt certainty was not t h e i n t e n t of the Moppae
Qawiala t o provoke speculation. T h e m a n capable
of seeing the broad m e t a p h o r o f transformation hidden
1
i n a l l metallurgical operations is rarely the m a n who
uses his hands and eye* t o make the i n i t i a l discoveries
i n the heat and d n t t t r of t h e workshop Operations
of the t y p e reflected i n t h e Mappa w i t h t h e t r u l y
marvelous q u a l i t a t i v e changes i n color a n d physical
nature, d i d Lead later alchemists (to w h o m w o r d s per
« meant far more t h a n t h e y d i d t o craftsmen or
experimental u t j ) t o n - j a r d a u c h changes a symbolic
key t o the nature of the universe. B u t t h i s o v e r l a y
<* % • totally lacking i n the i f o t p n itself, b o t h
i n t h e earlier teats a n d i n t h e t w d f t h - c e n t u r y accre-
tions. There is no h i n t of m a k i n g gold, o n l y of
farther. T h o u g h t h e generation of stones i n the
various environments i n t h e earth is f r e q u e n t l y m e n -
tinned, neither astrologicaj influer™ n w t l « A r i s t o t e -
l ^ j j " " " * * 2 ^ o k e d . T h e Mappa* Oamada
represents practice b o t h unhelped b y t h e o r y a n d u n -
hindered b y i t . w i t h each operation standing p r e t t y
much on its own f « i Th— .k*
: 11 f I h i a t f t n d e p e r r m t ^ i the
" " " ^ " * n u m b e r of recipes for achieving
^ ^ result, which today would require no more
l
h a n
* simple statement of the type o f reaction i o -
^ v e d - T h e reripea. however, though p r a c t i c a l ,
m u s t not be « —_ - . ^ M t
. l
, ? ™ ™ « * d as representing expen-
mental method in today's meaning. T h e r e was U P -
doubtedly a background of learnine b v t r i a l a n d
tor eaample, the opening sentence i n
VOL. « . F T . *, H H ] I N T R O D U C T I O N
chapter 3 — b a t there is no exhortation a u d i as t h a t
in Biringuccio's Pirotechnui (1540) l o " t r y every t h i n g ,
I d v a r y the proportions a n d the means u n t i l the best
w a y is f o u n d . " S t i l l less was there any a t t e m p t t o
design experiments t o test a theory or to deduce aT
theory From a critical experiment. There was no
theory, no contact w i t h philosophy and i t is rather
h may have suggested t o Eater alchemists the idea of a
surprising t h a t the w o r k achieved such p o p u l a r i t y and
l o n g e v i t y i n the philosophically inclined M i d d l e Ages-
T h e range of substances named is wide—chapters
102-C 192-D, a n d l9i a t t e m p t a systematic listing of
P For the m i l i t a r y engineer there are incendiary
t h e m — b u t the techniques bind the apparatus involved
are in most case* q u i t e r u d i m e n t a r y . T h e most
complicated device referred t o is the glass m a k e r s
furnace w h i c h existed i n both a small a n d a large
p a t t e m p t s t o harness the power of water a n d w i n d t o
f o r m a n d w i t h upper add lower u n i t s — u n d o u b t e d l y
the m e l t i n g and annealing areas although there is a
h i n t of a hearth for the preparation of f r i t as i n p struction of a bridge foundadon under water and
T h e o p h i l u s . Lead plates w i t h levigated emery are
used t o polish gemstones. Ingredients are mixed a n d
g r o u n d i n mortars or on marble slabs, are k e p t i n
earthenware pots (occasionally glazed), i n brass ones.
o r for d y e i n g i n bladders- There are open and
t T
sealed glass flasks. One of the commonest operations
is confLire, t o m e l t together ingredients, supposedly
i n a crucible i n a forge Ere w i t h beFlows- Distillation
is inferred i n the single recipe on alcohol (chapter 212)
t h o u g h the s t i l l is there described s i m p l y as " t h e
vessels used for this business."
Operations on metals take u p more t h a n half of the
m a n u s c r i p t , b u t they are rarely w h a t m i g h t be called
practical m e t a l l u r g y . A t best they are decorative
techniques a n d are on the fringe of p r a c t i c a l i t y even
in t h a t field- T h e r e is almost no h i n t of the mag*
nificent character of medieval metallurgy as i t is
revealed i n the preserved or excavated objects t h a t
a r e now i n museums or ecclesiastical treasure rooms.
Cloisson£ and champlevt enamel are n o t mentioned,
neither are the processes of raising, chasing, tracing
a n d engraving involved i n the m a k i n g of chalices, nor
the mold? used i n the casting of censers, aquamanilcs*
b a p t i s m a l fonts, doors and bells- T h e r e are several
h m a n u s c r i p t Incendiary materials are here described
recipes for solders b u t n o t h i n g on the m a k i n g of
3 in far more d e t a i l than previously, some centuries
filigree, beaded w i r e , or granulation. I t is a chemist's
view of metals, not t h a t of a smelter or a s m i t h .
M e t a l s are melted a n d alloyed, as well as treated w i t h
fluxes a n d other reactants. Except for gildmg iu
there is n o t h i n g whatever t o d o w i t h i r o n . Recipes
f o r c o m p o u n d i n g leaded bronze are given, b u t n o t a
w o r d o n shaping i t b y casting- T h e hammer is used
t o beat m e t a l i n t o sheet or crush i t to powder* never
t o forge i t i n t o a useful object or t o d r i v e a chisel or
punch i n decorating i t .
T h o u g h g i l d i n g is mentioned, the current practical
methods w i t h leaf or w i t h amalgam appear alongside
the far older a n d costlier recipes i n v o l v i n g the pro-
d u c t i o n of r a t h e r d i l u t e alloys of gold a n d silver
followed b y t r e a t m e n t t o produce superficial enrich-
15
m e n t of the precious metal. T h e w r i t t e n t r a d i t i o n
of this technique seems t o have vastly o u t l i v e d its
practical use in Europe- As w suggest i n the note
t o chapter 2 this a b i l i t y t o produce a large b u l k of
r
alloy containing minor amounts of precious metal
b u t w i t h a surface composed of true gold or silver
more subtle m u l t i p l i c a t i o n — a far j u m p f r o m a n y t h i n g
in the minds of the metalworkers who discovered the
effect a n d knew its superficial! ty_
mixtures and tanklike b a t t e r i n g rams i n the Afappae
Ct&vi&ik, b u t for his c i v i l counterpart there is very
l i t t l e , a n d no mention of the contemporary successful
do m a n s w o r k . T h e m a i n points of engineering
interest are the b u i l d i n g of a cofferdam for the con-
some i n f o r m a t i o n on the d e p t h of foundation needed
for various sizes of b u i l d i n g i n different soils (chapters
101, 102) + I n mechanism, there is the description of
a universal j o i n t of the t y p e later called the Cardan
suspension (chapter 28S-0), and a brief l i s t i n g of
some pneumatic automata like those of PhOo a n d
H e r o (chapters 2S8-G t o - M > . Almost e v e r y t h i n g
else is chemical or metallurgical- I n this t h e Mappa*
Clav&ula reflects the curiously slow development of
mechanical devices of an ingenuity comparable w i t h
t h a t of the v e r y early discoveries i n m e t a l l u r g y ce- h
ramics, bind d y e i n g . 4
W i t h all its faults or perhaps because of them,
there are innumerable useful hints t o be found on
m a n y aspects of materials, technology, bind c u l t u r a l
influences. T h e table of nines w i t h their L a t i n e q u i v -
alents reflects an interest i n n o r t h e r n E u r o p e — b u t
where? T h e m u l t i p l i c a t i o n table, so desirable w i t h
Roman numeration, gives a h i n t of subprofessional
a r i t h m e t i c , and q u a n t i t a t i v e analysis appears i n the
Archimedean assay method of chapter 194. Though
alcohol was k n o w n somewhat earlier, the first refer-
ence t o how i t is made is i n this t w e l f t h - c e n t u r y
before the classic Liber Iptiam of M a r c u s Graecus.
One of the oldest b u t least w r i t t e n - a b o u t professions,
t h a t o f tbe dyer, contributes m a n y recipes, w i t h a
curious emphasis o n the dyeing of skins rather t h a n
textiles- T h e magnificence of medieval i l l u m i n a t i o n
could o n l y come from the gold leaf, the ground gold
inks, a n d the other pigments described i n the Mappa k
and the glory o f medieval stained glass was based On
recipes such as those given i n chapters J 56-258. The
permanence o l paintings depends o n the use of linseed
oil described for the first time { t h o u g h i n connection
w i t h g i l d i n g not as a painter's vehicle) i n Sties t a t ,
chapters 112-116.
4
Ftir a suggestion n-z"- "Jim the r&k of i t r t be t r a i ly motivated
pliy M j r i j j g invention in these two fields, I H Smith
 20 SMITH A N D
Above a l l . the Uappac Ctaricuia serve* to sum-
marize a n d transmit the knowledge of the materials
used b y painter* a n d other craftsmen that was part
o l the European heritage i n tbe twelfth century A J J .
I f the compiler did not know enough to insert descrip-
tions of the most advanced practice of his times, at
least he d i d n o t intentionally delete the traces of an
earlier experimental Technology t h a t we bod t o fasci-
n a t i n g today- T h e following essay has very k i n d l y
been c o n t r i b u t e d b y Jeffrey Hoffeld of the Cloisters
Museum, M e t r o p o l i t a n Museum of A r t , tn order to
place Che art-historical value of the manuscript i n
d e a r perspective.
T H E B A C K G R O U N D A N D PLACE OF T H E
MAPPAE CLAVICULA I N T H E HISTORY
OF A R T 1 manuscripts of the Mappa* Gawiaia exist, no d o u b t ,
Reicbenau was an i m p o r t a n t center n l both the
a r t i s t i c a c t i v i t y a n d the revival of learning stimulated
b y the Carolingian c o u r t I t is there that we find
the t i n t evidence of the Mappa* Oawicuia. The
n i n t h - c e n t u r y manuscripts of the Rekhenau schools,
characterized b y a sensitive integration of Merovingian
a n d Carolingtan forms, represent an i m p o r t a n t stage
in the h i s t o r y of medieval painting- I n fact, i t is
p a r t i a l l y on the b u i l of Reicbenau** achievements
d u r i n g the n i n t h c e n t u r y t h a t many scholars have
been led perhaps m i i t a k e n l y to associate later
h p
O t t o m a n w o r k s , such as the Cero Codex, the Gospel
Book of O t t o I I I . a n d tbe C o d a E g b e r t , w i t h the
c o n t i n u i n g p r o d u c t i v i t y of Reichrnau scriptoria.
Reichenau is also among the Important centers
w h i c h revived the classics for their literary and l i n -
guistic value. I n their efforts to revitalize and refine
the L a t i n language, these centers, including Aachen
(led b y the learned A J a i i n ) , F u l d a . Corbie, St. Gall,
a n d numerous smaller schools, fostered a cvnscrvaiio
as m u c h as they brought about a r*nmtHo T h i s , of
m
course, was a natural by-product of their s t u d y o f the
past. T h e w r i t i n g s oil late antique authors were
t h o u g h t to contain an as y e t unspoiled L a t i n which
could be used to reconstruct both the language and
the c u l t u r e of the empire before Charlemagne. The
ancient tests became the reference section of the
monastic l i b r a r y . T h e y were copied directly and
i m i t a t e d ; often the i m i t a t i o n was bound w i t h i n the
same covers as the mcdeL T h i s was the case w i t h a n
o k l L o m b a r d Fk*rik£tum+ w h i c h came i n t o the hands
o f tbe poet monks of Rekhenau i n the third decade
o f the n i n t h century. I t contained excerpts from the
w r i t i n g s o f pagan a n d early Christian authors which
were copied several times b y the poets of Reichenau
One copy w t d t to Laon mhere i t was. i n t u r n , copied.
A n o t h e r w u sent t o M i c o of ST Riquier, a u t h o r of
*ThU section ha* been kindly cwimbticed by Mr. Jeffpry M
HaJTeld, now Assistant Professor at Art History it ths Stat*
U n i m m l f || N*w York i t Purtbast H e wishes ra*cfcnow(edzt
I be * * * * * * * of srudent. Harriet "
H A W T H O R N E
the E r t i M p i i dmrsorum nuftorum, who revised i t for
teaching purposes. T o the excerpts f r o m O v i d ,
S t a t i o n V e r g i l , Pertius, M a r t i a l , a n d J u v e n a l the
4
works of Prudentiust Fortunatus. T h e o d u l L and
Smaragdus of St. Mihiet were added-
Ln view then, of Reichenau's position i n a r t a n d
r
leamingn i t is not surprising to find listed among the
books i n its l i b r a r y the Mappat Clxiiicula de e^iciendc
auro ppjymfn / . Although the m a n u s c r i p t is lost h
this entry of 821-812 i n the i n v e n t o r y of the monas^
tery s library represents our earliest k n o w n mention
T
of a Sfappa* ClavUuta manuscript. T h i s guide to
materials and techniques, perhaps a copy of an older
manuscript, was probably, like the Flarilegium, used
as a model for subsequent copies. T h e t e n t h - a n d
twelfth-century versions of the Sdestat a n d PhilUppa
became of the care given i n the n i n t h c e n t u r y t o the
preservation of existing examples such as t h a t a t
Reich enaUi
L i k e other antique writings housed in monastic
libraries, the Rekhenau Afappot Clmcula w u p r o b -
a b l y a fountain i n t o which the brethren d i p p e d to
p u r i f y their L a t i n . A t the same time they f o u n d
w i t h i n its pages the curious a n d , b y t h e n , extremely
remote techniques of their classical p a s t These
reapes were often enhanced b y the m e n t i o n o f a
place name, indicating the uuppoied geographic origin
of particular materials and methods—details w h i c h
undoubtedly intrigued the reader. T h e book could
n o t serve as a practical guide for tbe a r t i s t ; perhaps
much of i t was not even intended as such b u t o n l y to
delight the uninformed reader w i t h its description of
changing colors and strange materials- W h i l e i t
could not t r a i n a beginning painter i n the practical
aspects of his c r a f t an artist w o u l d , nonetheless* value
such a work, especially i n Carolingian time*. F o r i t
provides the atmosphere of the C l a s c a l p a s t ; i t r f r
veafa the mysteries of p a i n t i n g
T o understand this aspect of the m a n u s c r i p t ' s
popularity, one must first consider several o f the
undamentaJ characteristics of p i e - C a r o l i n g i a n a r t
Influenced b y the arts of the % L i t I p e r i o d , the
« r t y medieval artist often stressed the i n h e r e n t
q r a h t » of materials. I n manuscript i l l u m i n a t i o n ,
« m the fashioning of brooches and buckles, the p l a y
between the elements of design a n d the u n t r e a t e d or
rough surface* of the materia] is exprtsave- Imagery
* affirmed, given substance and volume b y the
painted natural backdrop o l a n a n i m a l s k i n . I n
p a i n t i n g there a l i t d e or no use of gold, the p a i n t is
r
o i t e n t h i n and translucent, revealing the skin beneath.
M E t S T * 1
! " — *
t B « d e these p r e O r o l i n g i a n practices, those of the
LaroJmgian a n d O t t o n i a n schools a r t d r a s t i c a l l y d i f -
l e r e n t l i e the few late antique manuscript* w h * h
M t , m the manuscripts coming from A a c h e n , f o r
V O L . 64, TT. I, 1*7*| I N T R O D U C T I O N
example, an a t t e m p t is made to transform the modest
i n t o the luxurious. Gold is extensively used, i n
l e t t e r i n g as well as i n picture-masting. T h e impres-
sion t h r o u g h o u t is one of simulation. W i t h paint, the
qualities of marble columns, precious stones, a n d
incised camera are approximated. M a n y of the ac-
t u a l leaves of parchment are themselves transformed;
stained purple, they are made (o look like luxurious
carpets o n w h i c h jewels and objects i n gold a n d silver
have been placed around a modeled figure- T h e
desire to embellish nearly e v e r y t h i n g w i t h rich ma¬
terials is suggested, too, i n the t e x t o f the Mappae
ttavicula. T h e reader is instructed In the p a i n t i n g
of glass a n d i n the staining o l skins, i n the n a m i n g of
stones a n d i n the m a k i n g of gold leaf. These lessons,
however fragmentary and imprecise, corresponded
w i t h the pursuits of the Carolingian and Ottoniao
artists- T h e richness of the late antique manuscripts
in their possession was somewhat of a mystery to
t h e m ; t h e i r luxuriance was s t a r t l i n g . T h e explana-
t i o n for these foreign qualities could be f o u n d not i n
h
the specific details of the Mappa* Ctavkula, but i n an
a t t i t u d e w h i c h i t expressed: "arte et ingeitia pinci
ingetiium" f a r t and imagination subjugate the q u a l i -
ties of m a t t e r " ) . T h e manuscript became the voice
of the past, t a k i n g the place of a long absent t u t o r ,
as an a n c i l l a r y to the illustrated manuscripts and
modelbooks of the late antique period.
C o u l d its voice, however, be heard i n the studio?
There are well-defined relationships between the
l i b r a r y a n d the atelier of a monastery w h i c h suggest
t h a t the two were o n l y physically separate- T h e Rule
o f St- Benedict i n the sixth c e n t u r y , as well as Later
monastic customs, prescribes a period of reading each
day. W h i l e the m i n i m a l requirement was u n d o u b t -
edly fulfilled for most b y the reading of religious
texts, one can imagine t h a t some of the monks sought
Out their o w n interests among the books shelved i n
the library* A n a r t i s t w o u l d have access to precious
modelbooks and illustrated manuscripts w h i c h were
probably stored, n o t i n the shop where they could
easily be damaged, b u t i n the library- F r o m the
t w e l f t h - c e n t u r y treatise of Theophilus. one has the
impression t h a t an interest i n a r t m a y well begin i n
the l i b r a r y . Theophilus tells the reader t h a t he has
w r i t t e n his treatise De dirtrzis j r d & t i j (Oft Diverse
Arts) for " a l l those who wish to avoid a n d subdue
sloth of m i n d a n d w a n d e r i n g o f the s p i r i t b y useful
occupation of the hands a n d delightful contemplation
of new t h i n g s . "
Theophilus's treatise combines older recipes, w h i c h
be probably found i n the l i b r a r y of his o w n monasteryi
w i t h w h a t m a y well be teaching? based o n his o w n
experience either as a metalworker or as an astute
observer i n a m e t a l w o r k shop- I t is clearly planned
to instruct- T h e treatise as a whole n o t only serves
to inspire the " d e l i g h t f u l contemplation of new
t h i n g s " as does the 3 f r p p 4 f GauKuta, b u t i t also
21
provides a detailed practical guide for the use of men
in the shop.
I n the n i n t h c e n t u r y the intercourse between the
shop and the l i b r a r y is even clearer. A t Aachen i t h
seems there is complete interdependence of all com-
ponents of the c o u r t ; Charlemagne, the c o u r t a n d it?
entourage, the royal l i b r a r y , a n d the royal workshop*
E i n h a r d , the biographer o f Charlemagne^ embodies
this remarkable synthesis. N o stranger to libraries,
having come to Aachen f r o m the i m p o r t a n t monastic
center of learning i n F u l d a he himself was the head
t
of a bronze-casting shop-
T h e t w e l f t h - c e n t u r y manuscript of the Mappa*
Ciovicula also suggests t h a t the independence o f the
shop from the l i b r a r y should not be taken for grantedr
T o its recipes, many o f which are ancient, several
up-to-date a n d useful directions have been added-
These include the first twelve chapter? on pigments,
as well as chapters o n incendiary stufls* construction
techniques, and c h r y s o g r a p h y T h e inclusion of con-
temporary practices implies t h a t the manuscript was
of practical value i f o n l y as a mnemonic device.
T h e place of the C o r n i n g manuscript i n the a r t of
the t w e l f t h c e n t u r y is similar to t h a t occupied b y the
S£lestat and Reachenau manuscripts i n the t e n t h a n d
n i n t h centuries respectively. I n the twelfth c e n t u r y ,
western Europe once again witnessed a r e v i v a l of
a n t i q u e ideas a n d imagery. I n jurisprudence* the
s t u d y of the L a t i n language, poetry a n d l i t e r a t u r e ,
philosophy a n d science, and i n a r t , the present was
shaped tn the image of the classical past. T o some
extent t h e t w e l f t h - c e n t u r y revivals were predicated on
the achievements of the Carolingian a n d O t t o m a n
renascences. T h e classics studied i n the t w e l f t h -
c e n t u r y monastic l i b r a r y were often those w h i c h h a d
been copied or translated from earlier manuscripts b y
Carolingian scribes, editions of w h i c h were s t i l l a v a i l -
able in the monastic libraries of the twelfth c e n t u r y .
A b b o t Suger's knowledge of the writings erf t i n : peeudo-
Dionysius is the result of one such transmission from
the n i n t h to the t w e l f t h century. T h e t w e l f t h -
c e n t u r y Mappae Clavkula probably reflects a s i m i l a r
t r a d i t i o n , one w h i c h goes back a t least t o a t e n t h -
c e n t u r y manuscript like the S£lestat. T h e desire t o
s t u d y , to record a n d to preserve the past is itself a
sign of the renaissance m o v e m e n t T h e a u t h o r of
the prologue t o the Mappa* Cknri&tfa refers to such
treatises as sacred books. For the t w e l f t h c e n t u r y ,
they w o e sacred b y v i r t u e of t h e i r age, provenance,
a n d the mysteries they revealed.
I t is impossible for us to a t t r i b u t e i n d i v i d u a l works
of a r t o f the t w e l f t h c e n t u r y to the influence of the
practices recorded i n the Mappae Clancuia. The
manuscript probably served as a templet, rather t h a n
a source, against which the t w e l f t h - c e n t u r y a r t i s t
measured the richness of his own w o r k , a d d i n g to i t
his o w n prescriptions for pigments and the fresh i n -
sights of A r a b i c sources-
21 SMITH AND
For the s t u d e n t of medieval a r t , treatises like thoae
of T h e o p h i l u s a n d the Afappa* Chitnatla have a value
which is far more profound than the immediate reward
of i d e n t i f y i n g a particular recipe w i t h the materials
and techniques of k n o w n w o r k s . W e labor under
the assumption t h a t i n medieval a r t a f a m i l i a r i t y
w i t h n a t u r e is manifested only i n those a t t e m p t i
w h i c h appear to be n a t u r a l i s t i c W e assume t h a t
only c e r t a i n artistic forms, usually characterized by
modeling a n d p l a s t i c i t y , reflect tbe presence of an
awakened a r t i s t obaervant of nature. We forget that
t h r o u g h o u t the history of early medieval a r t there
were no prepared packaged paints, inks, or parchment
leaves- T h e locating of particular pigments required
a f a m i l i a r i t y w i t h n a t u r e w h i c h was so intimate as t n
be i n c w n p r e h m s i b l e to us today. I t required a
knowledge of not o n l y the unchanging elements of
nature, b u t of those that v a r y w i t h climate* w i t h
geography, w i t h the t i m e of year. T h e eggs of a
specific insect, a t a specific t i m e i n i t * life, would
yield a p a r t i c u l a r p i g m e n t . A t other times the same
rggs w o u l d be useless. T h e treatises reveal some of
the difficulties. T h e y take us along on the search
for materials. T h e y b r i n g us i n t o the shop and seat
us beside t h e a r t i s t where we witness his every step,
[ n Theophilus we can almost smell the furnace of the
goldsmith's s h o p ; i n the Uuppcc ClawnJn we marvel
a t the gold, f l o w i n g a t the b o t t o m of a pot- F i n a l l y ,
we m a y f e d t h a t t h i s continual struggle w i t h the re-
sources of n a t u r e , preparatory to the fashioning of the
work itself, leads* in the end. to a highly personal
expression of nature, n o t as a physical phenomenon
co be c a p t u r e d i n realistic d e t a i l , b u t as an ungrasp-
ahle forte p i c t u r e d symbolically and abstractly,
ACKNOWLEDGMENTS
T h i s t r a n s l a t i o n h a d i t s inception i n a conversation
between one of the translators a n d Paul Ferret,
Director of the C o n i n g Museum of Glass, at the
time of the X t h I n t e r n a b o n a ! Congress of the Histcpy
of Science En 1942. M r . Perroc t o l d of the museum's
acquisition of the famed manuscript and offered its
HAWTHORNE [TXJU4L PHIL. SDC P
use. His continued interest and advice a t all stages
are deeply apprtciated<
Photocopies of the relevant portions of the Sfrlestat
manuscript were k i n d l y made available b y the B i l >
UotMque de la Ville de S t l a t a t through the courtesy
of the L i b r a r i a n . D r . P- A d a m , a n d the C e n t r e
National de la Recherche Sri en t i t que.
Correspondence w i t h the following gentlemen re*
garding various individual problems has been most
helpful and is gratefully acknowledged -
P. Adam, M u n i c i p a l L i b r a r y , S£lestat
Robert H , B r i l l . C o m i n g Museum of Glass
C. R Dodwefl, University of Manchester
P
Sidney Edelstein and Hector B o r g h e t t y , D e x t e r
Chemical Co^
Eric P. H a m p , U n i v e r s i t y of Chicago
B a r r y J_ Hennessey. H a r v a r d U n i v e r s i t y
M a r t i n L e v y . State U n i v e r s i t y of New Y o r k a t
Albany
John J . McCusker U n i v e r s i t y of M a r y l a n d
h
A. M e l i k i a n - C h i r v a n i . Paris
A . N . L . M u n b y K i n g ' s College, Cambridge
T
Frank D . Prager, A h i n g t o n , Pennsylvania
Heinz RoosenRunge, W t t n b u r g
The e d i t m 1
indebtedness to Jeffrey H o f i e l d o f
the Metropolitan Museum of A r t w i l l be shared b y
all readers of his important e s a y i n the I n t r o d u c t i o n .
F i n a l l y , all authors must acknowledge the essential
contribution made by their secretaries* b u t the w o r k
of Pauline Boucher a n d L i n d a Sayegh i n c a r r y i n g the
translated Xfappa Ctauicul* through m a n y m u t i l a t e d
versions i n t o visual if not conceptual c l a r i t y merits
unusual gratitude.
T h e preparation of the first d r a f t of the t r a n s l a t i o n
was aided b y a grant (ram the N a t i o n a l Science
Foundation, i t s completion was made possible h y
funds for secretarial a w s t a n c e f r o m G r a n t N o -
H68-0-*6of the National Endowment for the H u m a n i -
ties. O u r universities, the Massachusetts I n s t i t u t e
cJTechnoJogy and the U n i v e r s i t y of Chicago p r o v i d e d
the a l l - i m p o r t a n t environment in w h i c h the w o r k was
done.
 T H E MAPPAE CLAVICULA

LIST OK CHAPTERS IN THIS E D I T I O N '

Chiplcr f ^ e , Ihu Chapter l . =• 1

NOL FdW Edition No. Tick Edition

— hit* J* 43 Miking inKriptiQnj with gold. - • - i -! - to the h

I V n d H ,.. St Ant rrwrhorj , f , » M i i t i < 39 t f

• JM*.. .*.. F » 44 Another i r d p * JOT , M

LLI ••24 45 Agajn. another rtdpt + *+ * . i 35 k

— AjBir V U Another anting to gold * , 1 39

T O H 37 47 A m b e r gOfden wnung wthout using gOtd 35
H Aoift . . . . . . . . IT 4ft AHT>rkinl B
vii Ceruse and mininni.. »r * L . . . - . * . ^ . * . ^ , . . ^ . . Z T
4 49 Another b,nd . 31
wit Va™«ii>cnll 17 50 CoU^olcHol wntiftg on pairhnKnt^ miri4r and
1M MrJtuttt flf p^tMnt* +. + , 27 gfejfth H that it Hcnu robe nude ol fold 35
x TtTflfwnrtj ptjnwr_:s , 27 51 Tbegildinej oi ( b u w , on a r w f , uid oa copper. . 31 t

3U pigment! that conflict with each Other. .-.+ < . . . . . . 2? 32 Gertinl tbt (0*4 color tltat ym w t 35
— i^ofogw B 53 The EH]uefyiflg ot gold lor m y^ainting 11
1 Making i t * n « gold. 21 54 Making figufirtt* <ti « • awi red (old and lirver. „ 13
2 Again* making fold . 29 51 The giHtnt 0 1
everythini that yon want to gild,
I MflaWtl**** .< 9 whether ir he a veescloi silver or copper 36
4 - - 30 56 Painting black On a gold v c w L so that you think It
J The recipe (or the mast [old JO uinUid „ Jo
6 A rwcjpe for gold . 30 57 D e m t e d irnrfc. . . + 36
m N»fio M
ft A rwripe r f c * i . .
W + + . 3+ 1 39 ToihoworianaftttfJ |oW and oraaroented work of
* Apk . 3S cOfjOV I f H P i i t H fft^fffii t i t A i i 5ft
IV A t w • n a p t Icr geekl . + 31 r}0 T V (iUingof tin ebcrta + 3ft
II Again, c t n o f gotd 31 61 An eway wrwy of gilding wm mw + w+4 3ft
12 A(ltA tcaki*) gold
P 31 61 CoaHng mrfwee* -** T IT
U Th* cciori^ QiE^W fnxn hwny ^ p p r r *ri -hwW ftl Again IT
dappH. 31 M Tbe anpUealioa at gold 10 tfOO-. —* * IT
14 Th* coloring ( C * l wbkh floe* H t U 3? 65 For goU toiTJtfwt _**_ * T._ + 37 ++

13 A*Wtb« recipe lor [old v 32 06 Making gold - ...,- -.-. . tt + B + h

1ft Again, tbe w t t > >t»MPHt4*>4i.H

M 32 ti? The duplication ol gold , , , . - . I T T

17 Making p « c t gold wiih or without melting ir J2 N Wnhnen^ ----- *T

LI Making proven fold. m +h+ 32 (fl Civtng to glaae the nature: oi a trtcOitjrf rqeial 37
19 The cooking oi fold 32 70 The 14me gold uacd H Ornam^ntatk^
P IT
20 A Etdpt lor gold T x 32 TI w M m • •>•• - • - - - *
2L Miking a heavier gold - 32 77 A rwdpt lor atfiwr.., . * . . - + + . . . . . . . . . Jft
F k k

21 Tbe uniting of gold u d i n -shaping 33 73 A nope for iilvrr Jft

?3 Again, the rtv-lctn^ of goU. » . » . 33 74 Maktog braat - 1ft
24 Hew u t w y of gold thcuM be mad* 33 75 Making copper white Jft
23 Art operation with gear] + 33 76 For the dy*ing of goU *. . . . . . . . Jft + +

2d A doubling o/[old .»»,.*.*.». 33 77 Making white copper ,, + Jft

fT w*r i 13 7ft Making kad IfataTftr U
28 A m b e r way. + .+ 33 79 A rvdpe loe gokl aoUer Jft
2* Aruritaer wsv .< 33 SO Changing coppe-f ^ .
T r r r T 1ft + T h + + J l + frfrfr + 4 T r i

» A goVl ink 33 11 Wriring m gotoVn-coiored k t m If

31 A goJden n f r a g w t f 33 12 Writing in eilvery k t t n Jft
33 Another- wvj . 13 •3 Making eiEveT aJWIWw™, or (old from copper
P Jft
33 Making hard fold 0uid so (hit It come* out ol the
h 14 How black nlver xho^Lrl be ™Jc white 19
hhiw + tt 15 The j M " v of ailwer Jft
34 Liquefying gold. ^ 55-A A copper-tin atloy ingot. . . . + . . d . + •.•• + »+ r 5ft
J3 Making liquid gold . 34 15- B A whit* hlver aikqr- - + + - Jft
3d Softening gold » due YPU nay fom A t t l l in 34 rt 16 Cleaning ulver vewKia withoutdamajt 39 4

3? Th* liqupfriag of go4d «***.»». P34 v BeVA Agairu cleaning w]ver_ «tf.;..i J9 M

14 How gold can be matte liquid without U 34 16- B Again, cfelnirtg Mtew ... ... Jft + + + P+ I

39 Writing gold k f t t f t . -- - 34 •ft-C A rwcawt Jft

40 Awrtwr war - * 1 4 Sfr-D To flean t i h w . . . . . . . Jft +

41 A i':[T.f-r * i v . _ L . * A 34 17 For wJrrf u a p p w golden color-^ Jft

42 Anotherwww. . . 35 SB The recipe for white metal Jft i 4

B9 Tbe rtcrpu :• r liquid aQwer : y W « n ol wtuch owe T

i See rh* hnonote to the Prokwut refarrhaf tbe H of chapter piate* copper with l i h v r . 39
in the c t i p H l OUnuimpL MVA Aradpt Jft

23
 SMITH AND HAWTHORNE
Plgt-tbia
OiaPiH"
No. Tiilc tdmm
Edition
No. 47
to 133 • w m w •m• •m T- J
47
»-B 134 LaffflftUn W t t l * •* * L
-*•* - + J

A tin-ecVprf laad .... 40 4T

at-c 40 133 Fijt»rjDfit
TraHOrnT lor 136 47
40 5olit itone *T
«0 5 d w at • Hut tabr 40 L37
tl HOB i * d L • (v* i m y }: ^ - n . . . r l !c i-. v . x J ^ T i M n p ^ *- 41
L3fl
WlW :

10 T^r T^ric-ia >»t* ^ - -

*1*A AvrUHic - f c . . . . . 40 1JO iJ
92 - M t ing in Th* Italian « T 140 Ho** cOpf*T f-l]c^nft in Rudlx . * . - -x 47
40 T B T +

92-A Sdver *n:,.nf in tin llalian WIT 141 Tht ndpe for elKtron- + 41
A: B A m 141 Gold K U P for t s t i - i n IS
•2-C A m 143 Tb* ircipe lor roaJrifaf liiliarfte f™» kad a
*2-D Another artw -rUing m 144 Awtkw- ropp* lor M I C U I I liUiirf^ fl1yw

WE A Jcadcn H M ^ - I M - 40 143 Mtbtag gilded rp^»ic P

40 146
k+
U
•J W r i n f witt quid(iir*ax ECBJE-T pta-a* * V
*3-A A topper ampotilini ........ 41 146-A To bring out :tc cok-r ol mosaic b f ta
A hltnlPlLiU f a uSvr 41 146-H How to j i i n j B coppw into the c n l * oi fold *>
*±-B
•J-C Metallic writing 41 l l f r C The poLiii[n( o( f t m i . k

l"nn.| copper O nuke if tk» | J « 11 346-D of j ncter UCUTt afV polifhoJ

ft 14* I
M M * t i n ( r - r t k n n i t a i bar (or Oa pfJUhirii [ t u " —- J +

„ . . afuiE ut wiilVW TWU n 41 146-F How « w r y iimc is pirparod for pcJiibinj ctcru-- -
•3-A A coating tor 41 liA-G HOT U n pol i -h [cma ought to b* iwld for poliali-Jii
-

A coating I K 41 144-H
ts-B 147 Pfd copper, and tie Ji:i£ aod [ilcUAg -rOO- - +

05-C TOM** 41 149 Aluifl for ttchi-n ITODJ ++ + +

46 • • • • • 41 149 Tb* rtape [ot Ciidmia T T -
97 Making tnJigO fug man T 41 150 QvWpdU will bf mail* like tbU (P
M Making Greek tjua- 41 131 il T i l . . ; . „ ., ... 30
41 Itt T b l fwipr lor a. ^ f f o l . 50
W
LOO
Gfldiag <* K ™ . » o d or
For eoioHni IOW tt L3J Aoaihtr kind .... *
101 Tbe byvul of a. Kructura - . . . . . . . . . 42 134 Another kJod ^
in A atnacTUT* ia n M . . . . . • . . . . . . . . . - . 42 155 AajgdH-hiad - •
1<U 41 136 Makint • rreefl cok* uJ glut- --- j;
104 ..... n 137 AiBtberkiwl •
IU Tlw rccivt ! v d j u u b w . . . . . . . . . . . . . . . . . . . . . . . . U IU
Makioa l3ia i milky color - 2
106 Th* fwipa i t r *rfdjfTm f ] 159
E

107 Tbe m p lor whit, lead 42 160 Making rJjHdblaod «tor-- J9

Itl Sttkbt t ^ d ^ r r d d b f a c o k v . . . - ~
i fa J.... 47 162
lor-A Making a puiok (oior oa gbu* withOuL br* rf
Tb< racip* (oraaran, . . . . . . . . . . . . . . . . . . . . . . . . . . 43 163 A paJeapph (re™ calcic sUi* .--» 2
Hew tn ore*! • pfciatirn to thai i? CMJUK»I ba da-
tot 164 B - l ^ »
Hn>7id by wttar
Tbe. recipe fc«a H * * W l
43
ti
105 •
110 166 Okimpian Uone "
Tbe —. • - forjbaAaj. . . . . . . . . . 43 167 Tbt »Laoe fiavildn. SI
111 Gilding On wood or on cafnh 43 L47-A Tb* red Mine . r - SL
112 Tbe. ncipe lor l a i n i 1 s i 44 1A7-B T V reti£* far UhH -• tl
IU LllllTl al ' - ^ r ^ l „, .H..... 44 IbB 31
1LJ-A
H
Tbe recipe ID* n u n . . . . . . . . . .
TSe proewdurt lor laying mil pbaug . . . . . . . . . 44 •69 AdiffllK . J • which ia adlrd liwily - U
114 Tb* n ^ - a t k e j « UnfeiWiOf . . . . . . 44 1TO si
IU 1T1 Aa a p p t • a s j n . . . . ,
Coktr>W tim ball 44 Sky-bhae U n n . .. 52
11* Tb* rmev* f « fold W*kw- 14 171
A:: j j ^ r t •: .. :Lab<olOT u
117 Another fo*d noUnr 44 173 Qo¥*-colortd l i m e . - 52
119 ** 174 174-A
r

A n « ol a eoW liln lha eag[a m e * . . . . . . . . . . . . - S3

lit 52
120 175 A reddish tutor i i raapaaed of \aat
44 176
111 Tbt recipe I m p u r p k d y * *\
Cooptrwbkr 4S 176-A AjintberrecipK ... 52
m Tfw rwipa lor llo mWer- 43
L22-A 176-B AaotWtvdra. »
Tba- n b p t Jo* a alu* (or i'.o« 43 Aaocherleeipe lorWttHjm .. ........ ^
U2-B A.-*Hh*f n y ........ 4S
JUC Aao^rreipr;
A H P * ! w g b a t . . . . . . . . . . . . . . . . . . . . . , 4S A-aaaliaJ »
122-D Glue- from wood far bona. 43
lit Another poaJiHf..... S3
Ut GoU o n f-Jf uneLling tj Again, another Tteip* .... S3
US
TJw tlonc * l i a | t a . 43
;*n ' f ~
I ......... tt
Lit L76-E Agrtcn p f l n d i a * . . . . . . . . . ^ ^ y . ' " . ' " . „ 53
til Tba purpt* dye from tba miirA 46 176-F
Aa^io. aaotberndpa- "
lit VfS.-..t. | * T > I f i 176G Again, i i . T - ^ w j ,
11* y^.n, * p^rpfe i ™ ™ tf 176-H
^B"io. another w a n / - . . . . . . . . . . . , . . , r P
130 Ydto-P«ph 46 l7tVE
LJ0-A Tba dWpan-B o* geld 46 L77 The fim ptH^ai, o( c a n a l s ^
t ct Jt 53
G0hJpfcBt.-fi'!'i*n:.'. M 176 Another o J ciooabiu colnr . . . . . . . . . . . . 33
131 DOtber rrdD.
B

tt
152 i i b n paolE. V • diapanHH of i h w . . 46 l i t a ptWwi- S3
137-A •*« tf ISO • p l h j a green p j u d n i , . . „ . . „ M
T O L * 4 . F T . 4, I t t + J T R A N S L A T I O N 15

Chapter Pad^Latt Chapter ?Ma thia +

No. Tide Edition No, TnU EditA

161 Ag-»::. a pWW f - i « - « W . ^ ^ ^ ^ ^ ^ ^ ^ F ^ f S3 + r + +
22T ADorb*rltdp*for rlaat _ . + + l h 67
1BI A p i a , n [ n a paadtnt.* „™***nh<«i h S3 228 How i k m i ihould ba dyed purph „ 61
t|i An w i * r K i 4 o r t d pamii*l 33 229 Dyninc purpar - M 62
184 A purpk c^jPiJiijj corjapceed of Fcwr b-pjredieot* S3 2J0 r^m^a^fT-J. 63
185 Ajt.niL. ft purple fua*W 4M tVi#itii Si V
2J0-A Pyalnf a lalA f T H n . . . . . ^
+ + + • 63
1*6 ApDUElH a purple paWiur , , 54 251 Dywt| a i b n arcrn P 63
1ST Agtirtn e pale purple pomdw * + , + . 54 J3J Arain. drelaf a ikid . t . i i i . i 63
198 A a n L a a pemdiuj.
r ; ;
1 1 T r *T
;
Ti+i+* 54 213 Dyeiftf tion* appU^freen . + , 63
184 Af-»iW M 234 Appifl~UMij purple r t4 6J
190 Therecjpefocrran ink . . . . i 54 235 Thn 6nt f o d t U dyting . . » * . . . F 63 + +

L9L To tamper green »** . » . . , » . > . . . - . . » > . 54 236 The Krone: ^ P » * W dy^ng* * ;
r 63 + 4 M

191-A Cuttifll a n d poluhinj fen*. . .,. * +F +B 54 23T Tba thinl ^caWiar dyaiof. L H i 63
1Q1-B QtrtddrM MilJjilJillWbl 54 138 Piiiiuapui.. i . 63
,91 | ^ u H ] the*, i i eofenrlered as followi
h 54 P 2» i^aWtaJ kaaaa 64
191- A A i t : i A n o t h e r e r t c o p4wAwi .....+•+ 55 240 l>yF-iaj b o m b o t B k A d w«e> r r w i ^ ^ . . . 64
1T1-B A p i a , l p*W-u. ........ 55 241 Hyejiq the ttnt Enaferiaif bimftiLaa 64 T T

I'JJ f" A fat of thine* that p l b t t n use 35 242 Dywic tba a a m c a u t m a l a appfa^rua - 64
192- D On the k i n d * of minerab^ htrta, wooda, HuaWi, add 243 A pipAanl A t d j u s b l f .».„....». 64
ako on f u n m . a l l . uuron, a f r j w i 1 • m oil*, pitch, r
243-A Parchnmc from aa^iio> » 64
2U-B Taa raop* for vbita lead 6*
193 Of pUotiv earth* add wooc* 53 244 M •» a W I p m • nade 64
1H The aauyine. of rott-HTTH alk-ji by wTtchjAt m ab- 243 rili1ij.haai 64
as) rttpj/ .. T T 36 24J-A A draaaioi Ear fildinf cioth 64
144-A Th* rat» of wSghu of WU and metal* for L M id 346 A raripe for a rojU-cokvrd t n w u w n u h 64
the i ' ^ i r > ....... 56 24A-A MakinxfOfd i t a f . - . , * . 65
195 The recipe 'or aid Jo lor use OD gold 5T 247 How tfaaaparant varakhaa oufht to be put o*er
146 Apia* niello lor U K on a/jpraoin. [stitverl SB pifmeabi ******* * 65
197 Again, a t above, to that tbe rildini nay have 246 Chrv»iT»phr 6*
erjlor.i.. * . . . x . . . . . . r 56
• » * * * * * # p * i 244 Writint in fold fcrtett- , , - . . , PH T + 64
195 To- aof ten IC-M. do as follow* ******* >• 130 GiklirtitrtiD.---. 66
199 A|tm. it you n o t to Lay [old oa a ikid- .. F * • • 58 P
151 The redpe f o r mait* 66
200 If you mint • • : • - r n ^ - j - +-+ :
, . . . . P J 58 153 WhLta cofrpar + 66
201 If ytn. wank »|o±a copper or braai . ,. 5 8 P
133 Lac. h o w it UP worked for paiatiai on wood or « a
202 Th* j-o. p.. together of bnav - 38 WBM.. r » M » a , » * a . «
20} Juuiinji tin tofether » » . . » + T > * . i t i T 58 P
234 Uma and aaorJ .**+* + *+**4 66
204 An eaty way o/(?~ldEftg-- M 155 Brick walkL . . . . . . . . . . . 6T
205 For a tin H k k r - . - . . - - -. -. - 5* 236 Tbe redpe lor tarjrjhire-rxriDred pjJaH 61
204 PainthOf black om a p i t a d , » that you thiok it 257 Tbarecipefor red ataaa . . . » . >»i».tHi 6T
hai been b l a a l - . . . . . . » * * « + T+*T**» 56 256 Another wa» 61
207 GiUuaf. bv tbt a i v ^ t i o o of dyad tin leaf • 5i 254 S*hw toUer awd *M aoaiar 67
lOt Dyttna; tin laaJ v**.** 59 260 ^MtWfflff ,, 6T
704 M j Lung pi u L i foLd . - . - . - - - r . r + > * » B » « » p » - - ^ . - 59 141 A noibcr tin 50! rir- • • * * •
P **** TT wm TT • 67
110 A aoUv fro-B i M ; » „ ^ . . . . v r . 5 4 162 Gildiav with a p a n d y r t t ^ t of rrW 6?
111 A Kbio>f for poor a i t m + S9 263 QuickaEtw w
212 Itolal v ^ . * ^ « - « - 39 26VA Sflwaakiw..-.-^ *'
213 On leveling, or the iUr»urrO^( a4 ba^at* 39 263-B Toonavirikbd work - > i . - * . i IT
114 I ^ r ^ r ^ . T r t i i U S9 264 Tba atad f « ^ l i j a on 6 n 68
2L5 Tb* tfow ^ J T J I ; »* W 263 AaePtber u k aobpauoa. antb which ad arrow auy
2L6 The pumioE n n a . * AO be p o a u i i e d i n bnttk 68
HI Tb* ndp-i fororpiiKat- + *0 266 Tba arrow which cttbt* fin **.**.**. 61
218 GoU ioUer fi i h l a h i M 167 AdOfher recipe, aehort one.. + + + + + 66
2L9 C-Uidf topper. Bilvtr. u&d braM + w » * 40 266 r
Aooeberkind.. 61
219-A GWaWfaaW « 149 The lactcitinccodiary compoirrml ..... 66 r

219-B ChrTMvraphy with fold teaJ - 00 170 Thera*Tj-L£tMMof a b a t t E n a f f ram lor tahinf w a j b
219-C Api.Lin. tba LU-rrugrapny' of senbr* 60 by laaaavf A.* 66
220 How cooaod ALiLpriLir i i mad«.. . . 61 171 + fr+a +
How you d K n i l d let tb* eh held of a h ( W r t | ram
111 A r t d p t lor a/i>omiriaw. „ P 61 BBL lew. i *9
22L'A A r t d p t Irom Brindtu + . . . . 61 172 +
Four typea nf uundiary m t e r M ^ . . . . . . . . . . . . . . 09
22L-Q AAothar racipt from Briodw > n T > < 61 273 f
The raripe [ o r na[ihtha « thia 69
2lL*C A racipc for rnnnihif • *> •. m * + - * 174
61 m
The r e c i p e tor serpentine oil + 69
221-D A rrapc for n . ^ ....^^ ..
r 6] 27J
+ + F+ r T
Tb* prepmratiDo of t W i n p t d « t l - M
l I-. T ^ t rtrirja lor Maic i-a- iadiarj. 61 276 The recipe lor pibrb 69
222 Thia 4 tba reopa for it 61 272 The recipe Ear tow - - - +
r » 70
223 Taa racpa f o r ^ a m 61 278 Tbe r e c i p e Ear jJtmmiU . ....»»...*+h
t 70
214 Coloring glaaafor aaaaiag |^u_a . . . . . . H 62 278-A +t+ + +
T b f a w n uartul u ^ n d l a r r m i x t n of cba four
224-A Tb« or* o l (Laaa u d ita corjkiiv 62 abon-to* . a e d a u t e r a L k
r
- 70
m Tba o n of l « i and .-xt:^ . U 279 P
Aw aid Jar exrnwrnaaiiai are* 7H
226 Anocbar aaafHirn of I t * ! b e n tbe sun* o n _ . . . . 62 JK How mm p i m a d e f r o m o h " oil w t a U o w . . . . . . . . 70
2r3 SMITH AND HAWTHORNE IT*™ MIL. WC

CbapEcr Pigt thu When, you set that the smoke coming o u t o f the
h

N*. Title Ediboa t h of the frail* is straw^oJored, cover i t ; a n d

m o u

Ml A erhitee^w . . . - . . +t + + + HJ when yeDcm smoke com*x out. cover i t a g a i n ; and

2ti Starch p u t * * T l w h o you see rtd smoke like v c r m i l i d n . c a m i n j o u t . T

1M The m i p * for candy TI vermilion i n the flask. 1

2M Sugar o n d y .... - Tl
2JJ P H H J U U candy „.,™-..,.,. Tl
J « H « U D I amilkd. ....... n **- i**r*

iha-B ^ " ^ ' • J T , * ^ - ! ! ' " ' ** * " ' " ' ' n you widJi t o make t h t beat a i u r e . t i k e a new p o t
2M-C A nhie of kt%hb),- T3 t h a i has never been used f o r aay w o r k a n d set i n i t
2**D MtkiniFrcatfa u p » sheets of the purest silver, as many as y o u w a n t , and
2 S £ F J T^
r
p
"l i a l k
?4 t h e n r ™ t h e p o t a n d s e a l i t . Set the p o t i n t h e m u l t
2&S-G A trick fountain.......V.'. 74 ' c
^ discarded from a w i n e - p r e u a n d there cover
u l
t

JM-H Atnckgobki ....... ... 7 4 i t well w i t h the m u t t and keep i t w e l l f o r 15 days.

2*4-1 AoixbernSdiiouoaia.............^.^..,,,.. 7 4 Then uncover the p o t and shake t h e € (florescence
J S t i ™ ^ ^ f * * ™ " ^ I c t 4
t h a i m r r w r K t a the i h e t t s d s Q v a i n t o a s h i n i n g bowl.
?a*L CorydcT 14 >™
1 1 w a n l t D
• * more,
a 1
rtpeat w h a t h a s been
2M-M A Coy d r i b with moving t o l d i m . . . . . , , . . T4 written above. 4

2M-N M e n u lor a ........ ........ .... ?4

JsftO CynWi H ». . .
2flAP M o r e r - M j 5

mV ^ t ^ T t ? * * * * * * M
1
v ™ - ^ » make a different azure, t a k e a flask l f

no T o c ^ p i ^ y r t j J L B « « h a ^ [ " " ! ! ! ! ! ! ^ " ; i ^ ; ' i i 76 ^ pmest copper and pot l i m e i n t o i t h a l f w a y up h

»1 Giktof « . 76 rod then £1] i t w i t h very strong vinegar- C o v e r i t and

* * * * * * wi T N w i l t T h e n p u t the flask i n the e a r t h oc i n some
S i A A^Tii - J . — I * * " a ™ Place and leave i t there f o r one m o n t h .
o l h f

m s o * * i n ^ i o i J S r ™ Th* « i * ™t U
^
t u i
a s

aa the other, yet it i i serviceable for p a i n t i n g o n wood

and a plaster wall-
Hwrt betins* tht book talUd M A P P A E C l A V I C U L A

E v e r y s k i l l is slowly learned, step b y step. a. A&in

T h e first o f the painter's skills is the preparation of • . n
pigments, ^ make a t h i r d k i n d o f aaure, take
1 1 y o u W a t l

T h e n y o u r m i n d i h o u l d t u r n t o w a r d mixtures »traw flowers, [ r i n d them and squeere [ t h e j u i c e ]

T h e n begin y o u r w o r k , b u t check everythuu; b y the ° T . i n t 0 a VCTy d c a n h o w l B u t first^ M
U C

fingernail * ™ parchment, make t h e g r o u n d w i t h w h i t e

I D order t h a t w h a i y o u have painted may be a t h i n g ™ ° * d r y p u t t h e p i g m e n t OD t o p and
: w b g rt
t

o f b e a u t y a n d as freshly been. , t _ , .
.\fterwarda. as many talents have riven testimonv d * ^ S l l S K • - ^ G r t T H B F t i W x C h M e l l , 7 2 )

Ski,, - U , advance Tjic w n i k 3 a d , U ! 3 S S l i 5 * 3 * ? 2 s S J - S S - t ' ^ S f f l

^ " " i ™ " ^ c i J and u t u r a l lorm. of ™r™™

„ H ^. ™ d f l l
^ * f l f M (or whjr is i l n y i tb*
Jl y o u wish t o m a k e v e r m i l i o n , take a glasa flask ™ " r t
- ™aintain t h e i f i f f T f t m * in our m m -
and coat the outakle w i t h d a y . Then take one p a r t ^ T L : t ^
b y w e i ^ t of o^cJaUver a n d t w o of w h i t e or yeuow n o w * *T-a
"** B | > 1
™ ?!2
sulphur a r r f i - r t t h e n a s k o n t h r e e o r f o u r • t Z T ' - « ^ a ? 2 J & V - S J ™ S T * J 3 W

S - r r o u n d t h e flask w i t h a charcoal hre, Z T^y ^ ^ ^ ^ ^ 1 ^ ^ ™ ™ ^

slow one, a n d then cover t h e flask w i t h a t i n y rib nlLl f ™°° ^aiioua medical blue p i i m c n t i « •
d
l
c u

— T ' T £ ^ ™ T W - ^ - M - a l « A _ Raft U*W1^D- - 1 9 6 7 ) 1 : v

T h m |H| ftOnd i o e p i T i o a o d u o i , ( h e prolog,*- lod ^ 4 C ^ L ^ U ^ ^ V . ^ ^ P ^ - " * J*T« Ptaten HMfiJ. Rail H

o n i r Ehr b u d ol tb* Jncrrmpbte i c h j of dupem r r o d j r j tw^w.!!'*, ^ ^ j ^ i n t i n r i ^ tbe

d - ^ r L T kh wd m , (bcrf » b ^ ™ S U n ^ ^ ^ ^ - ^ ^ I r ^ ^ ^ i ^ p ^ U u u T - *
« H K tnabETEd k m u . o i p , f » ^ PhJbp^-, J A l 7 W oj u » p ™ L T h J w ^ J ^ r ™ *
c n r ^ ^ r h ^ i r . ^ t i r ^ y ^ U . l TWy d i J g J M l c c u h j p e ^ p . W^b*«3Eradit-
- , 1 b p i c r t K U ^j«J d « « T ( h i D i w t d t h a t thai JOUQ. Z ^ L S charfy d i n i a E u U h t i p * 1 a a m m T b j I

Z'^-Zf ^ 1
* ^ t
- t f
* « " n r tent-
B
to ^ ^ L r i ^ ^ r S ^ ^ ^ p - otb^) « « -
VOL. tt, H . *, 1S74J TRANSLATION"
Continue m a k i n g i t i n thia way, u n t i l you see the p i g -
m e n t ia like azure.
v. Grm
I f y o u wish t o make B y ran Dee green, lake a new
p o t and p u t sheets of the purest copper i n i t ; t h e n
fill the p o t w i t h very strong vinegar, cover i t , a n d
seal i t F u t the pot in some w a r m place, or i n the
e a r t h , and leave i t there for six months. T h e n u n -
cover the p o t a n d p u t w h a t you find in i t on a wooden
board a n d leave i t t o d r y in the sun.
I f y o u w i s h t o make Rouen g r t e n take sheets o f
T
the purest copper and smear them all over w i t h the
brat soap. P u t the sheets i n t o a new pot and t h e n
fill i t w i t h very strong vinegar- Cover i t seal i t . a n d
h
p u t i t i n a w a r m place for 15 days. T h e n uncover
the p o t , shake the sheets over a wooden board a n d
p u t [ t h e p r o d u c t ] i n the sun t o d r y ,
9iL [Cer-we and] minium
I f you wish t o make m i n i u m , either red or w h i t e ,
take a new p o t a n d p u t lead sheets i n i t , fill t h t p o t
w i t h v e r y strong vinegar, cover i t a n d seal i t . P u t
the p o t i n a w a r m place a n d leave i t there for one
m o n t h . L a t e r take the p o t . uncover i t . a n d shake
o u t whatever surrounds the lead sheets i n t o another
earthenware p o t a n d then set i t on the fire. Stir the
pigment continuously and when you see the p i g m e n t
become w h i t e , l i k e snow, take away as much as you
like of i t . a n d t h a t pigment is called ceruse.* T h e n
p u t the rest on the fire a n d stir continuously, u n t i l i t
becomes red. like other m i n i u m . T h e n t a k e i t
away f r o m the fire a n d leave i t i n the pot t o Cool.
Kit. V-urrraj Pigments
Pigments t h a t are thick a n d d e a r On parchment*
are the f o l l o w i n g : azure, v e r m i l i o n , dragonsblood,
carmine, f o l i u m , o r p i m e n t . byzantine green, gruwtum,
indigo, brown> saffron, red or white m i n i u m . the 1
best black f r o m v i n e charcoal. A l l these pigments
are tempered w i t h glair.
1
Ceruse u here C*TWJQ as also in chapters 63 and W_ I D
+
chapters JT and vn it ia album ptmmivm white lead but else-
h
where LA the Jfappfl it ts referred to by the latinized Greek word
p s h m t h i D j which we b a n also translated white tea i . The
process involved btrt is the formaotin ol bask Jead acetate, which
convert* to the carbonate by mctEra with atnmpbeHc CO*
(See note b y Earle Caiey ID his tracslation o! Theophrastus
[ 1 » : pp. 1S*-190- The chemical *milamy between the
D
making el cmis* and verdegm (chapter* afld vU) will be
noted. Heating const under raiHiriTig conditions products first
litharge (PbQ) and then rr'n (red kad, ' \ j w i t h invisible
r
B t a f l e j ol deepening colour ia betweea. The process h art old
on*f good descripcioo ol malring tt is ID Tbcophuus
1
Lfc. brifbtly colored : ^rat.• - i of g&od covtriuj power lor u t t the forma tic a ol black tead aurphice front p o n h t r and
in nanmenpt lUuminsition-
3
See R M T D - R L £ C { F ] 9 4 T r 2 : p - 20.
p
27
ix r Mixtures [of Pigments']
I f y o u w a n t t o know the nature a n d mixtures of
these pigments a n d w h i c h ones are incompatible w i t h
each other, listen carefully.
M i x azure w i t h w h i t e lead, darken i t w i t h indigo,
lighten it w i t h w h i t e lead- 1
D a r k e n pure v e r m i l i o n
w i t h b r o w n or dragonsblood, l i g h t e n w i t h o r p i m e n t .
M i x vermiJion w i t h w h i t e lead a n d make the pigment
T
t h a t is called rose; darken w i t h v e r m i l i o n , lighten
w i t h w h i t e lead. A g a i n , make a p i g m e n t w i t h
dragonsblood and o r p i m e n t ; darken w i t h b r o w n ,
lighten w i t h orpimenL D a r k e n carmine w i t h b r o w n ,
l i g h t e n w i t h red m i n i u m . M a k e a second rose p i g -
m e n t f r o m carmine a n d w h i t e lead; d a r k e n w i t h
carmine, lighten w i t h w h i t e lead- D a r k e n folium
w i t h b r o w n , lighten w i t h w h i t e lead. A g a i n , m i x
f o l i u m w i t h w h i t e l e a d ; darken w i t h f o l i u m , lighten
w i t h w h i t e lead. D a r k e n o r p i m e n t w i t h v e r m i l i o n ,
a n d there is no lightening for this since i t turns all
F
other pigments dung-colored.
N o w i f yon w a n t t o make Gladus green, m i x o r p i -
m e n t w i t h b l a c k ; darken w i t h black, l i g h t e n w i t h
orpiment.
I f y o u w a n t t o do similarly, take azure a n d m i x i t
w i t h w h i t e lead; d a r k e n w i t h azure, l i g h t e n w i t h
w h i t e l e a d ; a n d w h e n i t is d r y , cover i t w i t h clear
safTrOn.
Tempering [Pigments'}
T e m p e r Byzantine green w i t h vinegar; d a r k e n w i t h
black, lighten w i t h the w h i t e t h a t is made f r o m Qthe
ash o f ] stag h o r n . A g a i n , m i * green w i t h w h i t e l e a d ;
darken w i t h green, l i g h t e n w i t h w h i t e lead. Darken
gniveium w i t h green, lighten i t w i t h w h i t e lead.
D a r k e n saffron w i t h v e r m i l i o n , lighten i t w i t h w h i t e
Lead. D a r k e n indigo w i t h bl^ck, lightem i t w i t h azure.
A g a i n , m i x indigo w i t h w h i t e , darken i t w i t h azure,
lighten i t w i t h w h i t e lead. D a r k e n b r o w n w i t h black,
lighten i t w i t h red m i n i u m . A g a i n , make rose f r o m
b r o w n a n d w h i t e l e a d ; darken i t w i t h b r o w n , l i g h t e n
i t w i t h w h i t e lead- A g a i n , mbc saffron w i t h w h i t e
Eeadp darken i t w i t h saffron, l i g h t e n i t w i t h w h i t e lead.
D a r k e n red m i n i u m w i t h b r o w n , Lighten i t w i t h
w h i t e Lead. Again* mix m i n i u m w i t h b r o w n ; d a r k e n
i t w i t h black, lighten i t w i t h red lead- A g a i n , make
flesh-color pigment w i t h red lead and w h i t e ; d a r k e n
i t w i t h v e r m i l i o n , lighten i t w i t h w h i t e lead.
•h Pigmtnls thU ccrfflkt unjA etuk other
N o w i f y o u w a n t t o know w h i c h pigments conflict
w i t h each o t h e r / here i t is. O r p i m e n t is n o t c o m -
The L^ntening OnafaArrt] and darkening f i K i d e r f ] refer to
1
tbe tempering of « h w color to represent tbe areas ol light and
shade on an object
Tht incoenpatibility is, ol count, due to cbem-icaJ n c t i m —
1
ise,
Or the changing eJ pH of foii m_ Sxadiu* has • fine paragraph
a
on this, readiog* ia Merri^d'a crajiaEation^ thus "Q* u t o i n t w -
 SMITH AND HAWTHORNE | T U * V *MSB- r n i L . SQC.

p a t i b l e w i t h f o l i u m , green, red lead or w h i l e lead. tary, all that appears i n the sacred w r i t i n g s w i l l give
Green is n o t compatible w i t h folium. the reader a feeling of exclusion and darkness. [
I f you w u t t o make grounds, mate a beautiful rose swear further by the great God who has disclosed
f r o m w r m L l i o o and white. Again, make a ground these things, to hand this book d o w n t o no one except
f r o m f o l i u m tempered w i t h lime. Again, make a t o m y i o n . when he has first judged his character and
ground f r o m green tempered w i t h vinegar. Again, decided whether he t a n have a pious and j u s t feeling
make a ground f r o m green itself, and when i t ia d r y . about these things a n d can keep them secure. * Now 1

cover i t w i t h cabbage [ j u i c e ] . although we have many other things w o r t h saying

I f you w a n t t o w r i t e in gold, take powdered gold concerning the virtues of what is w r i t t e n , we w i l l
a n d temper i t w i t h glue made from the same parch- begin the list of chapters."
m e n t At t h a t on which you are t o w r i t e , and w r i t e
w i t h the gold a n d glue close t o the fire, and when the E n d of Prologue
fetter t f d r y . burnish it w i t h a very smooth stone or
a boar • t o o t h . A g a i n , if you want t o make a robe Here b r i w j the Book called M A P P A E CLAVJCULA
or another p a i n t i n g , as 1 said above, p u t the gold on
the parchment, darken w i t h i n k . or indigo, and lighten L Making tht most gold
w i t h orpiment.
Take 8 o r . " of quicksilver, 4 o i . of gold filings, 5 o t
of fine silver tilings. 5 o i of C y p r i a n copper filings. r

Htrt M*fm lit P R O L O G U E qf ike f*Omx£
Since I posses many wonderful books written on
these m a r t e n J became anxious to produce a com-
m e n t a r y , n o t t h a t I may appear t o be encroaching
upon the sacred books and [ therefore J deapite much
labor accomplishing nothing, but that, avoiding that
m o r t a l heresy, I w i l l disclose t o those who wish to
understand these things w h a t the actual processes arc
t h a t are used i n a l l painting and other k i n d * of work.
I call the title of t h i s compilation Mappat
•o t h a t everyone who lays hands on i t and often tries
i t o u t w i l l t h i n k t h a t a k i n d of key is contained in i t
For just as access t o [ t h e content! o f ] locked houses
is impossible w i t h o u t a key. though i t uj easy for
those w h o are inside, so also, w i t h o u t this common¬
- • . . • •,., - •_ , nUW.^fow, if you whm ED too* which »
the t o t e m U d l u e o r i n i i w M n i i a o i H b i , ^ ^ , ^ .
—Opiment does not J p w with f n u u m , x with p m ,
work 2 oa. of brass filings. 12 O L of cleavable a l u m a n d (he
efrkraceoceof copper which the Greeks c a l l calautium,
[blue v i t r i o l " ] . 6 oz. of gold-coJorrd ™piment. 12 o t
"For other I U U H U ID vcrtcy ma chip*- 13, 14. . -..! 111.
" I s ihe iBBDLMCTipt r rhu U followed b y * liitof 2tu chapter
hcadinti wijiih w e |a at* t r a u l s U . It covers a mfcfority of
H^arrTm Not. I to I f i l of the prtttuT HTWI i n v i m u l l y t h e isaii
order b u t with ufarevialbj t i t h s *ad. Ncsu** of o m w O » .
ChmtuLi, atulihF v i t b d i f l e r u i t o u a i b e r i . SuppaHdly, ike the Protafuf
ion iDchjacd, Lr once rekued u • previous d i a r f e r M V O D of
me -Vippat C—tmlm ( n a c h like the SfretK m u u s c n p t of t h e
tEnnj noturr t h o u f h includinj two of tb* c h a p t e n i h o w i n |
ArabK mfli*n«) •hicfa Bad been *dde4 to and i D m e w h a t cor-
rupted before t h e D r a e r t T Y e n i o o n i cioipiled- T h e c b a f " "
"WE ™m™rd i n i b e b a t 4 n ™ r c h * p c e n i p i r i , S 7 t O » - 6 a , 6 S W
W. T l . 73, H 91. OJ. 114. 139. I+frA to l l * - D . 1S8. 161,
„i|b 172 to IK. 194 to m 197. I M , . 21J, J19-A, 319-B. 221, 222. a i 3

minium. Nor doa p e e o **jev "mb l o f c o m , a i i n d i i n rhe ' **~ 2

' V t . 212 u d 260
K m
Th* SekWt
m i x t u n of t h » " U U f a i i of t h * A d ptewflb. u d i n th* - o r i u manu^npt heaiwj with t d i f p r t n T u i m i m i h e r e d Ihrt of l »
in which they w employed T c t f t l t r . A n d u W discard*ncei OBaptm. n u n i r , m+ny that at* not iqdmk-d.
i .1 . . . r m m topekal} q i u u i t u * of the y ^ r a e n i i , ax [• JD inrtnjet.OM lor w e a j h i n * : our inpatients, bath L snd I
their ntadents ot criourL f a r than i n no a i k u m . o r a i n i i n e * c o m m o n l T JPe e i t h e r t h e D e n l o r o u M ( * ) . o r the w « d HSSlh
O l roloun, n r b t r l i m p l e O r c n i i r • ! . w h i e h . , . r t
l ^
Vf Mi ( a k t r Bm impit • l a e d (BuppoBtdly for utn, pound) for l b .
only, do n o t V R with , -. other w o oi e a t o n i ia UUXTUIH. ^ w m e o f t h e twCier d u p t e n in &. t W b f useseitbn j or i
HorneTy. ' O C tfwpfmi other dJTorat n t A t a » ; ind i n may Iks Bt^darrt , b < J , Jor uram o f ouna. i„ the B U O . rerip*"-
y m

thia b i n i t pleasure almwt iooumenbie vuiet** of c o W i c J S e w M r e in F, h o w e v e r , uniti hate Irequently but n o t i n -

But U * *M t b H O d a n o H sre. u d i n to be D K f a s t w d »* brine. ^ b l y b e e n dunaed to d r a o w , ti^jfk c f t e o * n h l v sad
U t h t Debs' BSIorai n n d i W * incident to the l a t W o c r oTthe ^ ^ 1 ^ ^ * * *" P p f
Ounet T o a j o f m w m * t t e r t
1

H i d p u j m r n U , they heme. ( H U i r y U etch other ID wch m a n n r r " ^ f * - " O b » 1847 publ-hed t r u a e r i p o o o oltea rasdi
that, if OVy i n i W d totether. » e f u C w n o ™ , by | t r r m , ,
natural incompatibility, r t t h e r chaiian The other Or it changed 2>2 *
™ - n
T * i » - r . swa-4, mmm snd c ™ . «e.pdW
by i t ; and » the qualitr and W u t y of ih«i i h ^ n H D i , ibemKi'pj ™" « y • h b r . - i . i t d . Tbe ryinboJ ff for peruiy-
n b o [ |

MM welt H f i n l t u (DDDRI, u d UMir a n l a t A n t e , u d t h e *o*k £ £ ff'Ji ? " 1

^ " U snd 277. - u d ooct t.
d w with them, ere vended u d d t i c i u j u l . They thtrtf^r do Z nfTL •* " io a i v tbe ndstivs r « c
i a C e n C

t r o t b * U to be m i n d ra^H-i-? u d - 0 , ia nW u l njf p^DTinr ^dlnl ° ^ » ^ " ' " ^ t h * r i b u a b e o l o t e -eifhts,

W , n , D 1

b w J n d W f W H d c a t u a thst it to be bad l o r th* varfcrbeToi H - ^ n y o ^ tfcj, ^ r j ^ w | . [oiheirsoskv p r M p s f B

D D h u , a n d than u d other thanea rtt* t n j t o t b * err we

maM A O t lorrei the proper u d D h n i r r OTw-JcT»?»m. drawn ^ " ^ T " • • C I J - i - ™ - 1 * - ;
f n » «true I k o t o d u d pracifcaj knot-ledge cf u d icquaini-
« " "be natural I.^TT,-^,,,,,, ^

ihlairH + * — • —4-^wsasBs-asjsj •kikt»ir 1 j _.J OTOCT HJU

Q M I K S tbr L l t i n Wr«*
nt,teri*J> and liquors oi the laid ccfoura, u d of unTcamiarier i « i c ^ J , r]J ^ L W ^ " ^ o o r . ol the rJiemicsJ »ub-
of t h * other rhiofl» incident Co that art." {MemfieldL LJUQ- 1 ^ ^ 3 ^ * ^ E™r^h ertLM^Jeoc, that w b s «
f
m

pp. 2H-2S4.) . — '• ^ t n e ^ S f °° • **P*™uy J T e a t in n»nu«rif«>

E l l H O n

" " m T J i a ^ the -HKtl» are l ^ n p l r W T - ™

l a t
VOL. M H PT_ t h i?74[ TRANSLATION 29
of riidrium T h e n m i x a l l the filings w i t h the quick¬
r Glidrium a n d orpjrnent a t the same t i m e ; t h e n add
silver a n d make i t Uke a wax salve. P u t i n the the efflorescence of copper and the a l u m and p u t i t
all i n a p a n o n the coals and cook i t l i g h t l y p r i n k l i n g
h

of intieot recipe* from the arid eastern Mediterranean world

and beyond while other* reprtaeiii later northern sinroEates over i t w i t h y o u r hand an infusion of saffron i n
h

t h a t w e r e frequently chemccatly different (hough gninf by vinegar a n d a l i t t l e n a t r o n and sprinkle 4 oz. ot

ijm< name. The Greek word ckrt/cilsi.iflj, which literally means saffron b i t b y b i t u n t i l t t dissolves and leave i t t o
flower of capper ia staled he re mty be verdlgri* b u t it was most
F
intermijc. T h o u w h e n the m i x t u r e has coagulated
probably the soluble sulfate. Both Pliny and DkECOTtde* sty
h

that t h t btst variety of t&k>miitm w a s blue, which makes at take i t off a n d you w i l l have gold w i t h increase. Now
copper sulphate ( u d indeed copper dow seem to be necessary add also t o the above ingredients a l i t t l e moon-earth,
in those Atappa recipes that call for it), yet. c4ni:ai|JnoT * 3 ) aE» w h i c h i n Greek is called Apkrostlenos [i.e\, foliated
related to aJnttwafi™ which did not necessarily contain copper h
selenitej.
any more than copperas docs today.
[n order to maintajn t h t verbal distinction* of the original we
have- always translated fjiLijjjtfuwi at " b l u e vltriaj *; air-.^-r^.:^ -r.
-
2. Agpin, making gotd
as vitriol ^iirtolmtm as ''vitriol [ntirflrfwH]"; misy an misy ;
cl hF HH 1F
h

and miff tiprVi as "Cyprian —: =y. obviously copper sulfate. ,r

M e l t 1 oz. of silver, j oz. of copper and I oz. of
However the chemical d t t r i n c t L O i i would by no mean* cnn4i*tea.dy
r
Jfoldr A g a i n , take sand and press i t o u t r j a level place.
loLtow the term! no log Lea I diflerentea. These substances would Coo] u n t i l i t is dry, and m i x again w m t salt a n d
all be mifdly CBrrceJve soluble hydrated sulfates of ITOJI, copper, roast tn the furnace for a day a n d a n i g h t . After¬
or perhaps cccasioualEy cirto—that im variants of pce*em>day
coptaptte, cha|canthit? or ffwlarite and the artificial substances
F
wards take i t o u t and Y a l h i t u n t i l the salt runs off;
related to them. Of all these salts, misy* usually a. ferric «ulEatc and again d r y i t and knead i t i n vinegar a n d set it
such as copiapite. was the inost strongly acid acid cvrrotive (see aside for a l i t d e u n t i l i t absorbs i t a n d dries o u t
footnote td chapter 3]. -IJfnimrtfwjn. which d frequently men- T h e n again p u t i n t o the furnace a piece t h a t has not
tioned m t h t Mappat U certainly a form of vitriol, probably
green vitriol, ferrous sulpha t t . In r l a w m l Latin add even id been washed and do this once a n d a g a i n ; knead i t i n
some of Eradius' recipes thia word refer* to a black pigment, but vinegar every time you p u t i t i n t o the furnace. Now
not here. you o u g h t t o p u t i t i n t o the furnace four or five times
a u d i i t becomes aTmcet as if i t is a l l cooked a w a y ; a n d
Other mineral salts that appear in the HafrpA a r e as follows;
w h e n you take i t o u t use a silver w i t h d r a w i n g t o o l ,
Ttilrum, natron, a n alkali of uncertain composition. Originally the
efflorescence on desert rocks consisting mOttly of sodium w h i c h i n Greek is called {Iqvis&n. T a k e a weight
carbonate and sulphate. I t J* not to be confused with nitre equal t o the former amount* m i x i t all together and
Of saltpeter t h e natural efflorescence on walla adjacent to
r grind i t
decomposing organic matter and which cannot be uniquely
identified before the thirteenth century (rVtuiffton, 19*0). T h e n m e l t separately the t w o kinds of material
The Latin ptolfpJtum appears only in chapters 195 ft 201 la t h a t you have concocted [ i . e . the residual gold and P

red p a derived from the Arabic, where w t translate as "souV the salt-containing cement w h i c h now contains s i l v e r ]
+

to avoid confusion with t h t vaguer earlier term.

and sprinkle them gradually Conto a lead b a t h ( ? ) ]
obuRfn, alurtl probably most often the astringent material that u n t i l i t is used up
P
T h a n cool i t and you w i l l find
P
gees- by that name today potassium alum. ^Jfcfltefl yjSumdum.
h

oiainn J o H r k , which we translate Literally as rounded and t h a t hard lead has been made M e l t t h i s together
tissue alum respectively. are perhaps other sulphates that w i t h cepsanium, i e . kneaded ashes. As ia shown h

crystallize easily from solution in good polyhedra. according t o the K e y . pjfffljwn is ash kneaded w i t h
a/rHciifUJB (a transliteradon of Greek cph*rttlr'** foam of water, w h i c h you lay underneath i n the furnace t o the
k

nitrum) is some kind of alkali, formed as an efflorescence on thickness of a linger. * 1

natural deposits of natron or as a scum rejected during some

preparative processes. See chapter 192-D. In chapter 7*0.
afrarutrum comes from Soap-rnakiag; tn 2?l it ts a compounded
Bus for soldering Bailey 41939: p- 170) suggests that it may J Affiin +

be natron that lias been heated to make it more caustic.

_ { e w m or IOI wivrtfttnum rock salt, ia ont of the few clearly
P y
T a k e o n l y a l i t t l e for experiment when y o u do i t
identifiable substance*. once u n t i l you Eearn i t thoroughly. T a k e I ox. of
jof onrm^mucbHt, sal ammoniac. By the twelfth century this reddish C y p r i a n copper i n solution [ ? , pv$ias~] I oz. M

was probably the modem material. In earlier usage kam- of quite good silver, a n d melt i t w i t h chaff, u n t i l w h e n
ftvfriflcin (which appears irJ chapters 32 and 124) was a n hammered o u t i t does not make a noise a n d t h e n p

Organic *u cdrnnce, "The gum of rlammoo/' m e l t i t together w i t h 1 oz. of gold a n d the same
fortarBR. tartar* potassium tartrate, the refined deposit from
wine fermentation Burdt tartar, Lt+p potassium carbonate, a
r
Thia: chapter it a confused account of the cementation of a
11

referred to chapter 202, I old- silver-copper alloy by prolonged beating In a aand-salt-

ElcdWajn is believed by 5vtnnung [IWIJ and most earlier vinegar mixture, followed by alloying the residual metal with
writers to be the same as cWjoVWum. avatJow-wort a word which lead (wpposedly in a snruser) and finally cupelling on a bed of
p

often appears Li the Jfappn, Although a plant such as the* would washed a n d compacted ashes to yield gold. Tbe cement 4
not be inappropriaia an some of the recipu (notably chapters separately scorified and cupelled to recover the silver atoortexl
46 <b0 and 68} then are others in which dtdrium seems to be a i n i t Lt doe* n O E ol course, make [fold as peomixd by the tide.
F H
p

brittle yellow mineral substance. Orpiment is usually one of Its OT even increase Its apparent amount a s would the reel pis in the
associated simple*. Iw chapters A3 and 209 it teems- to be a kind •eat chapter and Others in which chemical treatment of the surface
of electmm-like alloy. SwaJIOw-wOTt would not answer all these of goU alloys ia used to improve their cuJor. For A description of
diverse • * & and « have chosen to leave tMrtiwi untranslated. tht furnace for cementation chapter 246-A.
 30 SMITH AND HAWTHORNE [T*A*5_ AH11. TKIL. K C

a m o u n t of natroru T h e n turn face lo face t w o little mixed concoctioo i n a b m v i E q u a l parts of C y p r i a n

bowlsp i.e., t w o hollow earthenware pots and put p m i t y . sandarac and tiidrium: and make a soft unguent
inside them the widened (i.e., hammered out) melt of them, melt the silver, a n d w h i l e i t is s t i l l h o t pour h

t h a t ha* been prepared, and mix i n antismou W h a t it Into the same u n g u e n t

h a d been a l i t t l e bead of rapper m now turned into 4
l i t t l e bead of * o i - of silver [ S ] - I n die bead we
find more t h a n an equal amount of Rold. [Take]
one p a r i of Pontic ainopta* 2 part* of common s a l t
grind them all together, lay the sheets on the bottom 5. The raipe for tht fnosf gofd
a n d sprinkle [ t h e sinopia and salt m i x t u r e ] over them
Take copper t h a t has been hammered o u t w h e n hot,
a n d coat them w i t h pot d a y » that they cannot
and grind filings of it i n water w i t h 2 p a r t s of crude
breathe P u t fire under them u n t i l you feel i t is all
orpiment so t h a t i t becomes as viscous as glue, and
right- T a k e them o u t and y ™ w i l l have the very
roast i t i n a small pot for 6 hours a n d i i w i l l t u r n
best g o l d . 11

black. Take i t out and wash i t off, them a d d an equal

portion of salt and g r i n d them together- T h e n roast
4 r Again i t in the pot and watch w h a t happens: I f t t is t o be
white, mix i n silver, i f y d l o w , m i x i n gold i n equal
M i x 4 p a r t i of silver, 4 p a n s of Cyprian misy 7 d
portionsp and i t w i l l cause wonder.
parts of pounded a n d sifted !idrium and 4 parts of
r

sandarac. Also melt silver and aprinkle the above

materials on i t and m d t w i t h a strong Ere. stirring
p
6. A recipe for gold
e v e r y t h i n g together u n t i l you see the color of gold.
T a k e i t o u t and quench it i n cold water and keep this Take I parts of goat's gadl 1 of o x gall a n d 3 times h

as muxh didritat as of the above materials, a n d g r i n d

14
Tbtf Chapter p r o n k s a m o o n ceiy dear deicriprion of a them with vinegar for 10 days. [ T h i s is t h e B u t
rMucesa (or areiag a pure gold surlies tQ U s J k r r J - ™ * * ™ ^ oompcsiitioiL] T h e n take L y d a n or A r a b i c saffron
approwimmtely equal parts of copptx, i i r n r . and fold. The sheet
metal would a c q W t a •. .v*ry- w hits costint as a result of anneal- and grind i t i n a Theban m o r t a r tu the sun d u r i n g the
ing in air and pickling fa* in blanched billon coinage) but the dog days; and add very sharp vinegar a n d g r i n d it
nnal cerneniation in linopia and salt would eventually remove u n t i l the aaflron disappears a n d is used up- Now
everything but told Ircim. the surface. p u t in a sixth of vinegar, the more t h t b e l t e r , and
Other recipes UKcrporate nusy with tht ialt and unoenjj let u d r y . T h e n take the f r t ^ - p r a ore w h i c h others
Mtry frmt sulphate, n as potent as Htlphurx acid and it acts. call copper, g r i n d i t v t r y Bfie, a n d m i x i n u f l W
h

™ when cold, to corrode the aDoy uWply kaviag in sua

b m

layer of nearly pun npld tb=« is porous Sit easily cne^idiEed [ T h * « t h * second c o m p a i l i c m - ]
by burni*hin4 or sJ«bt heatini- This mature is aetnafty mnre
tifectrr* than a. cements tiow in bruaUiaw. sari talc, for heat I Lev*]
M t t r i the porous alloy and » inhibits pcuerrsrina of the cOr- T h e n lake [trisantimum, w h i c h p a i n t e r * o i e , wh[ch
rodanes at the same time that it enhances the continual diflvj^n they call pusa, Ihrnpusa. S ] a n d g r i n d i t i n the same
of the urtrirrlyilng bsse metals to the depleted surface. Th* * * y , and you w i l l have i t for ute. [ T h i a ia the t h i r d
thefflisrry of the nsction with may I* dosrly ansjewrjus totha
asaayers parckig operation pith citric aod M a g on inquarted compoiition.]
prid (an intentUAally made alloy of [uk| diluted whh three Now u « i t En the following w a y . T a k e aa much
times its wtsjhl of satver). The efa.oraci»» ass of psrtinj by
mrric sod may perhaps have preceded it* Ouanntadrc *m(ic*- tiJver aa you w a n t and m e l t i t a n d a d d finely ground
OCss, and it is 1 •tcrestids w aote that sulphuric acid the successor " i t . and »nr i t c w j t i n u o u i J y u n t i l the silver m e l t i .
ri

to misy. returned to dominate the cnnmeroal separaboo of » U ^ t o w a r d s l « it coagulate, a n d w h i l e i t b s t i l l h u t

and sJver i n the nineteenth century.
P«Jr i t into fca water. T h e n m e l t i t again a n d i n t o
Related ttvasYsYS appear i n chapters 4, 1 ^ H ZD. and 17 I pound of i i l v e r p u t - ua. of the first c o m p o B t i o r j .
Chapter 26 b haded "A doubting of st4d_" rthhourt ftfa >Ur . ^ g o r o u d y ^ , H |
t i n e ( h c o a f i U 4 l C L T h e n

reaps dues not rpealy the n e A n r y dilution by iJlcying ths

adjacent ones do, and there is little doubt that the operatic*i was p u t , t aaain [ i n t o the fire], m e l t i t and a d d 1 Qi of
the hui=. of tht later alehrmists favorsd process known as ^ e a e c o i ^ c o m p o d t i o n . S t i r i t v e r y well in the i a m e
-

TU uldplhcaticci.
2 2 S a g a J n V°" ' out- A g a i n , m e l t i t a t h i r d
T l

The- psuluclxju of a pure re-d surface by efaa knd of E*w-

remperatsre reactinei on 4 dilntE aDoy of gold was c w c4 the
moat nsmorlut nmniques used hy South AMritSn i^idsreithi E J * ^ N o w , , t i r w i t h a new i r o n t o r i
in the asilLennium before t h t Spanish cnqijest (see H • r | | •• g g S a t w W m you ttir . a n d w h e n i t i e ™ t o
P T i t

19?Jh and it was SsYJ used by tbe Jaeusst i a (Jdinj their fine mm become u n i f o r m , again m i . i n k l v e r u n t i l i t
Ofaan C D U S L l a Europe it was repUcsd by more economical a p p m to you be g m d .
methods of n-ldios; with amalgam or told btaJ. although jrenile to

Jwa ting with TitricJ asJi, i n d i r o n o i r i t contours to this onv as

h
J . ™ are the r e c i p a F i r s t t h i s one.
a means of vtry «P*rndal!y Lruprovini tht color of legal karat
aoki aJJoys- aa m^rh S S ° f
* P*rt o f ox g a l l J times
E O a t < i

! T i £ i * T " of the above m a t e r i a U . ^ 9

For a feneral diuiissiou of the row/ of coke the history ay ™ ™
m g n n d
w i t h vinegar for 10 day*.
br Smith <l 74j_
a

"WSlpil •
ia a t u n h u d .
VOL. U h FT. 4 d Wfj
F- TAiT jf-c^nd recipe
G r i n d L y c i a n or Arabic saffron in a Thebarj m o r t a r
w i t h v e r y sharp vinegar i n the sun d u r i n g the dog
days u n t i l the saffron disappears and is used up-
P u t i n a sixth part o f vinegar, and the more the
better a n d let i t d r y . T h e n take frog-green [ o r e ]
w h i c h is copper, a n d g r i n d i t very fine, a n d m i x i n
saffron. T h e t h i r d recipe: Take crisanlimum which
painters use, w h i c h they also call pusa and g r i n d i tt
i n the same way.
N o w , yfiu w i l l have these compositions ready a n d
according t o w h a t has been said above, you p u t i n t o
1 pound of silver 2 ounces; i n t o an ounce o f silver, 2
scruples of the first composition. Of the second
m i x t u r e or composition, i n t o 1 pound of silver p u t 1
oz.. i n t o an ounce o f silver. I scruple- A g a i n of the
t h i r d composition, i n t o 1 pound of silver you p u t 1
ounce* i n t o a n ounce of silver 3 siliquae. h spread them over [ o t h e r ] amalgam. Carefully stop
A\ A recipe for goid
Y o u hammer o u t several sheets of pure silver a n d
l a y them d o w n onto a p r e p a r a t i o n , w h i c h w i l l be
revealed, a n d sprinkle o n t h e m [ m o r e of the same
p r e p a r a t i o n ] and meK them u n t i l they are all reduced
i n t o one, N o v . this preparation is w h a t is called
Offa: T a k e 4 scruples of gold, 1 oz. of Macedonian
glue. I O E of live sulphur. 1 oz. of n a t r o n , an entire
p
pig's g a l l , 00 2 oz. of soot [ 3 ] . 1 oz- of Spanish
m i n i u m , a whole fox gall 1 oz. of ctidri^m
p 1 oz. of
3
L y c i a n saffron, a n d you make a p o t i o n containing
i r o n i n w h i c h you p u t all t h i s together, a n d w i t h this
preparation [ d o ] as above, a n d y o u a p p l y i t under-
neath the sheets and sprinkle i t o n top- N o w i n t o
1 pound of silver y o u p u t I oz. of the preparation
a l u m [ S I m e l t a n d i t w i l l be gold.
1
ft Again
T a k e as much gold as y o u w a n t and twice as much
i m p o r t e d m i s y and the same a m o u n t as the m i s y of
t h i c k pyriapian filings of good copper or C y p r i a n
copper t h a t has been melted. Mbc them b o t h t o -
gether a n d make a gold tube i n t o w h i c h y o u deposit
the three preparations. A n d 90 m e l t i t cooling as T
necessary, and take i t o u t of the furnace a n d wash
i t off* Y o u w i l l then find the greatest w e i g h t o f
g o l d ; a n d w h e n this has touched t h e fire. I t w i l l
become better. M i x in some cadmia or T r a c h i a u
s t o n e — i t is yellow a n d Laminar, i.e., flat or m i l k y
[ 5 ] — u n t i l i t appears, t o y o u perfect gold,
10. Again, a rixipe for gold
T a k e 2 parts of p y r i t e , i.e-, fires tone, a n d 1 p a r t o f
good lead a n d m e l t them together u n t i l they become
l i k e w a t e r . A f t e r this add lead i n the furnace u n t i l
they are well mixed. N e x t , take the product o u t a n d
g r i n d 3 parts of i t a n d w i t h i t g r i n d I p a r t of good
TRANSLATION 31
ccUiiis a n d roast them u n t i l i t turns yellow. Melt
some copper w h i c h you have previously cleaned a n d
add some of the preparation t o t t b y eye, E-C- t o the F
best of y o u r j u d g m e n t I t w i l l become gold,
11. A gain excess of gold
Y
Take J of the purest gold, J C y p r i a n copper, [ a n d
f
J magnesia ( S ) ] and m e l t them together. File i t
w i t h a goldsmith's file and add 7 oz. of quicksilver,
grind them together, and a d d a Little vinegar a n d a
l i t d e salt u n t i l the quicksilver absorbs the hlings and h
i t w i l l f o r m a n amalgam- Leave i t t o d r y for 7 days
i n a glass j a r - Afterwards take 4 siliquae of prepared
native sulphur, some sandarac prepared f r o m the
pusca salsa* a n d 2 siliquae of yellow bu&tdus. a n d some
orpiment t h a t is made from Scythian v i t r i o l . and 1 1 7
siliqua of v u l t u r e gall. G r i n d them together a n d
up the m o u t h of the jar and lute i t w i t h gypsum and
roast i t i n the upper c o m p a r t m e n t of the furnace for
three days a n d nights { a n d o n the f o u r t h d a y transfer
the j a r t o the lower compartment of the furnace, so
t h a t it m a y become a sort qf straw color. T h e n take
i t o u t a n d l a y i t aside- Now take 3 cyathi of silver
a n d a quarter of certified gold a n d melt them a n d
you w i l l find o u t how i t behaves, a sacred a n d praise-
w o r t h y secret
12. Again, m a t i n g gold
T a k e 5 cyaiki of gold 2 cyalhi of certified copper
P
a n d m d t t h e m together; then file them finely and
add 16 quarters of quicksilver t h a t is made f r o m
minium 1 1
a n d g r i n d the filings together. Add a
l i t t l e v e r y sharp vinegar a n d some salt, u n t i l the
quicksilver absorbs the filings a n d i t w i l l become a n
amalgam. T h e n let i t cook for 7 days. N o w this is
the p r e p a r a t i o n : 1 siliqua of ?ulphur 1 siliqua of r
sandarac, 1 siliqua of orpiment made f r o m Scythian
v i t r i o l , and 1 siliqua o f v u l t u r e galL Y o u g r i n d all
these together a n d spread o u t the amalgam i n a flask.
L u t e the m o u t h of the flask w i t h gypsum a n d roast
i t i n the upper c o m p a r t m e n t of the furnace u n t i l i t
becomes straw colored. Now take 4 quarters of the
silver called Hgtioiuns [ r e . , stamped b y a n assay
office ?J a n d 4 quarters of the gold t h a t is i n the flask-
M e l t them together and y o u w i l l find r t -
13. The coloring of gold from horny
copper which should disappear
G r i n d 1 p a r t qf copper. 1 p a r t o f ox g a l l . 1 p a r t o f
roasted misy. heat them a n d y o u w i l l see w h a t
happens.
•T^fiA^Hjtt airam*id*m. See fbtitrtute tl to c h a p t e r L I t
U hard trj aee bow o r p i t H n t could be m a d e from i t ,
u
The c Q t i f i A K W between minium [red Eead cwide) and cidna-
h j r {red mercury sulpha) was sot uncommon.
 51 SMITH AND HAWTHORNE

M, ihi coloring of gold vkuh does mH fail
T a k e I oz. of fissile orpiment, 4 o i of pure, reddish
sandarac, 4 o i . of tbe h j balance o l magnesia. 1 oz. of
S c y t h i a n v i t r i o l , a n d 6 oa. of Greek natron, like
o r d i n a r y n a t r o n . G r i n d the orpiment extremely fine
u n t i l i t is Like m u d . Now mix them all together and
a d d very sharp E g y p t i a n vinegar and ox gall. Grind
them together and make them muddy and d r y i n the
when you have coated i t over, seal i t w i t h potter's
clay and roast for 3 hours. T h e n t a k e i t away and
you w i l l find the best gold, w i t h o u t f a u l t . "
17. Making green gold wiih or mtfkaut meilmg il
1 part of liquid a l u m , i p a r t of Canopian balsam
(which is used by- goldsmiths), 2 p a r t s of g o l d ; m d t
these all together and see w h a t h a p p e n s . 0

sun for 3 day*. G r i n d and put in a flask and roast

i n the furnace that you know about for 5 days.
A f t e r w a r d ! , take i t out and grind i t , add 5 oz. of
g r o u n d g u m . then add water and make i t like mud
and you w i l l form a salve- Now you lake 1 part of
p r i m e gold a n d I part of the salve. Melt the gold
a n d p u t i t i n t o tbe salve. When tbe g r i d becomes
green a n d to that i t can be ground, melt 1 part of the
colored gold and 1 of silver and you will find gold. I f
you w a n t t o make i t prime gold, melt 4 parts of the
colored gold and I p a r i of common gold, and you will
f i n d t h t beat and proven gold- Keep this as a sacred
t h i n g , a secret not t o be transmitted to any one, and
y o u w i l l not a i a prophet have given i t away.
15, Another rafv/«r grid
J j U a t i r i f proven gold
T w o parts of armenium, 1 p a r t of spnffidfu [ S ] ,
Grind them A ) ! , add a f o u r t h p a r t of b u l l ' s d u n g and
an equal part of cadmia. M e l t i t a n d i t w i l l be
rather heavy. Do the same t h i n g also i n copper.
JJ>. The waking of gold
M i x equal parts of ground salt a n d fissile a l u m into
1 K 3 scruples of C y p r i a n raisy a n d g r i n d them
together. Prepare a new fire-pan; m a k e t h i n sheets
of gold and stack them one o n t o p o f a n o t h e r [ w i t h
tbe compound] between. E i l l up w i t h charcoal and
set i t on fire three t i m e s . "

M e l t together 4 parts of copper and 1 part o l silver

and a d d 4 parts of u n b u r n ! orpiment, i.e., raw tvno* 20. (A recipe for) gold
[•S] a n d alter heating i t very strongly, allow i t to cool 2 ox. of iron rust. 2 a t . f loadstone, 2 oz. o f foreign 0

and p u t i t i n a pan. Coat i t w i t h potter's clay and
roast i t u n t i l i t becomes cherry red T a k e i t out
m d t i t a n d y o u w i l l find silver. A n d if you roast i t a
great deal, i t becomes tiidnum. A n d if yoo add 1
p a r t of gold t o this, i t becomes the best gokj. * 1
alum, 7 oz. of marra stone a n d some gold : g r i n d them
w i t h wine; i t is extremely useful. N o w there are
wme people who do not b d i e v e w h a t a great useful-
ness there is i n humors—these are the people w h o do
not themselves make a d e m o n s t r a t i o n . B u t i f they
do t h a they w i l l have t o g r a n t t h a t there are some
H

16. Again, uW lame things t o be marveled a t H o w e v e r , t h e y should do

i t t h a w a y : i e , b y m i x i n g t h e m , m e l t i n g them
r

T a k e gold made i n this w a y , hammer i t gut into together and p u t t i n g them i n a g o l d s m i t h ' s furnace-
sheets the thickness of a fingernail and take 1 part of
E g y p t i a n sixiopia and 2 parts of salt. M i x them found- b d J O W l
™* i t a n a t U r e

together a n d apply a first coat of i t over a sheet and

tt I f a i w i f | hmritr fid

13 mnd 209. fa t b . fanstr. ^ ^ V w - b * ™ sswSlZ? 7°* * * * * * mm i n order t h a t

b

rear, bui BDI in tbe bodkig. T l a sisal i I L l L omiT^i vour tabor and care may t be i n v a i n b u t w i l l also n o

Produce some profit, the m a k i n g of a m i x t u r e w i l l be

? ™ ^ v a n t a g e . W h e n the gold has t a k e n on
n

lit-SSfSP " ^ a
- P«inyw«E"t
fier c o l o f Q k c 2

be « a «BVs m»^i,i.,„Ji n t siiVsL?*lT *mm of I n d i a n iron, g r i n d them v e r y w d l and

rfrrT^L" ^ ^ ^ 1
barnmer o u t a sheet
2 ™ b u ' =<" a t h i c k one. No-,
^ i n d h,de i t b another [ s h e e t ] : a n d - h e n «
mmm t o be gomg . d l , heat i t a l i t t l e , so t h a t i<
* ™ * i
bave touched the h e a r t h . T h e n when
a T

V l S f f f flf *- * " J - * - - h w w - M t h i - (or <cf*r-

etaenbrt in f o o e ™ IS »cfcapt« J) but It ni^ht - n S ? ( l

« t S » S r llf" W l
P "" 0 1
^ this ii a will I l i " "
™ be a rs-ersL ( o r « • e^ h to b ^ ^ ^
i- ,T_ ^ ^ r o u r t ta , i , P r
VOL- l H P T -
r 19T4]
you t a k e i t away, p u t Lt i n a new pan a n d cover i t .
N o w . i n the cooking of a sheet, use misy. Clean i t
energetically a n d weigh o u t as much as y o u w a n t .
Depending on how much there ia mia i n 2 parts of h
n a t r o n a n d 1 p a r t of black lead-* M i x the unguent
w i t h w a t e r ; arrange i t on leaves or on a t h i n piece
of cork a n d when you have dried i t , m e l t i t w i t h
h Prepare 1 p a r t of prime brass filings, so t h a t they
black lead a n d leave them u n t i l they are burned i n t o
each other and there remains w h a t you w a n t .
22. The uniting of gold and its reshaping
T a k e 5 oz, of gold a n d make tubes and take equal
a m o u n t s o f brass tilings, fissile a l u m , C y p r i a i i misy,
a n d rock salt- M e t t u n t i l everything is separated.
W h e n you have hammered o u t the preparations,
shake t h e m o u t f r o m there, p u t a tube i n t o the
m e l t i n g furnace a n d some Theban n a t r o n , a n d so
T
m e l t i t . W h e n you weigh i t o u t , you w i l l find i t has
been doubled- W h e n this is p u t i n t o the fire a n d
beaten, i t w i l l recover its original color.
23. Again, th* melting of gctfd
M e l t 2 parts of g c l d 2 of silver, 1 p a r t of copper
T
sheet.
24* How an assay of gold should be mad*
4 parts of silver tilings and one p a r t each of cadmia
sinopia made f r o m m i s y . and b u r n t copper: g r i n d a l l
this together a n d wash w i t h wine £ 5 ] . When the
m i x t u r e is clean, make a l i t t l e pellet [ o f i t j . The
nugget w i l l m e l t and j o i n i n t o one- W i t h this m e l t
4 parts of g o l d +
M
25. An operation with gold
M e l t 2 p a r t s of go!d 1 of silver [-5] a n d 1 p a r t of
h
copper sheet. M i x 4 parte of silver filings w i t h the
above-mentioned materials and grind them all t o -
gether w i t h w i n e a n d wash them. W h e n this m i x t u r e
has been made clean, make a l i t t l e pellet a n d i t w i l l
be in the f o r m of a nugget. When this has been
melted a d d t o t t 1 p a r t of gold a n d so m e l t i t all
together.
26. A doubting of gold
Prepare 4 oz. of gold> 2 oz. of misy a n d 2 oz. of
sinopia. M e l t the gold u n t i l i t is lively- M i x m
those t w o ( t h e misy a n d sinopia) d u r i n g the m e l t i n g ,
and take i t out.
27- Another way
1 p a r t of gold, likewise 1 p a r t of silver a n d 1 o f
copper: make a sheet the thickness of a fingemail-
M
FtJltfwS 3 el fiutiifri MslthJims. JfctyMi&utn was loosely
M
used lor pCumhajo (black Lead) and mcJybdrnite as well u EOT
some compounds actually conlaininjj Jtad-
* This- U a- recipe for an alloy and has nothing to do with the
assaying promised by the title.
T R A N S L A T I O N
Coat this below and on top a n d add 1 p a r t o f roasted
misy as a coloring matter- Roast for 2 h o u r s ; take
i t o u t a n d y o u w i l l find the gokl doubled.
23. Another miy
can easily be melted, 8 minOJ of Sam tan cadmia, 8
parts of roasted misy 12 of dmnas [ S J . M e l t care-
F
f u l l y w i t h this mixture.
29. Another way
M i x 1 [ p a r t o f ] the juice of the c a r p a t h u m tree,
w h i c h is a teardrop like the g u m f r o m the tree i n
w h i c h arborinum is engendered- T h o u g h some people
w a n t the herb or tree [that g r o w s ] i n E g y p t .
G r i n d together m i n i u m , mountain sand, gold filings,
a n d a l u m w i t h vinegar; and cook i t i n a copper p o t ,
a n d stir. T h e color of this w r i t i n g lasts for yeara.
31. [A golden settling wax}
M i x 2 o t o f reddish n a t r o n and 3 oz. of m i n i u m -
G r i n d w i t h vinegar, add a l i t t l e a l u m and leave i t t o
d r y . T h e n g r i n d i t a n d lay i t aaide. T a k e about
h
half an obol o f gold filings a n d 1 oz. of gold-colored
o r p i m e n t . M i x them all together, grind them a n d
p o u r over them pure g u m soaked [n water. T a k e i t
o u t a n d seal w h a t you w a n t , whether a l e t t e r or
tablets. Leave i t for t w o days and the seal becomes
hard.
32. Another ipdy
P u t i n j u n i p e r juice, which is called btro inbriome.
33. Making herd goid fluid, so that it
comes out of the jirz belter
FUe refined gold w i t h a fine file and t h o r o u g h l y c o m -
m i n u t e i t P u t i t i n a mortar of serpentine or r o u g h
p o r p h y r y , where i t can be ground well. A d d v e r y
sharp vinegar and grind them together. Drench i t
as long as i t is black and pour i t off- B u t w h e n the
vinegar gets its own coJor then at last yrju p u t i n
r
either a grain of salt or a t least afru7%itrwn a n d i t is
made l i q u i d so t h a t one can w r i t e w i t h i t T h e n you
store i t , as i n a k i n d of mine, i n a large glass j a r . w i t h
" T h e rides of chaps. 30 and i l actually both read aKi*r t
"another way." Chaps. JO to 35 and 68 to 71 deacribt the prepa-
ration oE sold paint* or tnki lor dixysogranby. In order that t h t
gold should disiFttegntfi and not tomptct together by [rinding
it ia necessary to mix it with aaJt, honey or ether iruerTiai that
ts later waahed away Or tu render it brittle by alloying with,
P
mercury or F«ad which i * subsequently removed. Many of tbe
P
inks were ''extended" with yellow material* such U orpiment
LiTharae Ot faBiem- Sometime* no fold at all is used. AH need
P
some adhesive. See Ataanrier <l*56j.
34 SMITH AND
a l i t t l e gum to hold i t fast- I n this way also silver,
brass, a n d i r o n can be made liquid. Now, i n order
to make the gold shine after you have written w i t h
i t . r u b the letters w i t h the shell of a sea snail or w i t h
a boar's t o o t h .
34. Liquefying gold
T a k e I p a r t of honey [FflfffaseTflti, 5—eion] 3 parts P
trf o r p i m e n t . a n d 1 p a r t of gold. B u t thoroughly
hammer o u t the gold as much as you can and c u t i t P
Up w i t h shears. A d d 1 part of quicksilver and 1
p a r t of very sharp vinegar a n d mix them all together.
G r i n d them thoroughly i n a mortar and add gum and F
w r i t e w i t h t h i s i n k a n d burnish i t w i t h a tooth.
J5- Staking liquid gold
2 parts of gold-colored orpiment, 1 part of riidrium
a n d 1 p a r t of litharge, whose color should be golden."
W h e n you have ground these, pour them into a pot.
N e x t take 2+ square gold sheets. G r i n d as much as
y o u w a n t of these i n a d e a n pharmacist's m o r t a r
w i t h the a d d i t i o n of a l i t t l e s a l t When i t looks to
y o u like ground sand a d d fresh water, grind and wash
P T a k e a sheet of malleable gold c u t i t up i n t o t i n y h
i t off; b u t do this b y c o n t i n u a l l y adding water u n t i l
you see t h a t the gold is pure. T h e n add those
preparations [^ground o r p i m e n t and litharge a n d ] a
l i t t l e ground g u m b u t n o t enough to make i t sticky.
F Now, when yon see t h a t i t is well g r o u n d , a d d misy
D r i p o n t o i t an extract o f saffron a n d grind every-
t h i n g together. so t h a t i t has the consistency oE i n k .
Place i t i n a shell or a glass p o t ; and when you w a n t
t o use i t , first smear the reed pen w i t h liquid a l u m
then d i p i t i n the gold a n d write. When i t is d r y ,
r u b i t thoroughly w i t h a tooth.
36* Softening gold so that yon ?nay form a seal in it
Cook down some fissde a l u m i n water p u t In quick*
h
silver a n d g r i n d them together i n a mortar, sprinkling
in I part o l ocher a n d saffron w i t h pure glue and calf
gall. G r i n d t h e m together and use t h e m
57, The liquefying of $otd
T a k e t i n , m e l t i t w i t h quicksilver, and leave i t to
cool. G r i n d i t thoroughly i n a mortar with fissile
a l u m a n d cover i t w i t h the urine of a boy. I n this
w a y i t w i l l become l i q u i d a n d when i t is of the con-
sistency of a scribe's i n k . w r i t e your work w i t h i t .
When the letter? are d r y separately g r i n d L y d a n
h
saffron w i t h pure glue a n d w i t h this w r i t e [ o v e r ]
w h a t you had already w r i t t e n , a n d when i t dries, r u b
i t w i t h a t o o t h . B u t i f the t i n solidifies, (I.e. com-
pacts d u r i n g the g r i n d i n g ] melt i t again and m i l i t
w e l l w i t h [ m o r e ] Quicksilver.
"Although litharge is oa rurally yellow, t p i g n u t bright
enough to be called ioiden rnE(ht perhafn be what is BOW known
aa tin-Lead yrllnw. This h u not been tdedtintd m any actuaj
painting, how*Y*r until about 1300 a-D.
r l l l l W to be
HAWTHORNE [ T R A P * . A K E J L . M I I L . SOC-
38- How goid tan be made liquid without fire
T a k e t h i n gold and silver sheets: g r i n d t h e m i n a
very hard m o r t a r w i t h salt and Greek n a t r o n u n t i l
they are indistinguishable a n d seem to y o u to be
thdffoughly ground. T h e n you a d d more w a t e r i n the
same way a n d wash i t off; a n d , when the g o l d remain-
ing i n the mortar ia pure g r i n d i n a l i t t l e efflorescence
h
of copper and ox gall, and so w r i t e w i t h i t Keep i t
in a glass pot a n d when i t has become d r y g r i n d i t so
t h a t t t becomes more l i v e l y . N o w w r i t e w i t h a reed
pen or w i t h a painter's brush. I f y o u w a n t w h a t you
are w r i t i n g to be spread more l a v i s h l y , separately
grind 4 p a r s of fissile orpiment a n d 1 p a r t of elidrium,
together w i t h the above-mentioned substances sift
h
and muL G r i n d as much as seems to you to be equal
to the gold i n the mortar. G r i n d , as described above,
and write* When i t is d r y . polish i t w i t h a woolen
polishing cloth or w i t h n a t r o n . W i t h t h i s you also
h
paint on glass, on marble and on slatues.
r
39, Writing gold letters
pieces and put i t i n t o a glass p o t . A d d enough q u i c k -
silver, leave it u n t i l the gold liquefies, a n d transfer i t
to a m o r t a r G r i n d the quicksilver thoroughly ^
r
and copper, and g r i n d the same w a y u n t i l the quick-
silver is no longer distinguishable. T h e n p u t i n misy
u n t i l i t looks to you like copper, and leave i t t o d r y -
h A d d sufficient l i q u i d glue, g r i n d a n d , using a paint
brush w r i t e whatever you w a n t to h a v e i n color i n
h
the w a y t h a t you have learned.
40r A nother toay
You melt lead several times and quench i t i n cold
water. T h e n melt some gold, quench i t i n the above-
mentioned wafer t h a t has been used tor t h e lead, and
i t becomes b r i t d e " T h e n you g r i n d the EoW
thoroughly w i t h quicksilver T h o r o u g h l y clean the
dregs as you know how, m i x i n l i q u i d g u m a n d w r i t e
alter you have dipped the reed in l i q u i d a l u m - Clean
the a l u m w i t h salt and the best [ S ] vinegar.
41. Another way
D y t gold [ p o w d e r ] w i t h I n d i a n dragonsblood and
p u t i t m a glass p o L Surround i t w i t h coals, a n d i t
w i l l immediately liquefy and become fluid enough For
y t o b e able to w r i t e w i t h i t .
^ t l i n u n r J t a d m i n d e e d brittle l * d *****
m ^ c r t to Powder o , * ^ , ^ i ^ ^ i ! l t tt
^ 7 t T ^ The ^ b o w ™ , f « cwwne*
M f i i f j i J f c g Latin Mentation
O l a n i n w t o r o ( tfajj c h a p t e r i d ttffie other w .
V O L M , Tl. 4. lflT»l TRANSLATION 35

42 r Another way oughly thickened, leave i t for 3 days. T h e n when

y o u have learned t h a t i t has become l i q u i d , slowly
T a k e t i n a n d t u b i t w i t h your lingers; a n d when
pour o u t the gall, a n d add salt water to the l i q u i d
they begin to get black, r u b gold w i t h them u n t i l i t
gold- N o w . transfer both to a d e a n copper p o t , a n d
takes o n the same blackness. T h e n melt i t . solidify
w a r m i t T a k e i t o u t and d i l u t e i t T h e n , when i t
t t , g r i n d i t a n d do as you have learned.
is d r y mbc i n l i q u i d glue a n d so p a i n t . C e r t a i n l y , i f
3

i t should not become l i q u i d i n 3 days, leave i t alone.

43r Making inscriptions with gold,
according lo ihe furst method
50r Cofd-colored writing on parchment marble ¥ and
1 p a r t of elidritim, 1 p a r t of broken resin, the w h i t e
glass, so that it seems to be mode of gold
of 5 eggs b y n u m b e r , 1 p a r t o! gum, 1 p a r t of gold-
colored orpiment.. 1 p a r t of tortoise gall, 1 p a r t of M i x gold w i t h verdigris, g r i n d i t , and smear i t o n .
carcale scrapings. T h e weight of them a l l after they r O r g r i n d Quicksilver w i t h a woman's feces, a n d smear
have been pounded, should be about 20 d e n a r i i . " i t on.
T h e n a d d 2 d r a m s of saffron. T h i s works, not only on
papyrus a n d leaves of v e l l u m , b u t also o n marble a n d
5L The gilding of glosses, on a reed and on copper
T
on glass.
44> Another recipe for gotd P u t h y a c i n t h color, which painters use, i n t o salt a n d
stir u n t i l i t becomes l i q u i d . T h e n smear the gold
M i x n a t i v e sulphur, the skin of a pomegranate, the w i t h i t a n d d y e i t . u p to four times.
[nsides of figs, a l i t d e fissile a l u m , a n d l i q u i d g u m .
A f t e r a d d i n g a l i t t l e saffron w r i t e .
P
52- Getting Ihe gold color that you want
45. Again, another recipe 40 OZ- o f gold-colored orpiment* 15 drams of q u i c k -
silver, 10 oz. of chrysocoHa 20 oz. of foreign w i n e 1
T h e yolks of 3 eggs, a n d the w h i t e of l a n d 4 O L
p r

of elquima, 2 obols of black lead 2 QI. o f sulphur,

p

o f g u m , a n d 1 oz. saffron a n d 1 oz. of rock-crystal

H

20 oz. o f Gallic copper filings, 4 oz. of v e r y w h i t e

filings, a n d 7 o i . of gold-colored orpiment. G r i n d all
cucumber leaf: P o u n d these all together a n d s i f t them
these t h o r o u g h l y together. D r y them for 2 days on
in a small coarse sieve and t h r o w away the woody
end a n d t h e n they are p u t back i n t o saffron So
stuff t h a t remains. T h e n knead them w i t h the w h i t e
r

you w r i t e w h a t y o u want-
of 50 eggs a n d l e t them d r y . Pound them again and
knead them w i t h l i q u i d gum and eggs, u n t i l i t has the
46. Another 'writing in gvld consistency of h o n e y ; then p u t i t auto a mold and
1 p a r t of elidrium, 1 p a r t of orpiment, 1 p a r t of leave i t for 3 days. T h e n take i t o u t a n d y o u w i l l
tortoise g a l l 1 o f fissile a l u m and 1 p a r t of the skin
h
have a seal of gold better t h a n the real t h i n g . To
of a pomegranate w h i c h is gold-colored inside, 1 of a v o i d being called dishonest, keep the recipe secret.
g u m a n d 5 eggs. So let the weight of all these be
p

20 oz. [ A d d ] 2 d r a m s of saffron. 53* The liquefying of gold for a painting

^7. Another golden writing without using goid
Cook d o w n i n a p o t the juice of a m u l b e r r y or fig
tree a n d [ a d d ] to the juice a quarter part of alum*
a n d smear i t on the vessel t h a t is to be gilded and so
O r p i m e n t and cuttle-fish bones a n d the efflorescence
o f copper, i n equal portions: sandarac, gold-colored
litharge, a n d egg yolks, i n equal p o r t i o n s : w i t h the
above g r i n d gum-tragacanth a n d goat g a l l . When
you have muted t h i s w i t h the gall l i q u i d alone use i t h

g i l d i t Before d o i n g t h i s smear i t w i t h a quarter on a s t r i p o n w h i c h y o u impress a seal. R u n t h r o u g h

[ p a r t of J m y r r h , or the juice of a m u l b e r r y or fig tree, this the materials t h a t are to be coated- M a k e your
a n d so g i l d . seals w i t h a filed i r o n [ d i e ] t h a t is burnished, n o t
4S, [Another kind] rough, and coat i t w i t h smoke from b u r n i n g incense,
f t w i l l be a m a r v e l .
M e l t red n a t r o n a n d salt together a n d smear Itp

w i t h water a n d you may make whatever w o r k y o u

want. 54. Making ^figurines of} green [ond rerf]

49. [Infill kind] gotd [ e n d j i f t t f r ]

T a k e a l u m p of [ c a k e d p o w d e r e d ] gold p u t i t i n a
P
T a k e 4 parts of gold, 2 parts of silver, a n d m e l t
glass p o t a n d a d d o x gall. When it has been t h o r - them together; and when you have melted them,
make i t i n t o one or another male figure t h a t y o u
M
In £ the units, in chapter hut nowhere else, are d t - w a n t , a n d you w i l l have a m a n l y color—no mean
acted by j nppatedEy denariiuuiP, chapter? 276and 277. Thia
chapter ia not in S. I t a a highly corrupt T e r s c n of N&v 7* in display, a n d a d e l i g h t t h a t affords to Living men the
Leyden X . color of l i v i n g figures-
 SMITH AND HAWTHORNE KAM A HEP- rniu IOC.

B u t i f you w a n t to n u k e i t red. m i x 1 part o f ST. [DeorrotBt MMJ

C y p r i a n copper. M e l t prime copper a number o f
T a k e the stone androdamat* g r i n d i t and m i x i n
times u n t i l i t becomes brick-colored, a n d melt i t w i t h
some chrysocolla a n d a p p l y both [ t o the vessel]. Put
the above-mentioned weight [ o f g o l d ] .
i t i n the furnace a n d w a i t t i l l i t is well cooked, and i t
N o w . i f you want to mold a female figurine, take i
w i l l be decorated^
p a r t [ o f s o l d ] and 4 weights of silver, and the m i x t u r e
i i made, showing a female body t h a t gleams when i t
is polished- A f t e r t h i s i t has been lound how there
m a y also be made black 6gurines of gods from gold, M \ IK kM*4tU*fc a******
milver copper, and other alloys. T h e m i x t u r e a n d the
p M d t silver and when i t is red h o t add sulphur, a n d
operations w i l l be shown i n the following. stir- T h e n leave i t to cool. G r i n d it w e l l ; coat [ t h e
vensd] w i t h h i adding natron and oil- A l l these
55. Th* gilding of ererjOring that ypu wont to fiid, things are nno » Z a b d o r e they become a n y t h i n g ,
B

whether it be a xe.J' sHoer or topper

T a k e an extremely t h i n gold sheet, shear i t into t i n y
pieces a n d p u t i l i n a m o r t a r . A d d a l i t t l e q u i c k -
silver a n d leave i t for a short timt Afterwards, a d d
some n a t i o n and vinegar; r u b i t thoroughly w i t h a
pumice stone u n t i l i t has the consistency of glue on
account of the abundance of quicksilver- A n d now
y o u p u t i t i n a d e a n d o t h and squeeze i t , » t h a t
most of the quicksilver comes o u t T h e n y o u t a k e
the vessel [ t h a t is t n be g i l d e d ] , polish i t w i t h fine
5C- Ttf sho*t ornamented gold and
ornamented work of tapper
T a k e 5 parts of the best gold, 4 parts of Macedonian
chrysocolla, I p a r t of efflorescence of copper, 3 parts
of the best silver, a n d add the preparation. Sprinkle
i t w i t h a l i t t l e reddish n a t r o n , a n d melt ic over a slow
fire- A n d , when you have mixed i t i n t o the ground
chrysocolla take i t o u t and work vigorously making
H r

pumice, heat i t , a n d w h i l e i t c o o k coat i t w i t h the whatever k i n d of work a n d stamped design you w a n t .

a m a l g a m , a n d you heat the v e n d a second t i m e a n d
again coat i t a n d p u t i t on the fire. A n d the gold
alone becomes enriched. A f t e r a l i t t l e when the color
pleases you* beat the v e n d a n d p u t it i n t o a blacking
l i q u i d . U , the b o o t dressing, w i t h which leather
things are blatkenedr A n d then r u b i t . B u t if you
were gilding a copper vesael after you have polished
h
i t . coat i t w i t h l i q u i d a l u m , for i t w i l l [ t h e n ] receive
the amalgam-
Jtf. Painting black on a gold vessel,
so that ;wu thmh it is inlaid
M e l t together equal parts of silver, red copper, a n d
60. The gilding of tin sheets
T a k e leaves of cin d i p them i n vinegar and a l u m ,
h
a n d glue them together w i t h glue made from p a r c h -
m e n t . T h e n t a k e saffron and pure fLfe, d e a r a n d
transparent) glue, drench them both i n water w i t h
vinegar and cook them w i t h filings [ p a r c h m e n t scrap-
ings?] over a slow fire. W h e n the glue shine*, coat
the t i n leaves [ w i t h i t ] a n d they w i l l appear golden
to y m . B u t be careful n o t to a d d etidrium. Now,
if y o u have e v e r y t h i n g already ground, do not a d d
glue, for your w o r k w i l l be hardened. I f i t has been
stiffened w i t h glue for gold w r i t i n g add eienuiia^ so
h

lead, and sprinkle native sutphur over i t . W h e n you t h a t you m a y extend i t *

have cast i t , leave i t to cool, p u t i t i n a mortar, g r i n d
it* add vinegar a n d make i t the consistency of the i n k
w i t h w h i c h w r i t i n g w done. W r i t e whatever you wish
6L An easy wy of gliding
on gold a n d silver [vessels] A n d when i t h a j h a r d -
ened, beat i t a n d i t w i l l be [ a s i f ] i n l a i d . M e l t i t G r i n d gold-colored aandarac and fissile o r p i m e n t
l i k e t h i s : o r v e charcoal and so p u t the silver a n d the a n d gum-tragacanth w i t h goat gall a n d the inner
copper i n i t a n d m d t t h e m (and while you are heating parts of a n egg. F i r s t coat the new w o r k w i t h o i l .
them a d d i n the lead, then the s u l p h u r ) . When9
W h e n i t is d r y , i t w i l l have a color like gold a t its
y o u have mixed I t , pour i t o u t a n d do as was said best
above. 11

" T h a words in .-itnthesis are interpebced in a later a*aat
m
That rtoptp which ia repeated almost verbatim =n chap- £06.
describes the nusnnf of a±eJo, but H tt applied aa enenex wririn^
,L
Pliny (Jfl Pan. 146) cites one Scticua to the effect that
anJnxLtmtat ia a blank hemuite. If i l m e m a n u r e , tbia recipe
*ai(hl f0m an b ^ e j a f t B mlnfesffc aa an bfcfW lAam Chryso-
CJfl* 4 presumably §B| poHtr. Le. verdifris or some other cnpprr
H

in refief oa th* #c4d Or k h v p u r l e m Sueb treatment ia rare
in Europe, where niello r u mere commonly melted into eo-
fraYc4 a » or cbaflrpltW ansa and polished level » m t m t
with tbe around in eracr only. ^ * * ^ n y-.J Byzantine uher
anek S H f l o ftmtj h^h rcfief i * known, but i b t rnelaJ n i
preraaral b j envrse chisel cuts to h*Jr> anchor tbe nieflOr Thia i i
quite di3trunr iwcm tbe " i n k " described btre.
cttfflpound far use as in chapter U ' , bnt if it were b o r u or if
t v m r Other lUia-^ormer were present the misture would m a k e a
lajr flare loe d^oradnf pottery.
* Weaning ^nknowri.
•Chapter M B a dupUcant of the first half of t h i s chapter,
except fee reacting *fit*xiftf for f f s b f r i l . fifraut* may perhaps
be Unseed - --E
T O _ 44. n . t. I f loj TRANSLATION 37

dJ. Celling surfaces* 4

aO i l l c u r v e d surfaces i n a crisscross fashion Put r

i n t o a m e l t i n g furnace some ashes from which glass

B u m gum and grind i t w i t h water and coat the
is to be mdtedp and sprinkle them w i t h raw dragons-
m a t e r i a l - T h e n place them on a smooth stone and
blood. N o w , i f y o u do n o t have raw dragons blood*
p u t i t i n t o the Are. Smear them w i t h the above-
make a preparation from the w h i t e of eggs and
described preparation, and their surfaces w i l l be
mistletoe juice, and sprinkle the ash i n this blood,
coated.
and then cook i t , N o w after i t ia cooked, w h e n y o u
T

63. Again w a n t to produce i n glass the shape i n t o which i t is Co

C o a t the piects lavishly v i d i c a u s e and Greek be f o r m e d , coat the v m d w i t h the same blood.
n a t r o n together w i t h ox glue. W h e n t h a t is so dor.e you should know t h a t fragile
r

glaaa is formed i n t o t h e nature of a stronger m e t a l .

Y e t y o u can break i t i n this way. T a k e the blood of
64. The application of gold to iron
a cock and grind w i t h i t celadon-stone, m i x i n g i n
H e a t the iron gently and smear restn o n u n t i l i t some urincp b u t n o t using all the urine of one man.
smokes and place [ t h e g o l d ] on- When you have
h T h e n add g u m tragacanth. and when chey are all
wrapped a d o t h around the pure stuff [ g o l d ] on the mixed together, p u t them i n t o t h a i glass p o t You
iron, b i n d i u w i l l see t h a t Arte et fngenio rinei IngeniumV Again,
if y o u p u t this itself [ t h e glass] i n t o a lead or t i n
65. For gold to inmost vessel, i t becomes soJid like copper or i r o n , even
7 O i of copper, 6 oz. of goH-colored o r p i m e n t though you d o n ' t use cock's blood.

66. Making gold

70r The same [gold] used as ornamentation
6 oz. of copper.
M a k e a pot rough, as i f i t had been h i e d ; and p u t
67. Tke duplication of gold A t t i c honey i n i t and w i t h i t coat gold t h a t y o u have
hammered o u t i n t o the shape of a straw. Lightly
I p a r t o f silver filings. I t a l i a n c h r y w g r a p h y from pass your hand r o u n d ic, a n d afterwards g r i n d i t
a woolen polishing d o t h . T h e gilding w i l l be easy, u n t i l i t has become smooth. T h e n after all the gold,
if y o u d o the same things r
or as much o f i t as y o u w a n t , has been ground, add
(A liquefaction of g o l d : p u t OK gall in a new pot, water to the honey and wash i t delicately - w h e n the
and leave i t i n the new p o t for fi d a y s ; next* wet i t honey has become l i q u i d y o u w i l l find t h a i the l i q u i d
r

a n d , w h e n y o u take i t o u t . j o i n i t and m i * . ] * 1
gold settles; then use i t as a coaL So, add sufficient
ox glue, or fish glue, or g u m , to t h a t which has settled h

At. lWriti*ti*gtld] which y o u should have i n a pot for use. W i t h this

w r i t e letters and m a k e seals. Coat and p a i n t roofs
T a k e gold and p u t i t i n a new pot, and add ox gall- w i t h this, and e v e r y t h i n g t h a t you want w i l l look like
G r i n d i t for 3 days a n d , i f y o u see i t has b r a me goId w h e t h e r y o u paint or you w r i t e - W h e n i t ia
h

l i q u i d , gradually pour o u t the gall and add Iresh gall

h

w i t h vinegar- T h e n transfer the p u r e [ g d d ] agajn

ingjy obweurn. W i t if p c u m b J e t h a i i l r e f e r s CO t h e d e ^ t r i n c a t h o n
i n t o a copper p o t ; and when you have warmed the
and harefcninf cJ f l a s * ( b a t O c c u r s w h e n tt ia subjected to a loaf
pot, wash off the p u r e [ g o l d ] and d r y I t Coat the annealing process it a readers rely high temperature. This was
surface w i t h water-glue, and so w r i t e . B u t i f i t is first itudied lyitemSTicaLly by R. A I k R e n u m u x in h i s p a p e r h

n o t made Liquid w i t h i n three days, leave i t [ t o g r i n d ] "L'Art de fairs- u n e nokrveQe s c r t e d e Porceiaine. . . . uu da

transformer le Verve tn porcelain*/' tftm. Ami. .JfL i T j f l
longer, a n d i t w i l l become l i q u i d . (published 1 ? 4 I ) : pp. 370-19*. but tt m u t t b a v * b e e n r e p e a t e d l y
O b s e r v e d try artisan] w h o u s e d e j a s s v e s s e l s ia chsrjJIattCM^ aub-

69. [ G m w g to glass the nature of a stronger metoij* ]imatina or other processes hmjlvinf prutoepd heatinfj at in-
termediate leanperamres. The ttrter l a y e r o f l u t e e u e n p u n e d rat
a s h a n d b k n d w o u l d p r e v e n t t h e bot J l a s s ( n m i i r e i i f b e f o r e ut
T a k e a sound glass pot. hollow, i n the shape o f a
h a d h a r d e n e d , a n d a b n s e r v e to n u c l e a t e t h e r r v v b l l i n i k n OQ
m o r t a r and scraping i t w i t h an emery stone scratch
F F
the uirtace + w h i c h w O u i d b e a i d e d b p tbe Strncchina;. Note abn
tb* suggested iise d lead or tin. supposedly as a molten bath
••The word t r a n s l a t e d u enatiraj, e t f e j a a d i * . usually means which would both h e a t and support the gUss, F c r scene sub-
the joining o r fitting tceelher Ot rwc s e p a r a t e objects. Here, aa sequcnt h i s U r y uf the p t C e A t and tt* influence u n geojcgjczl
a l s o in Chapter W i t clearly r e f e r * to the a p p l i c a t i o n o f a protec-
P thinking, act L :.S. Smith [19rj9).
tive surface c o a t i n g C r v a r n i s h ,
u
Thia paragraph H interpolated at t h e fool o l t h e paee i n a O n e UJ t h e c h a p t e r titles listed on foL J u f the SeJestat m a a u -
later hancL After t h i i pant Eg t h e manuscript the s e r i b e rtaseri seript reads FuVitai «n* framriiMr fatm r b u t it i s n e t p r e s e n t
tn arspjy nuntfaen [d tbe chapters and ail e n timers liun is thai in the t e x t a n d n o n e o f its a a s o e s s t e d c h a p t e r titles rescxnbte a n y
supplied hy Phillrpp* cr h » edrtne Way note in uf the s e i f h b o o uf the present u r n . Out tick- cocoes, from the

introduction* pajt 9J • t u t
" An e p t p a n that can be [oosefy rrsdeJaawd " A r t a n d FttAftna-
• T h i s chapter, which » untitled and nimoudy Owt o f p k a c t
tna s u b j u t J c e t h e q u a l i t i e s of matter."
S M d w k b e d between twn chasten C * ehrriesjfaflhy. is e * c e * d -
 SMITH AND HAWTHORNE |riANL AHEL UllL. Wt

d r y , m b i t w i t h a tooth, to that the coating loots bottom [ o f a p o t j a n d sprinkle o n t h e m thoroughly

b r i l l i a n t . B y thia plan, indeed, you alio liquefy iron, ground white cadrnia- T h i s is engendered i n Dai-
l a d . a n d copper, and write and coat whatever you T i r a n a , w h m coppersmiths use i t L u t e the f u n u c t r

w t thcroiighjy - n t h potter's clay so t h a t i t c a n n d t breathe

for i day.* T h e n open up a n d if it i * good, use i t ; if
7L \Writi*t in f r i i ] not, cook i t w i t h cadrnia a second tirne as above. If p

I^teit lead a number of times and pour it into water; i t comes out well* the taSdcnum copper is permeated
a n d . when you have done thia many time*. remove throughout w i t h gold [coJorJ*
the lead- I n the H J M water into which you have
been pouring die lead, [ p o u r ] meked pM, and leave
i t there- For i t breaks into tiny pieces, take these, 75. Making tapper while
grind them and they liquefy. T o this add as much
When [ c o p p e r ] begins t o m e l t a d d oc-pimtnt. not p
of the above-mentioned glue as you w a n t ; and use i t
prepared, b u t fresh.
for whatever you w a n t Now. indeed, the gum that
is found i n the deepest hollows of a tree holds the
gold well if i t is previouiiy smeared onto glara vessel* 76- For She dyeing c; gpid
t h a t are being g i l d e d . "
When i t begins to m e l t , p u t i n o r p i m e n t t h a t h u
been prepared.
72. [A recipe far sihcr~]

T a k e C y p r i a n misy. sandarac and didrium in equal 77. Making copper white

p o r t i o n s : and w i t h water i n which should be cooked
the leaves of mountain sandarac. c , of wild p o p p y *
which Is also called ammaniacum; make a [paste] the
consiitency of glue, and melt silver, h u t the best
silver. W h e n i t is h o i . dip i t into the above-men-
tioned water.
73. A recipe fir
^ 2 p a m of Cyptiao cooper, 1 part of silver, 4 drams
of sal ammoniac and the same amount of fissile alum
and licorice. M e l t them all together. Now if you
want to work w i t h this, you rake t h * stuff squeezed
o u t of thistle and ground raisins, and you put i i |
lumps of this i n a pot and cook very well, take them
o u t and work b y the fire. D i p [ t h e l i J v t r l , the
prepaiation that comes from the cooking.
L
Wnen copper has been m e l t e d , a d d unprepared
orpiment and i t becomes white* a n d something which
can b * ground [ t o p o w d e r ] . W a s h t h i s f a i r l y often
w i t h water, u n t i l i t becomes clean | a n d t a k e some ol
i t . and you w i l l find i t t o be yellow. T h e n wash it
off w i t h water and you w i l l find copper l i k e blood.
T o this a d d a l v e r i n the furnace a n d i t t u r n s into a
river silver Like coral. M i * 1 p a r t o f t h i s a n d 2 parts of
gold, a n d you make a m a r v e l .
7i. Jfturusg M 1 0 * ItfUT
l t e
Pot i n t o a cooking-pot \ mina of lead, some efflores-
cence of copper a n d 4 d r a m s o f g r o u n d pomegrantw
n
u r i n . Coat i t w i t h chalk a n d leave i t u n t i l i t Ei
melted.

79. A recipe for fold solder

74. C M w e l t u l
M e h together I d r a m of lead a n d 4 d r a m s of copped
J ^ ^ ^ / g P * * the k i n d which is called adding Samian e a r t h , s a l t , a n d l i q u i d a l u m and let
T> f
« W - lurnmer i t out and them Liquefy: a n d as soon as i t begins to d o so, clean
* these sheet, out on
, L
Z i t w i t h a [ f l u s ] p r e p a r a t i o n . N o w , i f i t can be
" Cf. dapie/ IL extended i n the fire, i.e., if i t is tatdarium* dip it *
vinegar and cast i t i n t o w h a t e v e r shape y o u "ant¬
" wiD become extremely w h i t e ,

SO. Changing capper

Take 6 « M M J of salt a n d 4 minai of Slings or
A p i n g s [of c o p p e r j M h t h e filings i n a f * t " l t h

p o u n d t a l t . s p r i n k l i n g vinegar o v e r t h e m , and l e a «
tor 3 days a n d you w i l l find i t has t u r n e d green-

B i * * " * l i o
^ from whi h
t ih» \t l-ulrily deriwd
«rne fiutlr* a n d :0 ntr H n t k # d " P C " itrth
flMlsf. IW, n W _ : p , 29J>-
It riptd^lw w r « rJrT ^ ^ ™ *
eTW Jj 1A
CB
****T « t T * to t * flrtiii«l fa
U fitk. On
™PW. a t * q o t F co chApw
V O L . 04, i. 1974] TRANSLATION

SI- [Writing in golden-colored istiersj* 8d. Cleaning silver vessels mihout damage
G r i n d 4 drams of litharge w i t h dove feces a n d T a k e a d i r t y woolen d o t h , soaked i n t h i c k salt water,
vinegar. A f t e r heating i t , w r i t e w i t h a s t y l u s a n d wipe [ t h e vessels] clean; wash them off i n cold
water a n d let them d r y . W i p i n g them dean w i t h this
causes no damage.
82. Writing in sittitty Utters
G r i n d quicksilver a n d lathe-turnings of t i n ; pour i n 8&-A. [Again, cleaning silver^
some l i q u i d vinegar a n d when you have ground i t ,
+

make i t the proper consistency for w r i t i n g . W i t h sap g r i n d red n a t r o n , not entirely pure a l u m ,
a n d sea-leek sprouts w i t h the juice of a lupine duster.
Coat the stiver w i t h i t using a stiff feather; heat i t i n
#J. M&king silver, elidrium. or gold from copper a p o t i n which there has also been quicksilver.
T a k e 4 parts of copper a n d I p a r t of silver, m e l t
them together a n d a d d 4 parts of on b u r n t o r p i m e n t , 8&-B. [Again, cleaning silver^
i.e., cur cos and T p a r t of silver. W h e n you have
M e l t red natron a n d a l u m together. T h e n grind
thoroughly heated t h e m let the m i x t u r e cool a n d
r
i t w i t h water, coat the silver, a n d heat i t
p u t i t i n a pan. Coat i t w i t h potter's clay then roast h

i t u n t i l i t becomes cherry-red and m e l t i t and y o u

S6-C. [A miff]
h

w i l l find silver.
B u t i f y o u roast i t a l o t , i t w i l l become electrum.* 4 T a k e half a mine of C y p r i a n copper* a n d 1 mina
A n d if y o u a d d to i t one p a r t of gold, at becomes the of t i n , S oz- of magnesia, 20 oz. of ground p y r i t e , melt
best g o l d . them together, a n d p u t i n the t i n ; then, not last, add
some quicksilver, a n d stir w i t h an i r o n r o d . Cast i t
i n t o l i t t l e cylinders.
S4. How black silver sfumld be made white

T a k e 2 sofidi o f m i n i u m [ L e . , c i n n a b a r ] from w h i c h 86-D. [To clean silver]

quicksilver is made, which is washed i n hot water a n d 3

when dried, ia ready for use. M e l t i t , and mix i n a G r i n d m i n i u m w i t h alum* pour i n w h i t e vinegar*
l i t t l e b i t of copper w i t h silver and lead, N o w a i l of and make i t the consistency of a w u salve. A n d
F

t h e m accept lead [ w h e n ] they are melted, and so a when you have coated [ a silver vessd w i t h i t ] several
more resplendent sign is achieved- times, leave i t i n t h a t condition the whole n i g h t
through.

85. The alioy of iilver 87H For silver to appear golden colored
G r i n d calf g a l l , a woman's urine, the seed of rue, a M i n i u m , l i q u i d a l u m , C i m o l i a n e a r t h ; equal
t h i r d p a r t , and likewise a third part of male madder; amounts. Pour these i n t o sea w a t e r , a n d after
t h e n pour i n a t h i r d p a r t a n d pour t t i n t o silver, a n d
r thoroughly hearing d i p the silver i n i t .
place i t on the top of the furnace. Spread i t about
u n t i l i t becomes hot, a n d then p u t i t i n the inside of S3, The recipe for while [metef]
the furnace.
T a k e 4 drams of w h i t e [ c o p p e r ] Blings a n d q u i c k -
h

t i l v e r ; a n d w i t h o u t a d d i n g a n y t h i n g , sprinkle them
S5'A. [A coppeT'tin ulioy ingot] w i t h granulated a l u m , a n d melt.
1 p a r t o f C y p r i a n copper and I part of t i n should
be melted together i n t o an antabro- A n antabra [ a n 89. The recipe for liquid silver, by means of which one
i n g o t ? ] is a shape used i n a m i n t . plates copper** with siher

Liquefy i n salt 4 drams of silver filings, 15 drams

SS-B* [A white sihtr alloy} of A t t i c honey. S drams o f l i q u i d resin. 2 d r a m s of
b u r n t copper- T h e n p u t i t i n a box.
2 parts of s i l v t r 3 parts of purified t i n . CTLn is
T

purified like t h i s : i t is melted w i t h a n a d m i x t u r e of

JJM- [A recipe]
p i t c h a n d b i t u m e n . ) A n d inett together w i t h them
half a p a r t of w h i t e copper. T h e n take i t o u t a n d 1 pound of cleaned t i n , 1 d r a m of quicksilver* 1
g r i n d i t a n d make whatever you w a n t . d r a m of Brindisian m i r r o r m e t a l , pounded a n d sifted¬
44

** Teal TracLa oxrum but « find oursrfvM t i a a b J e to (nil™ i t l

• Heading errorwaujl y r o d * Item.
M
Probably a scribe's error 'or Jidrniw^
» m e t i f T V d havr: been a kind ot e k c O T O L
a n d J09 i-or aJrnost identical recipes.
' S u p p o s e d l y thia a true brictJe s p e c u l u m m e t a l containing
But tiittrtunt may about ii ra*r cent tin* : hough thia may r e f e r to tht Brinrjiban
Set also chapa. 1 5
leaded b r u n x H chapter* 221-A U s d B.
 SMITH AXD HAWTHORNE

The quicksilver should be mixed w i t h the i n : , b u t the melt t h e m . W h e n they are thoroughly mixed* each
others ahould be melted separately a n d [ t h e n ] mixed. w i l l lose its character and a fragile m a t e r i a l reftults r

A n d when i t has become l i q u i d , thoroughly heat Y o u g r i n d this i n a hard m o r t a r , adding g u m , a n d

copper, a n d when i t has settled and you have smeared
I t , d i p [ t h e vessel] i n t h a t liquid a n d , just ai water*
become stagnant, heat the mouth o f the top of the
l i t t l e veasel, a n d i t w i l l not come off,
[ f f t i f k inscriptions on silver]
G r i n d a l i t t l e b u r n t lead in a mortar m i x i n g i nh
some sulphur and w i t h vinegar make i t the consis-
wash i t off; d r y i n any w a y . When i t has d r i e d ,
smear i t o n . as suggested. N o w , if you w a n t i t to be
of a golden color, m i x ground saffron w i t h clean g l u e :
w r i t e w h a t you w a n t to d d i n e a t e ; when you have
w r i t t e n a n d i t has dried, r u b i t w i t h a burnisher.
92. Stiver writing in ike Itclutn way
T a k e o v e r sheet; g r i n d i t . as described b d o w w i t h P

tency of glue, (ascribe silver vessels [ w i t h t h i s ] a n d , salt or n a t r o n . T h e n wash i t off w i t h water add ox d

when i t has dried, heat them and i t w i l l never be gall and* g r i n d i n g i t together i n a glas* p o t , l a y i t
worn off." aside. W r i t e w i t h a q u i l l or w i t h a paint b r u s h ; when
it has dried, polish i t .
-ffl-C [A tin-copper-lead alloy]

G r i n d a l l together I part of copper, 5 parts of tin, 92-A. Silver writing in the Italian way
1 p a r t of lead-
T a k e silver sheets, g r i n d them w i t h Quicksilver,
stiibada, a l u m , s u m , a n d vinegar, a n d so w r i t e . I n
Sfl-D. [Treatment for copper vessris]
order t h a t the w r i t i n g may last, m i x blacksmith's
G r i n d together i n t o one, chry^oculJa. quicksilver, w a t e r " w i t h every pigment a n d the same a m o u n t of
reddish S i m i a n e a r t h , a n d honey- Coat a copper a l u m , a n d so w r i t e , after you have previously care-
vessel w i t h i t a n d rail i L f u l l y w i p e d clean [ t h e surface to be w r i t t e n o n ] .

PO. Silver of a blue color f>2-B> [ d green writing']

N o w , there is a potion compounded like A f a : y o u P u t i n t o vinegar, efflorescence of copper, verdigris,
rook down b&stle a l u m i n water, a d d quicksilver, aod and s u l p h u r . A d d gum a n d w r i t e .
1 part of roasted basanite stone. * 1 part of sheet 4

silver. These arc made t o t h a t you can fashion w h a t - [ d silver n r i h f i g ]

ever p o t i o n y o u want* and Eeave i t to d r y for 3 days.
N o r should you f a t h i o n i t first, n o t to tejl you w h a t
i t i i , for i t wiU be d e s t r o y t d , since i t w i l l become tike
sand. N o w heat i t , a p p l y i n g i t only once; for if y o u
w a n t to do i t twice y o u k » e the m i x t u r e . Fashion
1
G r i n d silver i n a m o r t a r [ m a d e o l ] basanite stone
w i t h a l i t d e w a t e r , a n d liquefy i t w i t h [ m o r e ] w a t e r ,
a n d i t w i l l d r y o u t as ground silver. T a k i n g o n
water-glue w r i t e w i t h i t . A n d i f you are w o r k i n g i n
t

seals of i t . n o t u n l i k e a greenish blue- Now if you gold, use i t i n the same way*
w a n t the same things to be g i l t golden colored],
m i x cbrytitij and saffron w i t h l i q u i d gum. 92-D, lAnatker silver writing]

M d t 1 d r a m of silver, a n d when i t is melted, a d d

W i Z r o silver and copper tnoy take on the color of gold 3 d r a m s of pure t i n , a n d pour i t c u t a n d leave i t to
cooL T h e n 6le a n d g r i n d i t , a n d w r i t e whatever y o u
1 part o f gold, 1 p a r t of l e a d ! m d t these together,
want.
then hie them a n d g r i n d i n a h a r d Tbeban mortar,
adding w a t e r a n d n a t m n . Afterwards pour them « - £ [A U i writing}
i n t o a lead p o t T h e n you dap the v e n d [ t o be
g i l d e d ] In the mixture* p u t i t i n t o the furnace a n d M e l t together 2 parts of t i n and 3 parts of lead.
heat i t u n t i l i t has the c o k r of g o l d - 4 W h e n you have done thia, polish i t . file i t , a n d g r i n d
i t - T h e n add water-glue, arid polish.
9t A [at M A M l ]
93, Writing with quicksilver
T a k e 2 d r a m s of stagnum* and 2 drama of t i n a n d
T a k e quicksilver a n d p u t i t i n a porringer; add a
" Q UK i i i T j r r f c u l rtttDrj of chapter »
n l i t t l e q u i c k l i m e and a Little l i q u i d a l u m , aod aorae
* A hard kne^fTUptd abrvavr a o M uatd (rar wheraronca. very sharp vinegar. S t i r i t u n t i l i t becomes quite
mortan* and [be tOucrjatonra of the fold aaaayer (Pliny),
* Aa inveraatina variant gLtding with mercury. Tt frOoU u n i f o r m . T a k e i t off the h e a r t h , g r i n d i t and put it
be very hard to Oaaliae the lead away *HthoiH difliaung silver in a c l o t h . Squeeze i t and quicksilver w i l l drop down.
IrCm U n H t t A d d some isinglass and w r i t e -
" -SUfwm* nbcariy ben an allcT of tin, aho anna tba port
• W a t t r m which red-hot irOo baa been quenched (Pan»>.
V O L . 64 1 Tl. lp ]4T4l
?J'i4. [-4 copper composition]
2 drama of C y p r i a n copper and 1 d r a m of w h i t e
magnesia, 1 drams of litharge,
IA for j i & w r ]
T a k e some t h i n w h i t e t i n , purge i t [ b y drossingj
4 times, a n d m d t i t w i t h 1 p a r t of silver. When you
have melted i t , g r i n d i t t h o r o u g h l y and fashion w h a t -
h
ever y o u w a n t , cups or whatever seems good to y o u ,
for even t o master s m i t h s , i t w i l l look like prime silver.
T
93-C. [Metallic urriting]
T a k e pure t i n , as y o u have learned: 1 d r a m of t i n .
3 scruples erf magnesia: d e a n off the soft dress. Fde
3 scruples of i t a n d 3 scruples of quicksilver. A f t e r -
wards take i r o n filings, g r i n d them in a mortar, u n t i l
they become wooly. T h e n a d d a n amount of m a g -
nesia (and g r i n d these carefully u n t i l they become
amalgamated). P u t t h i s i n the furnace, and melt i t ;
then you p u t this, together w i t h t i n into another
furnace. L e a r n t h i s [ w a y o f ] w r i t i n g .
94. Using copper to make it tike silver
G r i n d 2 drams each of chrysocolla, earthy ceruse
and quicksilver, a n d pour i n a sufficient amount of
good honey, and heat it_ W h i l e you are coating on
w h a t y o u w a n t , after you have first wiped the vessel
clfcui l i g h t l y hofd i t over a fire of w h i t e poplar wood.
d
Le-, t h e v i o l e t k i n d -
Smear o n quicksilver a n d s u l p h u r : and there w i l l be
1 mina o f C y p r i a n copper v i t r i o l , 1 pound of roasted
misy, 14 d r a m s o f common a l u m . T a k e i n your hand
fine salt a n d hold i t i n y o u r hand u n t i l i t becomes
black. T h o r o u g h l y w i p e a n d r u b a stater w i t h s a l t
A n d w h e n i t has become silvery, from a copper stater,
w r a p i n vine leaves a pennyweight n e t ; ^ d leave i t
in t h i s condition for the whole n i g h t On the f o l l o w -
ing d a y t a k e i t o u t a n d use i t * *
r
95. Making green letters that tost for ever on
tficW. stone or whatever yon wish**
T a k e filings of naxia shaved from the skin and w i t h
them g r i n d agacia filings, a n d a l u m , a n d water from a
lake i.e*, r a i n w a t e r , a n d the leaves of barley t h a t has
h [ i . t linseed o i l ] to 1 p a r t of varnish, a n d again p u t
gone to seed. G r i n d t h e m all together. write* and the
letters w i l l be green.
95-Ar [A coating for copper]
W i p e some copper a n d r u b i t thoroughly w i t h
pumice stone a n d leave i t En the sun. Afterwards,
• Latin unclear: a fraudulent operat™ seenu to be intended,
in which a stater made of cupper is- superficially sirvertdr
n
In the manuscript this chapter utfa appears in tbe t o t
without tbe usual distinction.
T R A N S L A T I O N 41
take 1 p a r t of citrus wood * and pieces of pomegranate
4
wood, c u t them up carefully a n d take a convenient
amount of them m i x i n g them w i t h n a t r o n , w a t e r , a n d
salt- P u t i n the copper and leave i t there for 5 days,
a n d when i t i s dyed, coat i t w i t h w a x salve*
P5-3. [A coating for copper]
G r i n d 1 part of the sap of a ealumbaris t h o r n w i t h
a l u m ; pound i t thoroughly gather i t up and leave i t
h
f o r 2 days. T h e n when you have taken i t up, coat
[ c o p p e r ? ] w i t h i t . leave i t for 1 d a y a n d then wipe i t
off-
flS-C [To solder copper mth silver solder]
T a k e I d r a m o f i i l v e r . 1 d r a m of copper half
F
[ a d r a m ] of lead and m d t them together. Now,
when you w a n t to do the soldering, a p p l y the solder
to the copper a n d , when the [ s o l d e r i n g ] iron ia h o t ,
h
p u t i t on to the solder t h a t lies on the copper, a n d so
decorate. Otherwise, j o i n a sheet to a s h e e t * 1
T
96- Making green pigment
Coat copper, beaten o u t i n t o sheeTa, w i t h honey or
the f r o t h of cooked honey a n d p u t beneath i t i n a p o t
broad laths of w o c d , and pour over i t a man's urine.
L e t i t stand, covered, for 14 days.
97. Making indigo pigment
Collect the ]uice of d w a r f elderberries a n d d r y i t
thoroughly i n the sun. F r o m w h a t remains make
pastilles w i t h a l i t t l e vinegar and wine, then use i t
Pf. Making Greek glue
M a k e a dour o u t of varnish b y g r i n d i n g i t o n
marble and sifting i t - P u t i t i n t o a rough cooking
p o t , thoroughly sealed w i t h a cover, so made t h a t
there is a small hole i n the middle of the cover a n d i n
this hole a pointed i r o n rod- N o w , p u t i t on i r o n
s h e e t s on a goldsmith's forge the fire i n w h i c h should
T
have been previously started. T h e n p u t d r y sticks
topper, of wood, c u t up very small underneath [ t h e p o t ] a n d
[ t h e v a m i s h flour] melts as soon as i t grows hot.
T a k e out the i r o n rod and p u t a l i t t l e drop on y o u r
fingernail; a n d if i t seems l i q u i d , take i t off the fire
a n d pour on 2 parts of o i l squeezed from flaxseed
wood underneath a n d cook a short hour, a n d use i t
B u t i f there is a grain of mastic [ i n i t ] , i t liquefies
more slowly.
* * N o t o u r citrus but a f r a g r a n t African w o o d highly prited
in the ancient world.
" Thia paragraph describes the use o f a hot soldering I r o n t o
melt silver colder o n t o the surface o f copper, apparently i n a
decorative design. B l n n p A t C t o (1540) also describes the use o l
glowirtl-hct tong* to melt silver voider ( i n joining a broken
sickle* s a w , or sword), b u t a n i n n W o u J d n o t today b e used with
a aoJder o f sucfi a high melting point-
 SMITH AND
99. Gilding an i f j w , m»cf w giajs
h water- T h e n lay the stones for building the s t r u c -
N o w the man w h o i t gilding glass should Take a
r
piece of p i t c h glue and a piece of almond gum, mix
t h e m , cook them a n d coat the [ g l a s s ] vessel; and c u t
u p gold leaf very finely and lay i t on to form the
picture that you w a n t to make. A n d the tame for
stone, after washing i t i n water, and for woodr A n d ,
when the glueing hat d r i e d , burnish i t w i t h a hematite
t t o n e or w i t h a [ b u r n i s h i n g ] tool-
1QQ. For coining gold
T a k e v i t r i o l and roast i t * as you know how, and as
much salt again, and temper i t w i t h red wine, n o t
too t h i n l y i n a copper pot. a n d coat the gold w i t h i t .
P
P u t i t i n the furnace and heat i t u n t i l i t becomes black,
then take i t o u t .
iOL Tt* kyout of a structure
T b e layout of a structure for those w h o set down
[ S ] either w i t h w h a t measurements you should lay
o u t [ t h e plan o f ] buildings or w i t h w h a t measure-
ments you should raise them i n height, depending on
the method of construction.
I f i t is to be 4 t i m e t the height of a man, the founda-
tion should be constructed to one man's height. B u t
if the height i t to be 3 times the height of a man. the
foundation w i l l reach a t far as the crotch. And if
the height is t h a t of one m a n . the foundation wQl
reach as far as the knee. I f i t i t tile w o r k [ a d d ]
four cubits [ S ] , I f i t i t roofed in. wood, IT i t included
i n the height. If i t is a vaulted roof, y o u must ex-
cavate the foundation as deeply as the h e i g h t ; namely,
the height measured Ought to be the same as the wall
w i t h o u t the a r r j i .
Now i f the place ia hard a n d of solid rock* [ay the
foundation one c u b i t k a t for each man's height. I f
the place ia t o f t , b u i l d as we said above, [f the place
is atony, do not t r u s t the stones, b u t excavate as one
should [ i n soft g r o u n d ] , B O t h a t i t is not pressed down
b y the excessive weight allowing the structure to
subside.
Mat A structure in water
I f i t B necessary to erect a structure i n water, make
a triangular cofler a n d teal i t outside w i t h tallow and
p i t c h , so t h a t the water may not enter and wash
away the m o r t a r and the men who are w o r k i n g inside-
P u t the coffer between lour ships, a n d fix i t firmly i n
the place where i t should be; the shipa themselves
m u s t be anchored * so t h a t they do not move i n the
1
H
Fallowing 5 Wwiaax. P f*adi ™rr***j L, tanam Chapters
H h
102 and 3 are present ia all three manuscripts, L S & P bur r r
(bey were owritted in M uraturia transcript at t aa they are on
t Leaf f2lle) aomearbll separate from the Satin body c£ the
ehrmiril recipe*. Svermunt, who believed tbem to be hia tfia-
U J i u j raibUhed tbna in I'Ml. bnt Bureaus
F bad eye-
HAWTHORNE |Tt>N3_ A M t i _ HUL. BC.
ture. N o w . the tempering of the lime should be as
follows: P u t together 1 p a r t of sand and 2 parts of
lime a n d then w o r k i t . T h e cofier itself should be
one cubit higher than the water.
103. Mortar
T h i s i t tbe w a y m o r t a r should b e made. P u t 1 p a r i
of lime, 3 or 4 parts of sand, a t h i r d [ o f a p a r t ] of
crushed tile* a sixth p a r t of pulverized chaff, also one
cffufiuj* of water a n d 2 sextaria qf hog f a t L e t i t
1
rest for a w e e k — i t w i l l improve if you leave i t longer.
Now wet it c o n t i n u a l l y according to the amount t h a t
i t needs a n d i t w i l l b e compounded' T h e n w o r k w i t h
it
104. Licamonta
Lkawumia: Three sotidi of bits of E g y p t i a n aTum,
1 o i . ol natron-
105- JTte recipe for cinnabar
Take 2 p a r t i of clean q u i c k s i l v e r a n d 1 p a r t of
11
native sulphur, a n d p u t them in a flask, a n d , cooking
them w i t h o u t smoke and over a slow fire, make
cinnabar. Wash i t properly.
tQ&r The recipe for oerdigris
T a k e very clean copper leaf and hang i t over very
sharp vinegar. Leave i t undisturbed i n the t u n for
14 days. Open i t up, take away the leaf and collect
the efflorescence; a n d you w i l l make the cleanest
verdigris.
tQ7. The recipe for white lead
T a k e lead, make a leaf a n d hang i t over vinegar-
Collect the efflorescence a n d wash i t well u n t i l i t is
d e a n and you w i l l make w h i t e lead-
107-A. The recipe for o Pandius
Afterwards, take 1 p a r t of cinnabar, half a p a r t of
verdigris and half a p a r t of w h i t e lead; p u t them i n t o
a marble m o r t a r a n d g r i n d them well* N o w . after
grinding, take some water i n which fish-glue" ia
cooked, a n d it w i l l become a pandius p i g m e n t - "
• T h * f j w f n j was a liquid onaore cat a b o r t AG quarts; tec
aeraoriax Q H *Ulh of this,
" Yirmgnm. Iirenfly water si hex. Easewbere quicksilver
st ergtntmm newns. Pliny uses the word ky^at[ynim for arb-
fieiaJly prepared quicksilver. See chapter J _ L - C for a. more
detailed cinna.har recipe.
•Theophilus 11.28) gives a good account ol the making of"
hsh gLue uAikycoibn (here KCUKutien). For ita uae in pain bog
r
aee Rocwen-Runee ] M 7 : 2: p. T and ficssiru.
h
m
In chapter a a similar mixed rleih-color pteeaent is called
h
cwiwaaavak It n erhat Tbeuphihm caDs laaiaa taw- Taa e n d
P*^m* appears numerous tirne* in iftt m a A A r i p i id dtffrr*ftl
CHtexta (see intinj. I t is itsuaUy a pifeaent and, as in chapters
TOI_- 6t n-
r Ik 1*7*1 T R A N S L A T I O N
IQg. The recipe for azure
Gather leaves of the violet flower and g r i n d them
we]| i n a clfcm m o r t a r - add soap made from axle
grease w i t h o u t using lime- M a k e i t clean* scale i t off
w i t h w a r m water, a n d dissolve 1 qz. of soap to a pound
of water, a n d r u b the soap very finely w i t h the water
a n d leave i t to cool. Afterwards p u t this mixture in
the ground flowers a n d p u t i t in a glass pot which
can h o l d i t a n d lay i t aside. A n d after some time
m i x a n d stir i t every day once a day u n t i l the end of
the week- A f t e r this, leave i t for 3 days then stir
i t for 2. u n t i l i t is cooked down- N e x t , take the
greater d a r k l i l y w h i c h is purple a n d has l i t t l e knife¬
l i k e leaves. R u b i t down similarly i n a mortar as
usual and leave i t w i t h o u t soap, adding water. N e x t ,
p u t [ t o g e t h e r ] 2 pounds of the violet composition,
1 pound of die greater d a r k l i l y and some frothed
3
E g y p t i a n a l u m , [ o r ] i f there does not happen to
be some f r o t h e d a l u m or, if i t is weak a n d raw, p u t
in 2 ounces of soap; a n d 2 pounds of frothed urine-
Cook i t all down over a slow fire for 6 hours, and
i f i t is too green, a d d u r i n e ; i f too blue, add more
alum.
N o w i f the azure is viscid add a sufficient amount
1
from the w h i t e domestic l i l y , a n d cook it down,*
N o w inspect a sample of the concoction on the stick
w i t h w h i c h i t is s t i r r e d for it does not show the color
h
when i t is h o t . b u t when cold i t does. A n d the cooking
ought to be over a slow fire, For while i t is being h
cooked, i t w i l l lose i t s w a t e r ; therefore more water
should be mixed w i t h soap, according to the propor-
t i o n we describe above, and added to the concoction.
N o w when you take the glazed** earthenware p o t o u t
107-AT 150. JT6 to IB9, commcnty contains cinnabar and while
lead. Sometimes alum a n d natron are incorporated. I n 192-[>
the statement occurs that Ocnery earth ia a ponJnu—you can
Ll
color everything with it. compound everything: with i t - " But
in chapter* 2 3 5 to 2 3 9 at is alto u*ed for the dyeing of skin*,
When detailed fecipft are given tc Jaalways a compound pigment,
though it occur* in many different colors (green, purple, Besh-
coEgr, and like ocjaer nr cinnabar). In chapter 2 1 5 it seems to
describe tht color o f a natural vaHrgated roet o r mineral efflores-
ence. Roosen-Range, 19fiT J : p. ofi suggests that the word
F F
pandius i a a latiniratun. cJ the Creek adjective patim*. " o l
every kind/ and that it means a m$**if$Uif* Ri*kt Or rumple*
1
series of pigments, i t evidently b used in the It Gmtuta1
t o refer tn a combination o f compatible pigments or dyes* the
prcpoflkraa cJ which nan be continuously varied to produce *
gamut ol intermediate shacks of color a s desired. We know of
n o English word tbat properly conveys the idea.
*• In S the balance o f this chapter w i * first omitted by the
3
copyist, but a separate small piece C* vellum has- been inserted
which contains it a n d chapter 109 written in another, apparently
contemporary hand. This is bound in ssdewiy*. though numbered
consecutively folio 1 6 . The verso is blank-
u
ftiiciundJirt* literally ttituflwn-coated, t o make it water-
tight. However, ordinary ceramic jianng i> dearly meant, lor
the potter's recipe f o r Mpf*timti# in chapter 1 4 5 specific* the U K
• I lead oside and bitumen would be a poor seal against some uf
T
the oiJy incendiary compounds f*r which W s m * ™ pota a r e
used in chanter 2 * 5 and elsewhere. A white marzacCtia g[aje
based o n lead silicate with tin Oxide appears in 281-
43
of the furnace, the water tends to rise to the top of
the m i x t u r e .
N o w a l u m should be freed f r o m froth i n strong
soap- P u t the a l u m i n w a r m water, and let the a l u m
settle, pour off the w a r m water, and so de-froth the
alum.*
T h e n g r i n d this [ a z u r e ] m i x t u r e d o w n so t h a t i t is
reduced to powder and there are no l i t d e stones i n
the azure. For after the cooking, the m i x t u r e must
be ground a n d stirred a n d dried i n the shade i n the
same pot_ A f t e r t h a t i t should be t h r o w n o u t i n t o
P
the sun a n d baked so t h a t i t becomes azure.
109. Httv [to treat} a painting so that it cannot
be destroyed by water* 4
C o a t a painting in the sun w i t h the oil called castor
osl and i t is fixed so t i g h t l y t h a t i t can never be
h
destroyed.
ItO. The recipe for a pandius
Gather the leaves of the flowers of the black poppy
and p u t them i n a new q u i l l . Cover and p u t i n the
sun for a d a y . When they are dried o u t . take the
1 water i n w h i c h fish glue is cooked, a n d p u t the leaves
of the flowers i n i t and g r i n d i t properly, m i x i n g i t
w i t h a l i t d e cinnabar, and the pandius color w i l l
emerge r
III* The recipe for ficarin
T a k e clear lac and g r i n d i t cleanly and cook i t i n
defrothed urine a n d pour the b r o t h t h a t emerges i n t o
a glass pot. Afterwards take well-ground d r y powder h
of the w h i t e domestic l i l y . N o w i f i t begins to d a r k e n ,
do n o t p u t more i n for fear t h a t i t w i l l become too
d a r k . W h e n t h i s is ground, max i t i n t o 2 pounds of
iris flower, a n d when these are ground mix the two
together i n t o 3 pounds of [ l i l y ] powder. T h e n for
each cooking of the lac m i x i n I oz- of E g y p t i a n a l u m
a n d g r i n d w e l l - P u t them in a new glazed earthen-
ware pot and set them o u t to w a r m a l i t d e . b u t n o t
to b u m ; afterwards mix the concoctions i n t o the lac
a n d make them boil. T a k e them from the furnace
a n d d r y i n the sun,**
/12. Gilding on wood or on cloth
I f gilding is to be done o n wood, steep almond gum
for one day- N e x t grind the gum properly with
water, a d d sufficient saffron and d i p [ t h e w o o d ] into
the w a t e r w i t h the g u m w a r m e v e r y t h i n g over a
3 slow
•This process* variously called frothing or defrojthinir—
ipurttolo or rupifwioXe—a evidently a clarification prueedure h
used on urine alum, and O t h e r materials in lieu o f faltratiqrflL
F
** In S : l i i i b e a r s the heading • I - pinr^mtam ptciumnv f J W u r
"to p a l m a. picture against darnpnesj," For a better varnish
see chapter 24T.
** Another recipe l o r JUtrin O c c u r s t n chapter 223. Lac was
sometimes kertnea. See also R o o K O - R u n c e , 1 * 6 7 ^ J- p t 3 2 _
u
44 SMITH AND
fire? a n d w o r k on the wood whenever necessary. On
cloths, however. Of on walls, take thin egg-white,
a d d sufficient saffron, d i p [ t h e d o t h ] i n and when
. i l ! ' is mixed and ground, put i t aside Ln a glass pot-
A g a i n , m i l 1 ox. of linseed o i l . 1 o i - of steeped gum
a n d sufficient saffron ^ cook down w i t h w a t e r , "
T h e following three chapters [are for use] when i t
is necessary to w o r k in gilding w i t h leaf.
tl3. The recipe for linseed « Z
2 pounds of linseed o i l , 1 ounce of gum* 1 ounce of
pine resin- G r i n d all these a n d cook down i n an
earthenware p o t
113-A- United oil for gilding [S]
2 pounds of linseed oil. 2 ounces of gum. 1 ounce of
resin 2 Solidi of saffron. M i x these three as above.
h
114- The procedure f*r laying ma igiiding'} [S]
I f gold leaf is to be Laid o u t on a firmly stretched
[ S ] r a w skin coated w i t h w h i t e lead or any pigment,
the gold leaves are Laid d o w n a n d after they are
d r y , coat them w i t h linseed oil using the m i x t u r e
described above, where we say i t is mixed w i t h saffron
115. The application of leaf gilding
Leaves should be made o f t i n . T h e y should be
made like t h i s - m e l t the t i n well and slowly pour i t
o u t onto a marble slab a n d make t h i n leaves of i t *
j u s t as i f they were of gold- A n d a p p l y them i n the
17
same w a y as gcwd leaves, as we t a u g h t above. Cook
down tbe herb s w a l l o w w o n and add to 3 ounce* of
this concoction, when i t is strained, 3 solidi of saffron
and t soLidus of o r p i m e n t . [ G o a t the t i n leaves w i t h
this.]
110- Coloring tin Uaf
T a k e 1 ounce of clean saffron, 2 oz- of the beat split
o r p i m e n t £ S ] add half [ a n o u n c e ] of gum and a
P
H
Id view of the later importaote ol linseed oil to tbe axxfan
if ss uirerestaf; to note it* fret appearance in thai and the foJlov
irar chafpfen which, a r t prewrm in all three tnajiuMrrpti• i . S A P .
Alchoufb rifty^d ot) ta here used MM an adhesive and b u r lor
gold leal rather than a a a v i : .. - tvr parosrnts, its rirtijes lot che
latter porpose would, of course, be easy to oascower once It* use
with rnetaja had brooffat it into the painter s environment.
Indeed, the ot udiueiJt'kasrssd color tor tin leaf in chapter I IS ia a
true paint, though it La uwri to produce a uniform coating rather
than for brush-applied da tail. See also chapters 9S and 744,
both of w^tich refer to the dryinf action of an admixture of nuutic.
* I t ta hard to see how a thinness m any way nomuaiahLr M
jnkt leal could be obtained try castins;. Pc*ubry, the marble
slab sraa sloped and th* naolteq pn, faifty hot. run over if as was
Ucrf dons in c t o M | shwttl -V tin and lead lor organ ppes and
roonne;. More probably, a hansjnerina; operation followed tht
caariaf _ Thi* w> mntiontd in chapter 2 0 7 . wwarh • s *Ji(tir5y
different version of tbe same recipe.
HAWTHORNE
half ounce o f linseed o i l - M i x i n rain or fresh w a t e r ,
aod boil i L M i x the preparation together, g r i n d i n g
i t well, a n d t a k i n g i t up w i t h a sponge, coat the leaf
w i t h i t W h e n i t has dried coat i t a second t i m e
P P
a n d when i t is d r y . r u b i t w i t h a n onyx u n t i l i t shines
brilliantly,
I1T* Tke rtcipe for gold solder
1 ounce of copper calcine. 3 solid! of olive-oil soap,
14
1 aolidus o f calcothar. For use. mix these together*
first g r i n d i n g the copper calcine a n d tbe calcothar
separately i n t o powder- M i x w i t h as much soap a n d
water as is necessary for gold solder.
IIS. Another gold solder
1 pound o f copper calcine, 2 soltdi of a l u m r
h
i f P. Again
Gold mixed w i t h quicksilver is p u t i n t o a furnace
u n t i l the quicksilver itself h u m s - Afterwards, take
o u t the gold and g r i n d i t i n a m o r t a r , u n t i l i t becomes
powder- M i x this w i t h olive-oil soap, as m u c h as is
sufficient f o r the Composition o f gold Solder. " 1
120. Jiftrer solder [ f i ]
2 parts o f silver, 1 p a r t of copper.
121. Again, another silver solder [ 3 ] n
PUT silver mixed w i t h quicksilver on the fire u n t i l
the quicksilver itself becomes d r y . T h e n for use.
grind i t u n t i l i t becomes p o w d e r ; mix it w i t h n a p
a n d w a t e r as m u c h as is enough¬
t
* CoMCMcec******.* [ F l u l r w n s i u H i f l [ S } Thia i t a
l a t i n transliteration o f t h e Greek vorcU t a o i i t t i c i g f e n v n ^ J
(roasted copper) which is mors commonJy uei asiam in Latin. It
waa copper oxide. Chapter - \** tells how t o make it b y roasting
t h e sulphide. I t s use a s a solder depends On its reduction to
metallic copper b y the s o a p v i m reducing; Bame and superficial
alloying w E t h the gold to grr* a liquid alloy. On Ant work this
suchtid tit soJderinf it t o b e preferred t o the USE of a pre-melted
il-oy. l o r it can be painted en Ln una.il t J t W u d t s a n d better corn
trotted. It smprobably t h e basis of t h e superb g r i n u t a t • » w o r k
Ot t h e Etriescan eoidsmilha. Both Theorjbiitis (JN.M) aad
Cdliai. flSoS) chancer IJ f f v t vivid axeourrrs of the p r o c t w X
F
' T h e pre-hikinr of a l u m tm w a r in such a flux ia described i d
chapter IJ9-. Neither t b e rwsultlsur alumina tux the calcoeJur
oi chap. 117 would b e effective fluacm lor b n t h are refractory
powders- I t m a y be that their presence in the soLderine; mixture
serred to control the spreading of the molten a l l o y , but since t h e
alum in chanter 1J9 ia aaid t o dissolve the copper calcine it it
m o r e likeTy t h a t the substance is misnamed and a flux such a J
borax is meant.
• Unless t h e heating were very restrained, thia w o u l d five a
pure gold powder—of no ust s s t solder for joki unless i l wen
mused with copper or cupper o x k f c . which a r e n o t mentioned, i t
m%hl do f o r frictsos^Mirar. b u t i t w o u l d b e m a i n l y V a J u a b f c a a
a corapflnMC of ink for rfcr™*!-*^.*. Note the c o r d p « h i e
r e c i p e s Ice silver D O w d e r inehajrter* IJ1. a o d t J > .
n
CJ- chapter 112 lew a stasias* r w e r r w tusdVr a <swrefwsst rkwv
VOL. H h TT. 4. 14H|
122. Copper w i f f f
M i a 1 pound of copper. 2 pounds of lead, m e l t the
copper first, t h e n p u t i n the lead a n d m i x i n t o one.
IZ2-A. The recipe for tin solder
M i x 2 parts of t i n a n d 1 of lead,™
122 B. The reeipefor a glue for stone
T a k e d r i e d powder of w h i t e marble. T a k e one
ounce of fish ghie a n d one ounce of ox glue p u t t h e m
h H
i n water and cook t h e m u n t i l t h e y boil- P u t i n the
m a r b l e powder a n d you make marble glue, stone glue,
122-C. Another way
T a k e 2 ounces fish glue and 2 ounces of cheese g l u t ,
w i t h o u t m a r b l e powder as said above.
122-D- A recipe for glue
Glut wood t h u s ; C l u e gold and silver separately
w i t h ox g!Ue, or w i t h hah glue as we t a u g h t above
f i n t h e c h a p t e r ] on gilding-
123. Ctut from wood or bone
T h e glueing of wood i n w a t e r : 1 oz. of fish glue 1
o i . of OK glue t oz- [ S ] o f fig-tree sap. 1 oz of spurge
s a p : m i x these together and cook t h e m d o w n in water.
T h e r e ta also a glue for carved woods: if i f is wood on
w o c d use one o f the above-mentioned three [ g l u e s ] .
A n d [ i f bones are t o be j o i n e d ] on wood use 1 oz. of
cheese glue m i x e d w i t h 2 oz. of fish glue, cooked d o w n
i n t o onH W h e n the hot gTue has been heated a l i t t l e ,
glue t h e bones.
I M Gold ore for smelting
W e afcow you how gold can be made from the
f a t t i n e s of a n ore* W h e n the ore has been discovered*
m a k e a pot t h a t can hold 20 pound* of the ore. T h e n
p u t i t w i t h t h e pot i n t o the furnace a n d blow the Are
f r o m six o'clock t o noon. N o w afterwards you should
p u t i n the [ r o a s t e d ] fattiness of t h e ore 2 pounds of
coral, 2 pounds of melted ammoniacum, copper cal-
c i n e . 2 pounds of Spanish salt, and as much w h i t e
11
w a x as is needed. 2 pounds of unguent a n d 1 pound
of t a r t a r : cooked d o w n f r o m every OB* of these p i g -
ments, each one permeating the o t h e r - We have
tested a l l these t h a t you have read a b o u t Because
three [ d i f f e r e n t kinds o f ] ores are involved i n the
c o o k i n g [ i . e _ s m e l t i n g ] of gold, we show you another
r
71
Q u p t e n L l t A rJroufh 1 2 2 - D are D O t p f e a e n E in P, but neither oi whkb awns appropriate here. The berinntnfl o l (bam
a r e taken. f r o * * S . l o i a u l?eand 1 3 .
^ j u t a d T W H , 3; Cettmm aaunaan* P — w p f * V . v both rtr-
* Tbkft at a e O e a p t o t e J r e c i p e Irar m a k i n g a I T d i a r i n f ; a l k a l i n e
flux l i k e t h e a i r n p l e b l a c k | u x of t h e b t t T aanayerm.
TRANSLATION- 'S
ore lor cooking b u t i t wi|] be more refractory t h a n
t
gold ore- For the m a n who w a n t i t o cook i t . when
he [recognizes i t ] b y a dewlike odor i n t h e v e r y p o t 1 4
where i t is cooked, p u t w i t h the first cooking hail a
pound of hard [ S ] p i t c h . N o w i n t h e second heating,
he should p u t i n some crushed glass, a n d in the t h i r d
cooking, 2 pounds of t i n t o bring the ore t o a sound
r e s u l t A n d . w h e n i t iscooked t h a t w h i c h was mixed
h
an the ore, turns to powder because i t is a s s a y e d . "
125. Silver ore
Prasinus is a green e a r t h from w h i c h ore silver
t
flows. A n d this earth is engendered in r o c k y places
where many ores of different c o l o n are found. T h i s
rock when crushed has w h i t e vein*, and w h e n they
are cooked, black stuff w i l l emerge. I t is tested like
this. When i t is broken u p after i t has been cooked,
i t shows colors as of silver inside; t h i s stone is the one
f r o m w h i c h silver w i l l emerge. P u t t h i s ore w i t h
cadmia f r o m the upper part of the furnace o n t o the
hearth o i the smelting furnace and fill u p w i t h coals; n
and «o, itraturn super stratum w i t h wood and charcoal
on top. smelt i t as 1 said above. M e l t i ( for a d a y
and let i t cool i n the same place- N e x t take u p the
l u m p and break i t u p i n t o t i n y pieces, a n d p u t i t back
i n t h e same furnace as before and w i t h i t [ s o m e ]
feminine lead: for a hundred-pound l u m p , 15 [ p o u n d s ]
r
o f lead- Cook as before for 3 days. A f t e r thia t h r o w
t
the l u m p o u t and break i t u p ; p u t i t i n a furnace 71
and melt for 2 hours.
/ 26. The stone a damans
T h e i t o n e adamans is engendered f r o m cadmia a n d
i n t h e cooking of gold, m t h e first r o o k i n g of t h e
l u m p . A f t e r i h e firxt cooking, w h i l e y o u are break-
ing u p tbe Tump (for t h e whole l u m p t t easily broken u p
l i g h t l y ) y e t t h e [fldo*«atr] stones remain, some i m a l l .
some Urge, w h i c h neither i r o n nor any other stone
can overmme. T h i a itself is stronger t h a n a l l ; t t is
vanquished b y lead aJocze. a n d thia ia t h e power of
lead"
T l
Latin unclear, l a e t a a a v a l p v e a affort B r a t r O a s t i n e ; r e f r a c t o r y
ore* c o n t a i n i n g sulphur and a r s e n i c w o u l d s e r v e to i d e n t i f y then.
Ti
The routing o f t h e O r e and it? (naion w i t h fluxei H j f f e a t t h a i
t h i i chapter » a g a r b l e d version o f r n e t h o c l i o f autyiftg ( o l d a m .
both e a a y a n d r e r m c E o r y o n e s . However t h e l e a d w h i c h U u a u a l l y
u a c d a a a coUectjnj a g e n t s h e r e r e p l a c e d b y copper and t i n ,
neither o l w h i c h would be d e s i r a b l e i n t h e later cuptLlira
14
operation.
"Follow* A i * coJiPUJ* P reads •* confaaraan.
Etarwheje in the P ^ n u a c r r p f . furrtaoe ia a l w 4 r * / a ^ 4 i r the c o m -
mon wordr
w rJUtao. *W t n camda J . c o M o DTI l e tewida, P .
* IrfnaarriTTriia i l r i l r m r crjtnmoaly d^arnowl o r c o r u n d u m ,
r e c i p 4 touncki a bit like t h e franOn 0* a mtpriioW o r e t o [ i v e
aanrra^ a n d sartaJ—Dbt k a d e o H e c b a f t h e r a r e w u a o r a l But
t h e tfl - a e e n u t o describe the F o n a a H a of a hard tnuEi uafullie
cornrxund, ( b o u g h not m a n y such a r e soluble in k e a d - And w h a r
h cailmia dolnf? So zrnc raaawaawaawj a r e v e r y h a a e L Or. m
 SMITH AND HAWTHORNE r AJTEL raiL. IOC.

T a k e female lead, soft and malleable, a n d melt i t A b o u t pig s blood. A f t e r thia wash once a l i t t l e
P

a n d t h r o w i n there the piece of adamans t h a t you p i g b l o o d a n d rub i t d o w n ; p u t i t i n the cauldron

w a n t t o disintegrate; and heat up the lead over a alow
fire; and- am i t [ t h e ^ J t t a t t j ] begins to disintegrate*
immediately P^k i t up w i t h tongs, and cover i t w i t h
olive-oil soap, smoothly and very cleanly because i l
may be weak. F o r i t is more fragile t h a n glass, and
softer t h a n lead, since i t may be melted in Lead.
T h e n t a k e i t o u t of the soap t o disintegrate and the
water w i l l f a l l out a n d free i t f r o m the soap [£]<
T h e n p u t aa much as you wish carefully i n a big fire
a n d l e t i t heat for 2 or 3 boun» u n t i l i t is completely
w h i t e - h o t throughout- Afterwards take i t o u t and
wash i t j a n d there wiD emerge cdamans which tire
does n o t ovm-ome. nor does i t shatter when s t r u c k ,
and i t does not wear down when you w o r k w i t h I t
B y means of t h i s you can copy [ S ] everything you
w a n t t o work o n .
12T. The purple dye from ike mum
a n d make i t boil a second t i m e , and a t h i r d , i n the
same w a y . namely. I pound of the dye* 1 pound of
mures w i t h Wood; Le-, 9 oa. of m u m . and 3 of ptg a
Wood.
129. Making a bright purple from rases
For m a k i n g a b r i g h t purple f r o m roses take the
cookings of three cauldrons; i n t o one p u t as much as
you w a n t of the concoction a n d the same a m o u n t of
alum- Now i f you w a n t t o dye i t more cleanly, p u t
i n t o one [ t h e second] p o t j u s t as much as i n the first
N o w there w i l l also be a t h i r d dyeing i n the same w a y .
130. Yeilaw purple
Now fint a yellow dye is m a d e ; after this purple
enters i n t o the dye when i t is made*

Mum i t engendered in every s t j more t h a n i n

h
island places- I t is a l i t t l e shell, w h i c h baa i n i t a
place for blood, and the blood is a reddish p u r p l e :
from this the purple dye is made. I t is collected Like
this- T a k e the m u m and collect the blood w i t h the
flesh a n d take t o m e brine f r o m tbe sea and p u t them
together i n a p o t a n d leave i t *
I3Q-A. The dispersion of gold
Dispersion of gold- Jn a small crucible p u t pure
gold misted w i t h quicksilver. Leaving i t on the fire
m e l t i t , t a k i n g care t h a t the quicksilver does not
evaporate. T h e n t a k e i t o u t . T h e n t r i t u r a t e the
true a m o u n t , mix the powder, a n d m i x i t again.
A p p l y a n y q u a n t i t y where y o u w a n t i t [?]"

12S- Yeibmish-purple 131. Gold paint, or a dispersion of gold

T a k e Alexandrian a l u m ; g r i n d i t properly, and p u t Gold p a i n t . M i x the powder of ground gold,

i t on a dish and pour boiling water over i t ; atir i t for [ m a d e ] just as we said above, Le. b y the d r y i n g of
a t i m e and l e t i t settle- Afterwards strain off the hot quicksilver. 2 parts of gold powder and 1 p a r t of
w a t e r a n d a g i t a t e ; then p u t i n more h o t wafer a n d verdigris w i t h the torn p o s i t i o n ; m i s i t again a n d make
agitate i t : a n d place i n [ t h e a l u m s c J u t k n ] whatever use of at as you wish.
y o u have t o dye- Cover i t and leave i t for 2 days.
A f t e r this t t i r i t * let i t settle a n d leave i t there 3
11
132. Silver point, or a dispersion of silver
more days, a n d after this stir i t around i n the same
w a y a n d leave i t another S days a n d agitate i t n o t M i x clean silver w i t h q u i c k s i l v e r A f t e r t h i s p u t
more t h a n twice a day. T h e n take i t o u t a n d p u t i n i t on the fire and d r y i t w i t h t h a t quicksilver. * T h e n 1

more a l u m . T h e n make another batch of dye a n d take the silver and g r i n d i t u n t i l i t becomes powder:
p u t i t i n , aod next take clean urine f r o m good wine m i i i t w i t h the comp0earion m i x i t again a n d make
h

a n d healthy men a n d take thia urine a n d clarify use of i t where you wisJi_
i t once, a n d afterwards p u t i t i n a copper t a u l d r c m ;
and lake the same mtuex and wash i t once l i g h t l y i n 132-A. Another dispersion of stiver [S~]
water. After t h i s g r i n d it* and p u t i t i n t h i n cloths
a n d wash it down i n the urine i n the cauldron. A f t e r T a k e clean silver and mix i t w i t h quicksilver, a a
this take some pig's blood and r u b i t [ S ] washing i t we said above. T h e n p u t i t i n a small cup. a n d p u t
also well i n the same w a y . I pound of pig's blood t o i t o n the fire u n t i l i t throws off the quicksilver. A f t e r -
3 o i - of rnure*- w a r ^ take 2 p a r a of sUver a n d I p a r t <A verdigris

" T i b chapter, ba 5 A £ only, UF vireualLv aacnninnbenait4a

tibs a n v o f p r e p a r i n g ; w r * a b r a a r * * rSnupaanA arhkh f l o a t * o^nsiherated C r e e k J U f u f t - See M e En Hedfori, I M 2 E p, 203.
a a a dust out of lead' The phrase "mix i t aaain" here S n d in chapters 1 3 1 - 1 3 2 tran*-
• H H . - . i r . 1 9 6 7 ; Z : [ x 25-30 b a a a rood dujcwion of t a t e s dntjfrt, which a c o r d i r a r to S v e n n i * (1941: p . V I ) b l
mcrrex mtfnimm
W

C O n d e o a a t i o r k a n d U t i n i a a E L n n o f t h e C r e e k J\:N pkurn read a t e

a

• C reads fte, flawd t e n fwiu, 3, n u n *r - ±» • • •• - i n o u n by the scribe.

-t-flaram. U I tbe rest o f thia e d R n c t and chapter became H
Tail a e n t e n e e n o t in S o r t , Lt • ppoatdly refers to the drying
separated and a p p e a r without caption immediately F o Q o w i n r process o l chap. I l l which, u a near duplicate of Tb* wort
tan chapter on fi**^ MMW N e t H I rnnaiaxed a a * J v « paint a arr^ns^xhiMtu.
 VOL. #4 F rr. +, iffT4|
a o d m i x i t w i t h some o f the composition, mix i t again,
a n d make use of i t
133. Emery sUme
T h e stone t h a t is called emery, is rough and i n -
vincible, g r i n d i n g e v e r y t h i n g : atones and gems are
cut" with i t
134* Lemnian earth
T h e e a r t h t h a t is called Lemnian, which is a s l i g h t l y
purplish w h i t e , is engendered i n rocky places; and
y o u w i l l recognize i t hy these signs. W h e n i t is
w e t t e d , i t w i l l boil a n d give off a strident s o u n d Now
w i t h a l u m i t w31 d y e everything green a n d p u r p l e
except beryl a n d onyx:.
T h e r e is an e a r t h called black because i t ia dusky.
N o w i t is engendered i n E g y p t , A f r i c a , H a v i l a h , a n d
i n I t a l y , f t is engendered i n moist places a n d i n
valleys. F r o m i t a rose d y e is made; for when mixed
w i t h vinegar, a n d cooked, i t w i l l give this c o l o r ; a n d
afterwards i t t u r n s t o s c a r l e t "
135 Firestone
T h e stone w h i c h is called the firestone, f r o m w h i c h
copper is cooked |jSF] is engendered everywhere- And
there is a n o t h e r similar stone [ w h i c h ] when struck
gives off rare great s p a r k s ; and i t is reddish and fiery,
h a v i n g the color o f copper. When i t is p u t i n the
fire t o be tested, i t catches fire, and does n o t change
i t s color. Collect i t and grind i t very fine; collect a
m e d i u m - s i i e d l u m p . Cover i t w i t h o i or goat dung
a n d straw, a n d set i t o n lire for two days and nights,
u n t i l the d u n g is consumed i n the furnace^ Now,
y o u can cook this a n d copper and l e a d ; and a f t e r i t
cools the stone w h i c h is now cooked, is collected.
p r
A n d i n the hrst weighing, you weigh o u t 300 pounds
for the first cooking. O n i t you p u t 18 basketfuls of
charcoal [ a n d ] bundles of p i t c h pine. A n d w h e n the
master? of the w o r k have a r r i v e d set i t all on fire and
t
let i t stand a n d cool, so t h a t i t does n o t run [ £ ] like
lead, i r o n , qr other metal because i t has become
sluggish. W h i l e i t is cooling* break i t up i n t o b i t s ,
melt i t i n the furnace, and w o r k w i t h i t * 1
136. Split stone
S p l i t stone [ s l a t e ] is engendered i n Cappadocia.
Asia, I b e r i a a n d i n I t a l y . I t is dusky and strong.
p * The recipe, which ia one of those taken from DafHcOridcs
n
Lnusrhir, literally filed- 8 says simply that emery seta
everything/ on Eire; L that it cuts ail glai^
" Theae color changes suggest pH*aenaitrrc Organic dyes* not
a mineral earth.
** This chapter awns to be an attempt to describe tbe roasting
of pyrite prior ED smelting it* Or pernaps it refer* to some kind
of matte a a a l n a a n p I t ia not inconceivable that east iron was
beinj ^^rxluceoV--though certainty not from a cupper ore. Set
the note to chapter 225.
TRANSLATION 47
W h e n i t is broken up small, y o u w i l l find w h i t e veins
in i t ; a n d . when i t is b u r n t , i t w i l l become reddish.
T h i s is w h a t the Alexandrians call cadmia,* because
+, p
i t melts gtasa. N o w , i t is engendered i n h i g h a n d
w i n d y places. A n d i t is a stone t h a t is easily s p l i t
137. Hour ma-marble is made from gagatis.
T h e gflgQJtJ** stone is similar i n color t o o r p i m e n t ,
b u t i t is n o t so green; and when i t is b r o k e n , i t gives
off lire and splits i n t o sheets. For thia reason, the
Alexandrians call i t flat s t o n e ; a n d o u t of i t w a x -
marble is made. I f y o u crush i t line and p u t a pound
of this sttme, a n d 2 of ox g l u e . " a n d 5 pounds of w a t e r T
a n d make i t boil t w o or three times, stirring c o n t i n u -
a l l y a n d m i x i n g i t together, wax-marble w i l l result.
13$. The Thracian stone
T h r a c i a n stone is engendered everywhere; now. i t
is green, s p l i t , d u s k y ; when b u r n t , i t w i l l become
w h i t e ; i t is p u t i n cadmia i n the cleaning of silver.
139. II&w copper calcine is made
Copper calcine** is made i n this way. M a k e leaves
o u t of v e r y clean copper a n d p u t these leaves in a n
unused p o t [ 5 ] w i t h some ground natural s u l p h u r ;
a n d spread o u t the leaves i n a cooking-pot; t h e n
sprinkTe sulphur on top a n d again p u t leaves a n d
P
sprinkle sulphur [ £ ] ; do so repeatedly u n t i l y o u have
filled the p o t T h e n place the p o t i n a glassworker's
t
furnace, and cook for 3 days [ 4 days. S ] and* when
i t has cooled* break i t up very small. T a k e Asian
a l u m , i n amount c o r n s ponding t o the s u l p h u r c o m -
position. I n the same w a y a pot [ c o n t a i n i n g the
a l u m ] should be covered a n d plastered w i t h p o t t e r ' s
clay a n d placed [ i n the f u r n a c e ] as i n the f o r m e r
arrangement, a n d cooked for 6 days. A n d w h e n t t
has been broken up, i t should dissolve the copper
calcine [ i . e . act as a flux for i t ] t o Q u a k e ] a solder
for gold,
140. The recipe for clectrum
E l e c t m m w i l l be made i n this w a y . * P u t 2 parts
of silver, a t h i r d of copper and a t h i r d of g o l d ; i n
"Gafonk, This word which « a tint used lor a black com-
bustible stone, perhaps was Later often confused lPTth ochoJiJ,
agate. Neither ace ma appropriate here* The v u - marble"
A1
ia a moklaUe artificial stone; c/_ chapter 122-B.
M p reada aurxdlen \ — rh rjsOcoLla) lor JauracdUo*t[
h
would produce topper oufc, or copper iulpbide if air wen
completely excluded in the heating, its use as goJcJ solder ia
referred to in chapter* 117 and I IB. id the notes tu wbkh the
roe call ^rgica] role of the calcined alum is discussed.
m
Tms is a poor man's elcctmrD, containing SO per cent JoWcr*
25 per cent copper, and 25 pee cent gold {if One reads the u|ver
aa a 1 parti, or 75 per cent silver* per cent of fxAh gold aod
copper (if the ftrftfrrt b> read a* l ) Electrum was [initially a
P
native alloy of gold re draining enough silver to change its color
(usually less than in this arriSc**! alloy) end very little copper.
y SMITH AND
such a w a y chat the gold a n d copper arc of equal
weight,
t4t Cdd solder for fistulas
Gold solder for fistulas f r o m gold s t r i p ; take 1 ounce
of astt£um> I of- o i copper calcine, 1 en. of afrtmitrum**
1 oz- o l oirve-oil soap made w i t h o u t lime. 1 salidi of
v i t r i o l [ n ^ + f c f l i l half an ounce of vmegar, 1 m . of
w a t e r . Break t h e m up a n d m i x them, the copper
separatrly and a l l the rat i n t o o u t Compound a
l i t t l e [ o f theae t o g e t h e r ] as a solder lo make, when
heated, tubes from gold s t r i p .
142. T A i TKipe for wtahing htkcrff from
T w o k i n d s ct litharge* are made, one from lead,
1
and another from silver. Compound that which is
made f r o m lead as follow*. P u t rather soft feminine
lead i n a cooking p o t and melt i t w e l l ; then, when i t is
m o l t e n , c o n t i n u a l l y s k i m the lead w i t h a wooden
pesde: a t the same t i m e p u t i n ashes [ w i t h live coals
r
a n d skim a n d again p u t i n ashes ( S ) ] and do n o t stop
s k i m m i n g u n t i l you make i t l i k e powder; and after*
ward* wash i t w i t h w a t e r . N o w . if you w a n t i t to be
compacted and become t h i c k , p u t i t i n a cooking p o t
or i n a l i t t l e c u p _L ] or i n t o l i t t l e tubes w i t h o i l ; and
when t t ia heated, i t coagulates a n d when i t cools,
break off the tubes a n d i t w i l l Come out dense [ £ ] _
143 Another recipe for mating litharge from
You compound litharge from i i l v e r like thia. M e l t
some [Lead'bearing] silver a n d g r i n d the scum that
comes o u t of i t w i t h oiL t t appears [oa the surface
•;f the m o l t e n m e t a l ] just as i n the termer recipe.
However, because of the s t r e n g t h of the silver, i t
burns more strongly. L i t h a r g e from lead, o n the
other hand- before i t become* solid enters w i t h water
T suspension] of the same powder w i t h w h i c h i t was
i n t o the glajing** o f earthenware. B u t when i t is s t r i -
ated. [ £ ] i t w i l l be u s e f u l wherever you w a n t i t .
144. Making glided masaic
M a t e a t h i c k leaf of glass a n d p u t i t [ 5 ] on a
copper leaf, i n such a w a y t h a t when i t is fired they
w i l l not stick together. A f t e r t h i s p u t a gold leaf on
top of the glaaw leaf a n d on the gold leaf put another
very t h i n glass leaf; a n d p u t both i n the furnace u n t i l
the glaai leaf begins to m e l t ; a n d then remove i t so
t h a t i t cools. N e x t , r u b its surface o n a lead plate
. : rrnijFUFw UM wldcrLnj ia made u in chapter 221+ but ate
JL
also chapter 2*0. This vrhnte chapter ia repeated verbatim as
chapter I IB AsU*wm ta oxaliicaaa or a/rnhr— in 3 . m r a n i u in
Lr 5 v e n n u . n i f l M l ) tanaura T h e s e may be awreautirtea of
14J,
toenap. 100.
HAWTHORNE B O I Al*ES- P H I L . SCC.
d r w e d w i t h emery u n t i l you have thinned the j j l a s ]
surface to b r i n g out the colcr.*
145. Emery plates
M a k e a p l a t e of lead- T a k e live emery, g r i n d i t
w e l l , a n d sprinkle the whole plate, r u b b i n g glass
down o n t o i t a t the same time, u n t i l the emery powder
is embedded [ S ] i n t o the p l a t e . After t h i s w o r k
whatever is necessary, using water.
146, To bring out the color of mosaic [by polishing]
N o w , for b r i n g i n g out the color, take a plate [ o f
l e a d ] , a n d scrape i t d o w n - T h e n take some finely
lead ground silver[-polishing; earth* sprinkle the p l a t e
w i t h i t , and r u b down the glass u n t i l the color ia
brought o u t w e l l .
.' ' • I Haw to - a g e copper into the color of goid [ L ]
:
M i x i n a c u p 2 p v t * of d e a n copper filings a n d 1
part of Asian a l u m , carefully pounded i n a m o r t a r
and sieved P o t i t on the coals, u n t i l i i is melted,
and let the a l u m be mixed w i t h the copper. Now,
first d e a n w i t h urine whatever shape of p o t t h a t y o u
w a n t to make a n d pour the copper into i t . I n the
first heating certainly a n d i n the second, i t keeps i t s
color. In the t h i r d , i t loses i t if you have filed i t ,
b u t [ w h e n ] y o u beat i t o u t , i t retains i t I f i t breaks,
t t w i l l be usdess-
silver
146-3* [The polishing of gems']
Each gem o f the harder k i n d , such a* the j a c i n t h ,
the emerald the almandtne, the carbuncle is rubbed
P T
erith [ p o w d e r e d ] emery atone On a lead plate, u n t i l
i t takes on the shape t h a t the engraver wishes t o give
it T h e n i t is rubbed i n a washing [ i . e . levigated
first rubbed, u n t i l i t is smooth.
N o w . the b r i l l i a n t polish is given i n the same w a y :
the j a c i n t h , w i t h the powder of calcined p y r i t e o n a
copper sheet, while the other? are given t h e i r b r i l l i a n t
polish either w i t h powder made from C i m o l i a n earth
or w i t h t h a t from an earthenware sherd of the k i n d
t h a t comes from antique pots. [ T h e gerns are held
on the end o f ] a small pointed stick of aspen or alder
wood."
f4tf-C. Horn gems of a softer nature are polished [5]
B u i gems o f a aofier nature (such as a m e t h y s t ,
rrjck-crygtal. onyx, jasper, a n d beryl) are rubbed i n t o
shape w i t h sandstone powder on lead. T h e n they
" Thia chapter m t b e O b t with which; Munreurft trajxturp* of
the U n a . eaanuacript ope**, Li there bears the [laniorcjira title
r a e a a a a t h i M i j : od knerndrnm urn me, winch for sauy yeaux a n a s
tend a a t h e titk of tba entire WOCIL
1
For the method of attachment* nee chap. 1«-F,
VOL. 54, TT- I , LfTel TRANSLATION
are rubbed d o w n l o smoothness i n a washing of the
same powder. T h e y are given a b r i l l i a n t polish i n
the powder of calcined p y r i t e on a copper sheet.
146-D. On [polishing] glats [ S ]
Glass, however, should be rubbed i n t o shape o n
sandstone; then to smoothness w i t h fine sandstone
powder o n lead. T h e n [ w h i l e i t is h e l d ] on a small
pointed stick of w o o d the work is completed b y
t p o i n t A n d , when i t has t a k e n on the color of copper,
r u b b i n g i t o n a n antique sherd as on a whetstone,
w i t h w a t e r ; finally i t receives its b r i l l i a n t polish on
C i m o l i a n e a r t h , a n d this [ t o o while i t is h e l d ] on a
small pointed stick of w o o d - "
146-E. Hoio emery stone is prepared
for polishing gems [ S ]
T h e emery stone is broken i n t o a v e r y fine powder,
using a hammer o n a hard a n v i l . A n d there should
be a lead p l a t e , w h i c h is fixed onto a wooden bench;
a n d the powder of the [ e m e r y ] stone is sprinkled On
the p l a t e and every k i n d of gem stone m a y be brought
to shape on i t . T h e y are rubbed, w i t h water, u n t i l
t h e y t a k e on the shape t h a t the engraver wishes to
give them- T h e n the same powder is taken and
w a s h e d ; and the p a r t t h a t is the finest is p u t on
another lead sheet and any k i n d o f gem stone is
d
r u b b e d on i t u n t i l i t is perfectly smooth.
I46^F^ Hon* unpolished gems ought to
be held for polishing [S]
A piece o f wood is t a k e n , a£ t h i c k as the l i t t l e
finger as long as the w i d t h of a p a l m ; and on i t s t i p
d tro lytic replacement. JOT H V K copper would have been diianlved
is placed h o t p i t c h , mixed w i t h ground-up t i l e — t h i s
m i x t u r e should have t w o parts of tile powder a n d a
t h i r d one of p i t c h - A f t e r the m i x t u r e is heated [ a n d
placed o n the s t i c k ] , the gem stone t h a t is to be
polished should be applied so t h a t i t sticks to i t
Red Copper [and the etching
and gilding of iron]
R e d copper filings [S] ara ground i n a b r o m e "
m o r t a r w i t h vinegar, salt, a n d alum to the consistency
of hooey. Some people use water instead of vinegar.
T h e n the i r o n ia well cleaned and g e n t l y heated a n d
coated w i t h this m i x t u r e a n d nibbed u n t i l i t takes o n
the color of copper. T h e n i t is washed off w i t h water
a n d n i b b e d ; a n d [ t h e i r o n ] is gilded i n the same w a y
as copper or silver a n d heated to d r i v e oi? the q u i c k -
» Cf. chap, |«-F
T
" I h d word translated bronze b the genitive of urJ which we
have euMwfaeee translated as copper,. I a the tack of more p r ™ *
tertnincio^ Mortars
hard enough to withstand poundirtj would surely have been
Tiade of bronze.
4<?
silver as usual. T h e n i t should be rubbed w i t h a
[ b u r n i s h i n g j tool so t h a t i t acquires b r i l l i a n c y , "
I46-H, Alum [ ( S ) for ticking iron]
Rounded a l u m , the salt t h a t is called rode salt,
blue v i t r i o l , and some very sharp vinegar are ground
in a bronze m o r t a r ; the deaned iron is rubbed w i t h
these [ m a t e r i a l s ] using some other k i n d o f soft l i t t l e
i t is wiped off and gilded, a n d then, after the quick¬
silver ha* evaporated, i t should be cooled i n water
and rubbed w i t h a tool t h a t is very smooth a n d
bright u n t i l i t becomes brilliant*
147. The recipe for cadmia
1 pound of clean copper, 2 o r . of calcothar. 1 oz, o f
afronitrum, 1 oz* of sulphur. P u t all these i n a cup
and melt them together a n d cook them u n t i l the
copper a n d the calcothar are both b u r n t a n d w h a t
remains is released as cadmia. •
143. Quianus will be made tike this
M i x a n d b u r n 1 p a r t of copper. 1 part of lead* 1 oz,
of ground n a t r o n , 1 oz- of calcothar, t oz. of afroni-
trum \ m i x w i t h vinegar and p u t i n the sun, let i t d r y ,
and g r i n d i t , M
n
See also chaptcri 219-A and 245, which five tiouCaj- red pea,
and chapter! 2*1 and 292 which ara almost verbatim copies of
thia and the following chapter. T i e treatflWat with the mixture
described would provide a better lor tin fold by roughen-
ing the surface of the tron and depositing some copper by _
from the filings and the mortar in chapter ! 46-G and is added
aa copper Sulphite in 14o*H. Note that the corrosive solution*
used bm are Chemically lirniEar to those that Later becnon*
portant in the decorative etching of armce and in the first
graphic etching. Both of these applications- require a layer of
wax, pitch, or linseed oil to protect the (Petal id the reserved por-
tions of the design- Such decorative etching waa used on iron
*words of the La Ttoe period but it seemsi to bare died Out there-
after. All-over cbtrnical attack remained in use to develop
tenure In Damascus and pattem-wekKl swords, but there ia no
more evidence of the use of rtop-off coatings in Europe until
early in the Eft tenth century. Material* that wnuEd have been
suitable are Frequently mentioned ia other COrmnctiona tn the
ifeppQ. EtchlAJE later u W ta re-veal the smjrttir* of metala
lor m*?oficopir examlnation-^-tbe Very baaa of the modern xJenc*
of metnh, set C 5. Smith, A History SfttoUapvpky (Chicago.
I960).
Nitric acid WHS the first mineral acid to be daccovered. Initially
called dgwd mrtrtii in tribute to Its use in etching iron armor. It
may well have been produced by heating; a mixture containing
[erne sulphate and saJrpcter intended for eichcEor.
* Thia seema to be a rtcrp* for .: ._.!•:• iELAC oxide from tract*
: ::
of doc in cop per— hardly a profitable procedure^ even it tha
"cupper" were brass.
**Tn±a- ia apparently an inorganic blue—mainly haaic copper
acetate, darfcfined if not entirely ooKuTed by iroo_ Qta^nwr
w » a cnenrnon utgrediHt in the mixed pigment p&twtiw* •>.•:,.
107-A it).
50 SMITH AND HAWTHORNE

Anfioue* * 4 155. Another kind

T a k e soft lead, and m d t i t i n an earthenware p o t W h e n the glass has been ground well there- should
t h a t is strong enough to withstand grinding. T a k e b e added to one pound o f i t 2 oz, o f copper filings
a pestle* and p u t coals w i t h ashes over the lead. and 1 o i - of E g y p t i a n aJum, and cqofc i t for 3 days.
Before i t cools, stir i t smoothly and well w i t h the
pestle, u n t i l y o u t h i a o u t the lead aod make i t i n t o
154* Making [ f Lin n / ] a milky color
fine [ p o w d e r ] A f t e r thta p u t i t oa a wooden p l a t t e r ,
and wash i L Then compound i t w i t h sulphur i n a P u t 3 o i . of t i n to a pound of glass and cook i t f o r
new cooking p o t and cook for 3 days- 2 days*'

150* The recipe for o pandius OF* Making \jiass of} blood color

1 p a r t of w h i t e lead, half a p a r t of d n n a b a r ; grind P u t 3 oa- of d n n a b a r to a pound of glass and cook

w d l i n a marble m o r t a r ; and after i t has been ground i t for 2 day*.** 1

u p . add some water i n which fish glue is cooked, and

a pandius pigment w i l l result, ** 1
M Making \jiass of} a reddish color

P u t 2 o i - of w h i t e lead to a pound of glass aod

151. alwawaWAatwf cook f o r 6 day*.
2 p u t s o f verdigris* 1 part of d n n a b a r , 1 p a r t of
w h i t e lead 1 p w t o f quianus, 1 part qf lulaxJ*
h
159* Making a purple color [on glas*] without fire

Color t h i n glass pieces, m i x and coat them w i t h

t5Z- Anther ktmd dragon's bipod, and i n thia way a reddish color w i l l
I oa. of quianus 3 acJtdi trf w h i t e lead. 1 p a r t cf result
r

n a t r o n . 1 part of Calcothar. ** 1

160- A pale apple green coior f f i a j f ]

153* Arwtfurkind T o a pound of glass, 2 oz. o f Thespian e a r t h and
1 p a r t of a l u m , 1 p a r t of n a t i v e sulphur, 1 p a r t of cook i t f o r 3 days.
natron-
Ml JU^aat]
154. Making a [ran color in glass
T o a pound of glass, 2 o t of copper calcine.
G r i n d glass w e l l , and p u t 3 oa. of clean copper
filings to a pound of glass, and cook i t for 3 days.
162* A n t h i m t s de damia
m
la F '.'zc noma • baud to male otrf. altboufta Pbiiiipp* in 1 pound o f amor aquae. 1 pound o f n a p h t h a , 3
bat printed traawcript rends A+f.w. 5 mow M p f a n u i i i (h*.
45). L rea4a nruHru. which Hedforda cmjett iired waa a carmp- pounda of native sulphur, i oz. o f d r y pitch [ I l b -
• • •. •" the Creek wurd gppf b f i m j . whkh i . i n berb like O u r camomila balsam, 6 or. gagatis, 4 < x t olive o i l , 4 oz* resin ( S ) ]
(from Dii^irnnda, Greek d i c t j . All teem equally tnranpre- 1 | pounds of m i l k of i r o n - " G r i n d all the d r y 1

hernHble- Whatever thia recipe a, it baa DO relation to tht in- ingredients w e l l , and w h e n very fine powder haa been
cendiary tnLWaeu in chapter 1&2. Lt omworibea a method of
raroduaraj. lead fa a S ntiy granular form ir? eantlciUia; the •aTaWal made, m i x i t i n t o the l i q u i d s : arid cook for an hour,
brwthrawaa of the metal when a m a l l amounl of Lu^y HJ remains and [ a material to m a k e ] fire w i l l reawlt; however,
between tbe cryTtaJ graina, and " ^ * f this with aulpfaur to n o t i n accordance w i t h the f o r m e r strength b u t
t

make ad a x t i n n l Hllphifla Later aaaayera fioduud a lead slightly less.

pooler by potrring the metal when on the point of aofklihcatjon
into a wooden boa, iad ...i * .; it t i jorously.
See c h a p t e r 281 f o r a w h i n p o t t e r i gla*C a l s o b a s e d Cm t i n
m

" T b i i 4 similar to chapter 1Q7-A. oxifSe.

^ T h a correct mediev ,\ form of thia word appear to be Udai N e i t h e r t h i a n o r thai a u r r e w J i n w . r e c i p e w O u k J be r e d u n l e s s
r m

aw in chapter* 197 a*d 22L-E. A transliterated Greet: i . - . •= l O r o e u n m e n t k e x d m a i e r J a e n ^ p r e u u n a b l y c o p p e r or feed, w a a

Form Uaraw appear in c h t p t m 151. 166. 161. 171, 17.5. ETl. r n a e a r L
ll%l)*^-Bto^-D,^sawlZj^ Lot ferri. r e r h a n a iron h l i f l g l , t h e a a j h p r a w i h l y t h e i r o n
m

two mttaprlt accusatives m chap. 132 (I?. aaaeajin S. Atfann) M | o i i d e t h a t ram m i l k l i k e ofl i r o n in the J o r g e a t a w e l d i n g h e a t
tn chana- 140 and 3*1 {?. uid«rm: S. JeJirmwi). Both 3. {l*atr*C or a b o v e ) . O e r t h e i c i t t h i n k s that t h u c h a p t e r d e s c r i b e !
f221 Eland L. (hJio12*r)iDecincnIlr idcntilylaiaiwrth indiao. a luml c 4 ^ m r n i a b t o a p p l y . * to flaas. To u i , d e s p i t e i t s
Hedfurm (1932; p. 103) i K H e» the modena Creek /**ta*t (withina; e n v i r o n m e n t , it w n * caore l i a w l y t h a t i t 4 a n i n c e n d i a r y r n n t *
bhae or uwlifo]. and rate* Diet* to the efleet that the wprrj JaJaa c--rt c h m j g h i t i a t h e o r t l y onje t o a p p e a u r MtS in L. 1c v o u l j h*ve
P

4mre* fream the Sauawnrw wJh fn_ lnd%n> and aaU> f f. uachap been; a n c e e a t h n e a c i n t b e c o m p a n y of c h a p o r n 206-27* w h e r e
plant > ™ the Penan slUf. ttl*£ ^ m a u r y of t h e a a x n e i n g r e d i e n t a a p p e a r . T h e O U J k c t i H of d m
* r * u m r t i tbe wei|hta u< |w^a«j and whim kad- a ^ u r , a n a t u r a l P e t r o l e u m , i a rjeaenbed i o c h a p t e r 27fL
V O L . 64. F T . i , 1 9 7 i l
163. Qlimpian stone
O l i m p i a n stone is engendered in rocky places and
is duplex i n color, H a c k w i t h white spots: when
s t r u c k b y the sun i t gives exit G n , like s u l p h u r
p
The stent flaviles
T h e atone finrites is engendered i n black e a r t h :
a n d w h e n i t is s t r u c k by the sun i t w i l l become
impregnated w i t h prasinus. From i t the green color
prasinus is engendered.
165. The red stone
T h e red stone is engendered i n diverse places; and
f r o m i t also frill be made the mortars i n w h i c h gold
is g r o u n d .
I6&r TH recipe for Max
[ T a k e ] flowers of parstey, flowers of clean flax, a n d
a magma o f v i o l e t of the two kinds above mentioned;
t h a t is 1 p a r t o f the greater violet a n d I part of the
p urine turns green, and m i x some o f t h i s i n the first
leaser—now [ m a k e ] such a magma not according to
the recipe for azure [ c h a p . 167] b u t only w i t h water.
h well a n d store i t i n a new p o t i n the sun for a day.
A g a i n such magmas may also be made of the greater
b l u e l i l y — 1 p a r t . For use, both of the two magmas
should be ground d o w n i n t o one a n d stored i n a
single glass j a r . M a k e the magma of the lesser violet
separately a n d make the magma of the greater blue
l i l y separately. T h e n [ t a k e ] 2 parts each o f the
parsley a n d the flax a n d 1 part of the lesser -violet
a n d 1 p a r t of the greater one [ a n d a d d ] to one pound
of magma 4 of frothed E g y p t i a n aIum 2 solidi of the P
materials a n d 1 oz. of axle-grease soap w i t h o u t l i m e .
Cook these a l i t t l e , and g r i n d 1 pound o f deveined
woad-leaves a n d mix them w i t h the cooked magma;
tffl
a n d g r i n d t h o r o u g h l y u n t i l i t becomes powder a n d
p u t i t i n the sun to d r y . T h i s ia lulax, l i g h t i n color
approaching azure, a n d of a good color because it
does n o t settle o u t since i t is made of flowers,
167. The recipe for azure
G a t h e r a n d lay aside flowers of neulacis w h i c h
in Greek is called f&tjpjw,™ though others call i t
chameleon p l a n t . T h e n coat your hands w i t h soap
boiled w i t h o u t lime and n i b the flowers between your
hands a n d p u t them i n a pot- After this coat your
hands a g a i n w i t h the soap and r u b the same flowers
f o r a r a t h e r long time and set them aside a g a i n ; and
" T h e word for woad is here r* ehewbert in the manu-
script f u a t f m i r , e w i t a J w i w and Tbe Classical Latio word
w a a the same a s chat for glass, Klrunr, explained by Webster a s
due to the blue color. The botankaJ term Ia r j a i " (from tbe
Greet) f u c r t c n a . The modern French. r*JdV r e t a i l the guttural,
while the German retain* the « lonBi of the Medrfval
Latin- Set Hedfora, P m « n RuiBje and M a ^ D ' A r a i f f i ^ r t f a f r .
^ITuxpfi^ which takes its name from the Greet aland
Thapso^ ia a poisonnus medicinal plant of the parsley family,
tued a s a dyer.
TRANSLATION 51
keep on doing this u n t i l the flowers are consumed-
A f t e r the flowers have been consumed, collect the
h
concoction and cover i t carefully i n a p o t , i n a h o t
place, u n t i l y o u notice t h a t i t has turned a blue
color. N o w when i t is blue, cover i t o n l y w i t h a
cloth. T h e n take green leaves f r o m a deveined woad
plant, and cook them w i t h defrothed urine, u n t i l the
above-mentioned leaves are dissolved a n d keep on r
cooking u n t i l the urine is consumed a n d the concoc-
tion thickens and leave i t to cool. T h e n take 3
h
pounds of neuiads flowers, a n d 2 pounds of the
cooked woad leaves a n d half a n oZi of cinnabar m i x p
them together, g r i n d them cleanly, a n d when they
are ground, let them stand covered i n a. m o r t a r .
T h e n p u t i n a new cooking pot some oyster shells,
carefully cleaned inside a n d out a n d washed free f r o m
d i r t a n d m u d and cook them d o w n to a powder;' *
r
1
and when they are cool, g r i n d them carefully b y
themselves- Take 1 pound of the powder a n d some
clean verdigris; p u t them i n some other defrothed
urine and g r i n d for a while u n t i l i t is t u r b i d a n d the
mortar w i t h the above-mentioned m a t e r i a l s ; g r i n d
Afterwards cover the p o t and l u t e i t carefully a n d p u t
i t for a day in the upper p a r t of a glassworker's
furnace." and azure w i l l come o u t .
1
167-A. A diffuse azure which is called lively* * 1
Soak flowers of nsztlaris rubbed w i t h soap, as we
w
said above, i n defrothed urine and cover the p o t and
p u t i t i n dung to disintegrate. I n the same w a y soak
woad leaves i n defrothed u r i n e ; a n d after they have
been kept i d the dung and disintegrated, t h r o w some
of i t i n t o a mortar after removing all the veins from
T
the leaves- T h e n take E pound o f these woad leaves
and 2 pounds o f the jteutacis flower a n d 2 oz. o f p o p p y ,
m i x a n d g r i n d them together, a d d i n g a half Oz. of
cinnabar, a half oz. of verdigris, and a half oz. of
defrothed u r i o e g r i n d carefully, and p u t i n a new
t
cooking p o t ; cook i t over a slow fire, u n t i l i t is con-
sumed a n d thickens and there w i l l result a s l i g h t l y
H
T
purplish azure.
l6?-3r A n apple green azure QSJ
Soak neuheis flowers i n vinegar, place them i n a
covered p o t as said above, and p u t them i n dung to
disintegrate. I n the same way carefully g r i n d some
deveined woad leaves, soak them i n a new p o t w i t h
vinegar and cover i n dung> u n t i l the leaves disinte-
*C/ chaft
fc
P I T * , w r m a k U n u s p e c i f i e d for the "oookinfl " of
oyster s h e l l s , w h i c h yield a p u r e r liiTJC than d o e s Limestone.
Supposedly t h e annealing ] e h r though this w C m l d certainly
F
destroy any organic matter¬
"* Heading from S, Lv**r*n i f i f r l m . VJJ rfttdftr w r Both
Che division into chapters and their beadingi from bert through
chapter 1H9 dhmr in S a n d R W e follow t h e former.

grate Near take 1 pound woad leaves. 1 oa. o f
Lac cooked i n defrothed urine. 1 pound of neulacu
flower and 4 oa. of clean washed oyster-shell powder,
as described a hove. G r i n d all these i n a mortar and
a d d t o t h e m half a pound of celandine p l a n t concoc-
tion* w h i c h you have cooked i n urine, and 1 o r - of
saffron- W h e n all this has been g r o u n d , cover i t i n
a pot, and leave i t for a d a y in d u n g , then take i t
o u t d r y i t i n the sun and use i t
t
J«. Sky-blue asurc
T a k e nemJaeis flower, r u b i t w i t h soap, as we t a u g h t
above, cover i t i n a pot and p u t i t i n dung- D o the
same w i t h deveined woad leaves and after some days,
when t h e y have r o t t e d , take 1 o r . of the neulads and
the woad leaves and grind t h e m fine i n a m o r t a r ,
a d d i n g 1 O Z - o l clean w h i t e lead, half an oz. of clean
artificial Utlax. half an oz_ of cinnabar, and 4 or. o f
urine defrothed w i t h ground v i t r i o l [Htriolnm): then
a d d 10 pounds of urine, a n d a f t e r the v i t r i o l has
settled, grind enough urine i n a m o r t a r and leave the
m i x t u r e t o KttJe for 2 days. A f t e r this take 3 pounds
of clean defrothed urine a n d t oa. of ground gall n u t
mbt t h e m a n d let t h e m soak for a d a y . T h e n take
I pound of the stew, grind i t w e l l , a n d let i t settle i n
the sun. a n d a sky-blue azure w i l l result.
16P. AnCMMJt of a fiesh-color [ S ]
T a k e 1 oa- of tbe first k i n d of azure, t or. of c i n -
nabar and compound i t as above-
170. Orryx-calored azure
C o m p o u n d aa above 1 pound of d e a n , ground w h i t e
lead, 1 oa. of arure, 1 oz_ o f d n n a b a r .
171. Awe of a color iihe the eagle sine
T a k e 1 pound of nenlacxs flowers, coated w i t h soap
as waa shown above, p u t them i n d u n g , and 1 pound
o f deveined woad leaves w i t h soap, as y o u did
above, a n d kneaded i n dung. Afterwards^ when t h e y
have been g r o u n d i n a m o r t a r , add t o them 1 oz. of
d n n a b a r . a n d f r o m boiled d o w n yellow-weed p l a n t
[ S ] - — w h i c h should be boiled w i t h defrothed u r i n e
u n t i l i t is reduced to a j p a r t a n d thickens—of this
t i i i d u n t , when g r o u n d , 1 pound- M i x all these
together and p u t t h e m i n the sun, a n d azure of a n
eagle-stone c o l o r " w i l l resulL
1
172. A reddish color is composed
four substances [£]
1 oz- of cinnabar, 1 oz. c: $irienm * 1 oa. of cooked
Eatc N o w lac is cooked l i k e d u i : o v e r a slow fire.
™E*Q*» t r e n d peratei airaroLar—far the first
rrxanuacripf-
— Lemriw i ii i i am, r n a d i ii^i-iii.m
audr from fced Or whit*
aaaaaaaai o r 11 r h t f g f .
SMITH AND HAWTHORNE [TJIAJJS. 4 M £ 1 . PHIL_ SOC.
thoroughly cook finely ground lac in defrQthed urine.
T a k e 1 pound of this concoction a n d 1 solid us of
lulax a n d after g r i n d i n g t h e m together leave t h e m t o
settle a n d t o d r y i n the sun.
fflt, The recipe for purple [dye (5)]
G r i n d well together 1 oz. of d n n a b a r , 2 solidi of
lulax, and 1 solidus of w h i t e lead. T h e n d r y i n the
sun.
174 Another recipe [ S J
Mbc and grind all together 1 O L o f the juice of
pressed poppy flowery half an or. of dnnabar* 1 solidus
of lutex r d r y i n the sun-
174-A+ Another recipe
4 pounds of cinnabar | j - c ] v e r m i l i o n , 1 pound of
the earth v e r m i l i o n t h a t grows on the leaves of the
T u r k e y oak,"* I pound of the above-mentioned cooked
lac, and 10 pounds of defrothed urine. T a k e b o t h
kinds of finely g r o u n d v e r m i l i o n a n d p u t t h e m , i n a
t I o c A r > t e x t u r e d fine linen c l o t h , into the urine i n a
cooking p o t ; wash the v e r m i l i o n in the p o t i n w h i c h
the urine haa been cooked, and cook it and grind i t
again, and wash i t i n the urine i n the pot. Keep on
d o i n g so u n t i l all the kermes ia consumed. Then
thoroughly cook thia m i x t u r e a n d shake i t ! then take a
clean, well-washed oyster shell, p u t i n a well-covered
p o t a n d place i t i n a furnace u n t i l it powders, a n d t h e n
grind i t hoe. P u t J pounds of thia powder i n t o the
above-mentioned concoction a n d let i t b o i l well d o w n
[S] t o a t h i r d - T h e n p u t i t tn the sun t o thicken.
175. Another recipe for vermilion [S]
[S] 1 pound of Vermilion, t p o u n d of kermea—kermes
grows, aa was said above, t n the leave* of the T u r k e y
o a k — 1 oz- of d n n a b a r , a n d 1 oz, of the first azure.
L ] l
Mbc t h e m together; grind t h e m carefully i n a m o r t a r
a n d take 15 pounds of defrothed urine a n d cook i n a
new cooking p d t u n t i l the urine ia reduced t o half.
t
Afterwards grind the [ l w r m e s j grains w i t h d n n a b a r H
pound and wash durrn i n a linen c l o t h . i u s t as they
were contained i n above, u n t i l i t is c r j r u u r w d -
J7K Another recipe [5]
T h o r o u g h l y grind half a pound of v e r m i l i o n . 6 oz.
of the other v e r m i l i o n [ k e r r n t s ] . 6 o t of w h i t e lead,
of
P
6 oz. o f lulax [ 5 J a n d p u t these i u a rooking p o t w i t h
TO pounds of defrothed u r i n e and p u t t i n g t h e m i n a
r
t
xl
lotiaae-tutured linen d o t h , wash d o w n the kermes i n
<>rw± t h e Turkey oak, H a ihjnjbby a a a e | M * W t r e e tJ tba
taM in tb* J* Mfdluuiioesn r e f i o n on attach t h * barm** insect flourish**
Earth verrruUrjo/ m m i i / n a i l a w n * , 4 identified a a c w a a n a
1
fkereoes) the n e x t chapter. The iqaaetx i c a J e a , which a r t L
lead (chajL IM-e) (a brilliant StarJet, a r t the oldest d y e a T u f l • i r t c r a r r L 1- :f a ( O f d
ce HrjoaefrRuoge. 1967: 2; p p . t 0 - 4 l .
vrjL. A4 FT- * tfViJ
P F TRANSLATION 53

the u r i n e , a n d again wash i t u n t i l the t e r m s is spent. m i x t u r e i n a glass pot i n the sun for a day p until it
Boil i t d o w n u n t i l the urine is reduced t o half a n d set dries, and take i t inside a t night.
i t i n the sun.

17S. Again, another reaipe _ S j

t76-A* A pandius [ S J
G r i n d a n d mix together I oz. of cinnabar. 1 oz. of
I p o u n d of lulax. 1 pound of dnnabar. 1 pound of
the three ingredients of i n k . P u t i t aside i n a glass
w h i t e lead, 2 oz. of ftcarin- grind all these together
p o t , place i n the sun, and t a k e i t i n a t n i g h t ; a n d
and m i x t h e m w i t h w a r m w a t e r ; p u t them i n the sun
keep on doing so u n t i l i t dries.
until they dry.

17&-B. Another pandius [ S ] 179. Again, a pandius [ S ]

1 p o u n d of lulax> 1 pound of prime cinnabar, 1 G r i n d well i n a mortar 2 oz. of cinnabar and 1 oz.
pound o f azure. 1 pound of very clean ocher a n d 1 of w h i t e lead. M i x them w i t h defrothed urine a n d
pound of quianus: grind a l l these together well a n d grind p r o p e r l y ; store them i n a glass pot and cover i t
m i x t h e m w i t h w a r m water, rub them and p u t t h e m in dung for many days.
in the sun u n t i l they are d r y .
180. Again, a green pandius [\SJ
176-C. Again, another recipe fS]
G r i n d and mix 2 oz. of green earth a n d 1 oz. of
3 oz- of lulax, 9 oz. o f w h i t e lead- cinnabar, a n d store them a n y w a y y o u like* a f t e r first
m i x i n g them w i t h defrothed urine-
176-D. Again [SJ
1 oz. of lulax, 1 oz. of fiearin, I oz- of quianus. J : /. - I ^ K. a green pandius S_

1 pound of green earth, I oz. of dnnabar. 2 solidi

176-E. A green pandius [-5] ol w h i t e lead- G r i n d these i n a m o r t a r w i t h de-
frothed urine and store them i n a glass p o t , a n d p u t
1 p o u n d of lulax, 1 pound of quianus, 1 pound of
r

them i n the sun t o d r y .

w h i t e lead,

1T6-F. Again* another recipe [ S ] 132. A%xinr a green pandius [ S J

2 pounds of quianus a n d half a poudd of w h i t e 1 pound of green e a r t h , 1 oz, of ocher, 1 oz. o f

f e i d : mbc a n d g r i n d w i t h enough defrothed u r i n e ; p u t cinnabar; grind and mix them all together w i t h de-
in the sun,. frothed urine, p u t i n an earthenware p o t and cover p

i n dung for 20 days.

176-G. Again, another way [S]
1S3+ Art Oeher^ohred pandius
1 p o u n d of quianus, 1 pound of fiaHn, 2 pounds of
ocher: g r i n d t h e m all together, mix w i t h defrothed 1 pound o f clean ocher 1 oz. of cinnabar. 3 solidi of
F

urine a n d p u t i n t h e sun- ftcarin- g r i n d them all i n a mortar, m i x w i t h de*

frothed urine a n d store them i n a g l a s pot a n d p u t
176-H. Again, another way [ S ] them i n the sun, u n t i l they d r y .

1 p o u n d of quianus, 1 oz. of ground copper calcine.

1 oz. o f j i m r t n , 1 oz. of ocher: grind these all together, I&4r A purple pandius composed of
m i x w i t h defrothed urine and p u t i n the sun- four ingredients [ S ]

Lulax, quianus. dnnabar. lac, i n equal w e i g h t s :

176-1. The first pandius of a dnnabar color [ f l ] grind and mbc, put them i n a glass p o t , a n d p u t t n
I p o u n d of d n n a b a r . 1 pound of boiled-down the sun u n t i l they d r y o u t
cooked y e l l o w weed. 1 pound of clear a a f f m n - y e l k m
millet, 2 pounds o f j f c n r f t 1 pound of piianus: g r i n d IS5. Again, a purple pandius [ S ]
them a l l together, m i x them w i t h defrothed u n n e r

a n d d r y i n the s u n . 1 pound of the broth made b y boiling down m u r e x ^ T

[ 1 fb. d n n a b a r (.5)3, 1 oz. of d e a n sirieum: g r i n d

them a l l together and mix t h e m w i t h a l i t t l e u r i n e ,
177. Another pandius * f a cinnabar color [ S ]
p u t them i n a glass p o t and d r y i n the sun.
6 oz, of cinnabar, 6 ox. of the cooked lac b r o t h a n d
*» CJ. c h a p . I 2 T .
6 o * of s a f f r o n : grind them all together a n d p u t the
54 SMITH AND HAWTHORNE
JS6- AgaU> a purple pandius [ S J
M u r « b r o t h , lac b r o t h . I O L of each: first g r i n d
d n n a b a r . 1 oz. a n d after t h i s m i x in the murex b r o t h
a n d the lac b r o t h a n d set aside in a glass pot i n the
sun u n t i l i t dries,
1ST. Again a pale pnrpie pandius [ 5 ]
Y
I o i . of the murex b r o t h , 1 t>2- of d n n a b a r , I
o f aalTron 4 oz. of yellov'weed b r o t h : cook them
r 1Q1-A.
d o w n w i t h urine, a l l mixed together, to a sixth of
thdr wdght [ 5 ] .
13&- Again, a pandius [ S ]
1 oz- of d n n a b a r . 1 of murex b r o t h , 1 o i - of
Cooked madder, and as much of cooked finiscut:
first g r i n d the d n n a b a r b y itself, then mix them alt
together a n d p u t them i n a glow p o t , just as i n the
other cases.
Jfft A pandius [ S ]
T a k e madder b r o t h , and add I oz- of gallnut and
grind i t p r o p e r l y ; take 2 pounds of madder broth a n d
p u t i t i n a glass pot w i t h tbe ground gallnut a n d
leave to soak for 2 d a y s : after thia, strain i t and a d d
1 o i - of calcothar a n d 2 sotidi o f cinnabar [ a n d j g r i n d
them b o t h a n d p u t them w i t h the above-mentioned
h
things, a n d cook down u n t i l i t ia reduced to a t h i r d .
190. The rttipe for green ink
T a k e ripe seeds o l the shrub asprifolium, t h a t is i n
English g a t e t r i u , " a n d g r i n d them together wed i n a
1
m o r t a r ; afterwards, let them boil thoroughly tn w i n e ,
a t the same t i m e adding to the concoction iron t h a t
has rusted. T h i s ta a brilliant green i n k . [f you
w a n t to make d o t h or leather green, smear some of
this on it w i t h a paintbrush. N o w , if you w a n t i t
t o be black, a d d v i t r i o l to this composition i n the
usual [ w a y j - B u t , if you want to prevent this or
a n y other i n k f r o m r u n n i n g , put some gum of haw-
t h t e n rjr h o l m oak i n t o the concoction aod cook t h e m
together.
Perhaps a CteTuption ol / « t w H . mown hay.
111
•» PhlELipps remark* in the [atrtrlLJction to his edition of P.
* . - I n chapter Pfc . i . th* shrub i. is trans Li r e d
'goat tree " This is a nrurular circmBsraarr, and s e e r n i to mc CO
indicate, a a I a a i d before, chat cbe author or the transcriber M S
an E-ofltth CTUH, Itir had b e teen nfaay other aati« he WTJUMJ f j j
oarurallT have r r i i a a w w d it by the hufiuafe or \m own country.
Moreover, ia the eery next chapter. h i mcrduoa the herb
K- R
•- a corruption, i auapect, of frre*Pirweri " the Saaun
-
F
J> beuf easily mis taken i- 4 • p • ( a n d e r a fcactw that l e w s ]
Enctitfa u n u i oi herbs end in e a w f , a a 5t. John i Won, c a n )
which t njMMMan a n additxeial mark i hia behaj am aaeajfl
author." Tlat CiaaUutiit, of c o u r i c , ihould h e a[Vaatc1 unre to
the j j ^ L f i u p raT thia chapter ana) thetoUownraiC M . neither €d
whkh appear in the earlier n n u s r r r t j t i On medieval ink ice
RcOPrn-Runffe (19721.
[ T E A M - 4atE2. PHIL. sac.
JM_ To temper pten
T a k e the plant t h a t i i called g r e n i n g w o r t , * a n d
1
boil i t well w i t h beer or wine, u n t i l the beer turns
y d l o w from the plant. A f t e r w a r d * strain i t ; then
mill powdered Byzantine green w i t h the beer, a n d
put i n as much beer as Is sufficient. Afterwards l e t
i t stand i n a basin or a copper pot. to mature i n the
sun.
[Cutting and polishing gems']
Have a copper s t r i p a n d fine emery powder, a n d h
when you w a n t to c u t a atone, wet your t a w [ i . e . , the
topper a t r i p ] in the middle w i t h a l i t d e saliva, p u t
powder underneath, a n d holding the saw f i r m l y o r
dosely, apply i t to c u t the stone-
ui
Polish [ g e m s ] i n this way. P u t emery powder on
a lead plate, a n d wet i t s l i g h t l y w i t h saliva. Polish
[ t h e g e m ] gradually, w a t c h i n g often to see t h a t the
powder is not used up. W h e n the gem ia c u t [ i . e . ,
rough polished], b r i n g o u t the color i n t h i s w a y .
Pound some pebbles that have been calcined u n t i l
they are reduced to powder; d r y thia i n the d a y l i g h t ,
and make a very fine powder from i t ; a l t e r n a t i v e l y
make a fine powder o l l i g h t pumice-stone, or of
calcined rock -crystal. N o w , stretch a s t r i p of leather
over a plate and w i t h the powder and y o u r saliva
bring o u t the color of the stone b y r u b b i n g i t on the
leather atrip. I f you do not have pumice-stone,
make an equally potent powder from the ancient
brick tile from w h i c h salvers used to be made, or you
may b r i n g out the color w i t h o u t h a r m w i t h copper
wire.™
Quianon ualtalasion
I t is engendered i n h u m i d places, for i t is engen-
dered out of the dew in the s u m m o t i r n e - I t is col-
lected as follows: pick i t up a n d collect i t a n d lay i t
in the sun u n t i l i t is d r y . A f t e r i t ia d r i e d o u t , g r i n d
i t well. T h e n take the greater sea snail, wash it
w e l l , g r i n d i t ; take 30 pounds of this snail, 2 pounds
of ualtalastfm, 10 pounds of soap, 3 oz. o f azure a n d
a piece of l i g h t f y ^ o o k e d tjiive o i l soap. M i x these
all together, g r i n d them a n d set them aside i n a new
earthenware p o L Cover them in d u n g a n d leave
t h e m for 60 d a y s . " 1
192. Quianus, then is engendered as follows.
Before m i r i n g the ingredients, weigh t h e m , t h e n
make a good m i x t u r e , g r i n d them well o n m a r b l e a n d
"See previous footnote.
» Cmpirt file. Perhaps a priori ol mfmm enpperaj,
which, whr- calcined, ywbat chat caxeflent paiiahlnf; powoW.
-jrr.
m
i n S thi* chapter loUon immedkttlv alter t h t materia]
O f chap, I0P. #• tpeil* a u u a i U t t f T i with a enable p . and bears
the chapter heading that we. foltowi S . a a a i a n t n 1 M ,
V O L , 44, I T . i . 1$1A\ TRANSLATION 55

m i x them w e l l i n amounts appropriate to your N a t r o n is a salt which is engendered i n the earth.

operation. I t w i l l t u r n i n t o sheets and i n t i m e become full of
holes.
192-A, Again, another grim pandius [ S J Salt schist is engendered in the same way-
Afroniirum however, is engendered i n the place of
1 pound o f and 1 oz. of white lead, both T

n a t r o n . " before i t congeals; also another k i n d is

1

ground a n d mixed w i t h defrothed urine.

made from n a t r o n ; a n d the chief k i n d is a foam, w h i t e
like snow. N o w , when i t is compounded, i t is a t
192-3. Aga£n a pandius
T
first dusky, y e t i t has the same property.
1 p o u n d of guianus a n d 1 oz- of d n n a b a r — g r i n d Sulphurous earth is engendered i n the s a n e place
a n d m i x these w i t h defrothed urine. aa is sulphur. [ H e m a t i t e is found near the place
where sulphur is found
19Z-C. IA list of things that painters use} Quicksilver is engendered from an e a r t h , a n d a n -
other k i n d from silver ore i n the smelting process." 1

W e l i s t a l l those things made f r o m flowers erf land The ore of orpiment is earthy.
or sea. also from p l a n t s ; we list tn this way their Cakitis [ S J is a natural clod of earth which is found
Qualities or t h e i r uses o n walls, woodwork, linen d o t h , on the island of Cyprus i n mines, of a pale golden
and even o n skins. \Ve mention all the things on color; i t has w i t h i n i t d e f t v d n s like lissile a l u m , and
w h i c h painters w o r k and the techniques which they they shine like stars.
a l l use: the m a n w h o lays a simple coating of glue o n Frasinus ia an earth t h a t is mineralizing.
a w a l l ; one mixed w i t h w a x on woodwork; on simple Lulax is made f r o m a n earth a n d plants^
w o o d , glue mixed w i t h plaster; o n a d o t h however
Azure is compounded.
colore mixed w i t h w a x ; on hides plaster"* mixed w i t h
Quianus [Cyanus \S:~\ is compounded-
glue [[is used J .
Ficarin is compounded^
Verdigris is an efflorescence of copper.
192-D. On the hinds gf minerals, herbs, woods, stones, W h i t e lead is an efflorescence of lead.
and also onfungi (L) salt, natron* afronitrurn. oils, Ochery e a r t h is a pandius—you can color everything
pitch, resin and sulphur [ S ] w i t h i t , compound everything w i t h i t
Copper calcine is made from copper.
T h e first ore is t h a t from w h i c h gold comes. I t ia a
Cinnabar is made f r o m quicksilver.
r u d d y e a r t h : i t is almond-shape, r e d d ^ h , on account
Siricum [Sciricum ( 5 } J is made from w h i t e l e a d ; i t
of the adjacent earth. There is also another like i t ,
is also made from l e a d . " 7

w h i c h loses color when i t is b u r n t and is not sandy

like the former. T h i s earth ia engendered i n sunny
places. A n d such is ore: of gold. fPJ, Of plants, earths and woods
N o w the ore o f silver ia green. Chrisocollon is a tree that is not tall a n d whose
A n d the ore of copper is a green rock a n d when P interior w o o d is apple-green. The b a r k a n d f r u i t of
you s t r i k e i t w i t h a firestone,"* i t emits fire. a n u t tree: bark of CUician [Qlkine (S), CUicine
A n d brass [ o r e j is an apple-green rock, a n d emits ( £ ) ] ; bark of ash [tncJta] trees; bark of e l m trees;
fire in the same way. T h e ore is a stone t h a t is j e t a n d bark of the poplar tree. * 13

colored. A l l these are dyes: madder from the forest is weld

A n d lead is a d u s k y e a r t h ; a n d the stone w h i c h is [ S J - Sfonaclosus is an acorn gall. (The tarnus is
found i n i t is green. woodlike and resplendent. ™ Titimalin is a p l a n t
1

Sand is the mineral from w h i c h glass comes; now Drantalasis is the plant double bugloss.
there ia also a stone a n d i t ia of a glassy color. Every k i n d of resin is rooked from pine a n d fir.
V i t r i o l [ p ^ r t f j u f f l ] becomes an e a r t h . Ochers are W h e n pitch-pine is cooked, p i t c h oil comes o u t first;
Brown where there are drops i n springtime. T h e y and cedar p i t c h is cooked from cedar wood. {Pitch
are collected and cooked down. A n d this earth be-
comes calcothar [ w h e n c a l d n e d ] ; b u t the earth t h a t ™ The Lucca manuscript reads witri, g i a s s . instead o l Jtifrt,
natron: Just pooaibry aandivtr is meant. See note to chap. L
is d r y is v i t r i o l . M
"[HytTrargyriirn J 1* * l s c louad i n y e place where sjjver ia
A l u m ore is a n efflorescent earth- melted itartdiof together b y drop* O n ye r O C J V ' — - ( D i c H o r h i e s ^
Eritarin [ S ; eitarin, P J 3s a w h i t e e a r t h , easy to Goodyear trans.. Book V para- lift). Siippceadly the mercury
came f r r a dhnahtr in the sirrex ore. lor then is an evidence (or
break up. the use of mercury is ore treatment before the sixteenth century.
Sulphur is engendered i n the earth, and the very M
SvKum ( t f - chap. is therefore probably iithlrg* or
place burns. F r o m sulphur-earth mixed w i t h oil* a minium frpr a n meennediate color between the twu) macEa from
concoction ia cooked. white lead a s in chap. vii or by tbecfarect oxidation ot molten bead
F

a s in chap. 142.
m
u n d i t f , s u p p o s e d l y l i r a * p l a s t e r far s y p w m i n a k i n d o f g e * * i _ ™ JoVntihcation of these trees . . i- tain
•> Phrase obscure, but see Hedfcrs. pp. 121-113.
 S M I T H A N D H A W T H O R N E iTKAtrs. A MEM. P H I L . SOC.

Is a l s o e n g e n d e r e d f r o m fir [saf>pi*us} and a fir pilch

[Thenstia 0 / mights of wax and metals
from the silver fir [SJ) T Mastic fjmriK*] is engen- for use in Ihe foundry}
dered from the mastic tret (jiftriiffiul Hornbeam
The weights comspemding to one ounce of wax
[Zt£fli F tmpka} ia a tree the fruit ol which is the
•re: T i n , 7 en- 17 pennyweight; white copper. S ot-
jujube. G u m from the maple tree- A second gum,
from the almond tree. Olive oil comes from the
frutioctft, die difference between the t w o . which i t large, being
olive. Linseed oil comes from flaxseed. Mad tic
overlooked.
[Untiscvs] oil f r o m the mastic tree* Coral " from the1
T h i s account appears In nearly identical form in several other
aea. The murex f r o m t h e sea. Salt from the sea. t e n t h - c e n t u r y a n d l a t e r sources. I n P a r i s . U N Jat. 6 6 9 ) A .
I 3 e , I t i t a d d e d o a t h e m a r g i n as a p c w i h - k p r o o f o f P r o p o r t i o n
I V rsf t h e I N e i j d r > A r e h j F r s c i a r a a i Dt / • w r f r r t ^ r Ar*himn*4i* { o r ,
JW. [Th* assaying of toid tiimf aUtys Dt imsidensOmi i s b w A - ) r I t W a l t o o v l u d e d i n a c o m p l e x
by weighing in air and w w i e r ] eeonxtrical^TiVti^kw^cal manuscript at U n n i c h . $ L U t s t n b t . r

tod- 1 4 8 % n " . 1 ! . h w w h i c h i t w i s p u b l i s h e d b y M
T r Cartre
A n y pure gold, whatever i t i w e i g h t , is h e a v i e r than I n t h e version included i s the t e n t h H A i t u r y rnanuscript
a n y equally pure silver of identical weight [ w h e n both i n Parts. B H l i t - a n d in the c w e l l t h - o t n t u r y raanuseripra
are weighed in water] by a 24th plus a 240th part of
of E r a c l i u s t h e difference i n w a t e r less b e t w e e n i i l v e r a n d g o l d
itself; a n d it can be assayed as follows: If a pound Is s t a t e d a s 12 p e n n y w e i g h t per p o u n d . L f n 1/?Q a r h i e h » l e s i
of the pureat gold is c o m p a r e d on the balance under a c c u r a t e t h a n o u r f i g u r e . U s i n g t h t m o d e r n v » 1 j e s f o r t h e a pec i f c
g r a v i t i e s o f g o l d a n d t O v e r ( 1 9 J a n d 10.3 n p e e r r e e l y ) . t h t
water with the same weight of equally pure silver,
J r a c t k e t a l d t f t r e r t f i a l km m i t <J t a j r e r v e r s u s [ o l d i n w a t e r
tbe gold will be found heavier t h a n the silver, or the s h o u l d be I # i , - * 0 . D U 4 o r 10.4 d v t j l l x H o w e m * it
silver lighter than the gold, by II pennyweight. i-e_, t h e wetehts used t o restore h a b ^ P were i m m e r s e d alongside
by a 24th plus a 240th part of itself. Therefore, if t h e a l l o y s a m p l e a n d w e r e a h o o f s O r e r t h e lOM w C v k l a p p e a r t o be
l a r g e r b y t h e I r a o i o a PAt/ip** ~ 1) o r I 105. m a k i n g 11.5 d w t
you &nd any shaped [gOrd*mith s] work P
which you
o ^ e r e n t i s J loss p e r p o u n d of | H T f a e t t t t e d iralu* I I d w t / l b
r

believe to be alloyed with silver and yon want to is r e m a r k a b l y close t o b o t h . I t m a y h a v e b e e n t h e r e a l b x a t i o n o f

know how much gold or how much silver is con- t h e necessity of a • orrection for the i m m e r u o n o l w e b j h t s t h a i
g a v e rise t o t h e cunOUs expression i n the o p e n i n g sentence " a
tained tn i t + take some silver or gold and, checking
2 4 t h p a r t p l u s a ?40tfa p a r t , "
and examining the weight, make a l u m p of whichever
metal you wish equal t o the weight of the suspected T h e m e t h o d i * a d e r a i l m e n t of t h e A r c h i m e d e a n ic+iernt f o r
work [ S ] h and place both of these, iiamefy the work J c r e c r l n j a d u | t e r a . | i n n c4 ( C e d , fcrst deauritped i n V i t n T O u * Bt
and the l u m p on the [ t w o ] pans of the balance and
Archuedm. T h e p o e r n £ a ^ m n sV j t ^ n d V r a ^ u j p r o t u b l y b y t h e
L a t i n ecjTooloffiat i * n i c i a n a n d d a c i a f f r o m a b o u t M O a_D.,
immerse them in water. * 3
[f the lump that you
describes a m e t h o d based t h e s a m e p r i o d p l t as t h * present one
made was oi silver, the work will outweigh i t ; if it but Using a balance w i t h movable f u l c r u m . T h t S t a n d a r d frac-
was of gold, the object will rise and the gold sink. t i o n a l l e v ctn t m n u r r t i o n is t h e r e j i v e n u J d r a c h m a p e r l b . of
[ o l d , i_e_ 1/JS. T h e r e follow* a non-tiyriroatatLC m e t h o d i n v o l v -
N o w thii happens i n such a way that the silver rises
h
r

i n g t h e p r o d u c t i o n o f pieces o f a l l o y , i i r Y t f . a n d g o l d h a v i n g
b y as many parts "i.e.* fractions of the whole dif- eqi44[ v o l u m e i h A n o t h e r method rtujurred the lirJ4ricX4 (and
ference between gnkf and silver] aa tbe gold sinks- i n e x a c t ) rsroduCtion, v i a a w a x i n t e r m e d i a t e I t a f t , cJ a p u r e i i l v e r
For. whatever B in the work [when weighed] beneath d u p l i c a t e i n t h a p t a n d v o l u m e o f t h e o b * r T. a n d w e i g h i n g i t
;

" h e n . l a t e r , t h e r a t » of w a x t o m e t a l w e i g h t s w a s g i v e n a s :••
w a t e r beyrjrid its usual w e i g h t [ i n a i r ] belongs to the
Our ftiUowrng chancer, chu w a s for t h e fcMindryman's benefit
gold because of its density, whereas whatever light- n o t t h t Bseayer't.
ness there is m u s t be attributed to the silver because
of its rarity P T o make thia more easily observed, you F o r t h e e a r l y h i s t o r y of t h e Uja o f A r c h i m e d e s ' p r i n c i p l e i n
assaying, M e C T h u : - r
» c d 16W) [ M Berthelot (1891: 1:
should notice carefully t h a t i n t h e d e n s i t y o f go-Id h aa
p p . i o 7 - m j aiKl eapetially M a r s h a U C l a ^ e t t ( l f l M : pps, 64-69 F

in the rarity of silver. 11 pennyweight signifies a

H4-i;4 F L J I - 1 J 4 ) . O a g e t t gfvte the rest w i t h E l f i s h
pound, fust as was stated at the beginning of this Eranslatians of t h e i m r j o r t a n t source* i o d u d i r t g C l m f t . B N
chapter. * 1 1 2 2 * * . a n d Selesiac. The wurknf the M m l ^ n i c « U A a L - B u - M n i
aarj l i - r D i a x i n i (early t w e H r h century) who Jecermined l b < rela-
c r v e s p e e i & c e r a v i L i e s cd l e e e n astfaus sac) a f e w g e m s w a s s u r r h
m
F o l l o w * L . c s r e J a n a L $ reach) f r f i l i ' i i . ft *mW*m m a r i n e d b y A . M i d i (1939) based u p o n the pioneering studies b y
0
Ln h i t t r a n i r n p T s c H i P n i L U p p * o m i t t e d • s e n t e n c e I r o n t h e
1 E Wiedemann
MS: ' i affnJM / u r i i ) mtcs** M M H t v/mi prBtpnAmbit.
T b e d e n x i t y u s s y 14 0 4 e f 0 r m 0 r a n o t b e r is m t & 1 4 n e d m m o s t
-5V o w n * f±.-*if t f l t a t u f e r f f J . N o r i c * t h * letxpnd p e r s o n l i n -
hoolra o n a a s a y i n g p u b l i s h e d i n [he s i x t e e n t h t o n i n e t e e n t h c e n -
gular again.
t u r i e s — s e e e t p e c i s J l y L a s a r u s E r c f c e r ' s Bmhrnbuni Jhrfmnm-
mjM
M o r e l i m p l y • t a r e d t h e f r a c t i o n o l l i l n r i n t h e a l l o y :.
T t i t e j i nreeralL^uw Krtti mxd Ber^eweFceurm . . . ( P r a a i j e .
2 4 Q / J l [ r a u * - w J / J T l w h e r e PT a n d w a r e t h e v e s r j i t * Of t h e a n d t h « e s b r i u v e ciotes a d d e d t r J . H . C a r d a l u c i n s t o t h e
alloT -. a i r a n d i a w a t e r r e a p i e t r v e J y . s n d w * m t h t w e i g h t i n A
t r i J 2 edjbOTL I t wws a r j o p u h u r r s r o b t e m i n t k m e n i a r y t e x t b o o k s
w a t e r o f a rasas of p i n g o l d t h a t , h a * - r . eraasta P/_ T h e m e t h o d o f m a j h t m a t i c s a n d g a v e r i s e I D Home e a r l y iv>rncarrapbs a i weO
r r o j u i i e e T h t k s s s s e r m i cf b o t h h t b o c e DSLSSJ m t h e w a t e r . Tbt as t o m a n y i p e e i s l l y grachiaxed bajaoces a n d h y d r r A e r e e * . Both
c o r n p - j t a t i o f i • c o r r e c t o n l y w f r h p u r e aDrrvs of gc4d s a d s i l v e r , <"^IQeo a n d B o y k d e s c r i b e d s u c h g a d g e t s . A l t h o u g h n waa t o o
i n J i t w W j s i n i t h a t t h e r e u D O cfaangt of vol L i r a o q s l k r r m f . i n s r e r j r l t e foe w a d e u « e w i t h t h e eeeeiouS m e t a l s , t h e d e n s i t y
T h e m a k e - u p w e e j h r s u s e d u n d e r e n t e r s r t f i u l d be s i l v e r . Tlx a s s a y w a s u s e d a s a n o r h f j a j t e a t b y t h e p e w i e r t r ' s g a i h t s TO c h e c k
T a r i a b k e f f e c t s o l c a p i l l a r i t y On t h e 1 1 » p e n s i o n J b r m g s a t t h e t h e a d u l t e r a t i o n of t i n w i t h cheaper, heavier, lead. They did
w a t e r surface are i f r * a r e d . T n i s m e t h o d OXTer/try r m f t h t ( r * c - not use hydrostatics b u t s i m p l y weighed castings m a d e t a a
t - M . of goW try w e i g h t : o t h e r early methods c J t t a give v o l u m e standard bullet mold tgainst alloy* J k ^ j n m p e t i t ion. C

16 p e n n y w e i g h t - C y p r i a n copper, « J d w t . ; £braas
9 O L J d w t ; ] s i l v e r . 10oz. 12 d w L ; l e a d , 1 oz. [i.e. | h ]
6 d w t . ; gold 19 0 2 . 9 d w t .
A n d » i f there is one pound o l w u . p u t in of t i n
7 l b . 10 O L 4 d w t . Y o u should put t h a t in because
for as m a n y ounces as there are of the wax there
should be [ f o r e a c h ] 7 oa. 19 [tkj d w L of t i n , and
so i f there is a pound of wax, K C - twelve ounces, put p tioned aiquibriz.
in twelve times 7 oz. of t i n which makes 7 lbs. and
twelve times 17 d w t _ , which makes 204 d w t or TO o i -
4 dwt Of w h i t e copper, i f there is a pound of wax,
you must take 8 lb_ plus 12 times 16 which ccrre-
sponda t o 192 d w t . . making 9 M _ 13 dwt_
Of C y p r i a n copper, f a - a pound of wax. take 9 lbs.
12 d w t . [ J K J Of b r a a frjr a pound o l v u , take 9
+
I t * plus twelve times 3 d w t . . which inakea 1 O L 16
d w t O n the other h a n d , w i t h silver, t o a pound of
wax, 10 l b . plus twelve times 12 d w t
I n the same w a y t o a pound of wax, put i n 12 l b .
of lead plus twelve times 6 d w t . When casting gold,
on the o t h e r hand for a pound o l wax take of gold 19
h
l b . plus twelve times 8 d w t which makes 3 oz. 13 p
dw( ZsieJ m take i t out of the furnace t o cool a n d r u b * i t w i t h a
h
m
ThU chapter, missing in r\ is translated f r o m £*Jestnt (f |
v3> 40f)_ There » an addirior_i_ version, oi the first paragraph
only, with the ewrect weigh! for lead, On lot U l r The title
u taken frCcn BN 1Q91* ched by Berefaehtf (1HJ! p. 17S) De
~ •- - • c « w ej melalk t a mpmbmi r U i U a r . Theobvid tt*13 [
p. J04J cites inOTher manuscript of the tenth century with tht
tame data in I t and i t also appears ua Munich codes
from which tt was published by Curtze p_ I t is die
earliest quant J r_,: |faj coOecTJon ol any of t h t phywsau properties
of matter. The values, art tabulated bejrsw.
WEIGHTS OF METALS AND ALLOYS
Wdsht Wdfhl
raiLlva-rnt
eq-jivklKiL
tat
ea. twi- ea.
Tim 1 ts 1 in t JJD
a li s * U **s
W i * 1 t1 U XuS a
i N *
t li
11
10 T
• L4I
t1 *l 11 J ILeS
1* t LJ
K akarrr
L
If C«puted bukwards from the rtated weight per lb. of
copper this would be Q oz_ 1 dwt. [r - n.7Q)- There fass
been tome contusion between copper snd bras* at •OrM pomL
The identity oT white copper d questionable—it could be a
high-tii] brorucc Or one of the white Cu-A* elloyi that were
tnjoyerj by exprnmentaJists but not by rsnfccticaj fourtdry-
m*n.
K
TTw equivalent of brass per oursce 0« waa M ftot l i i t i i Tni*
number given is computed from tbe weight per pound.
* TheFTOumundusmanoscrTptcried byTbeohnddreads [ f l a t
S d w t ; the riarnd value per pound Of gear) crsrrese»nds to
19 ox_
* o d a a c t c q u m k i i b foe *M d o a « « n * ' a
wnTpt_
The weight i y i m is 1 pound - 13 maaCtJ - J « peiinyweight*
The modern densityfigttTes.in the last eoinnin of the table sre
TRANSLATION ST
7"** recipe for nUiio far ua an gold
T a k e I parts of olmenbm* e_ silver) * a n d a t h i r d
B
1 1
[ p a r t ] of copper, a n d as much again and a b i t more
of aiquibri* (i.e_ s u l p h u r ) . [ W i t h h o l d i n g the n i l -
t
p b i i r , ] p u t them in a crucible i n the furnace t o be
roasted; and then gradually mix i n the above-men-
When it is well roasted and mixed,
h take i t out and pour i t i n t o an ingot mold or wherever
you wish, and hammer i t while i t is s t i l l hot t o t h a t it
is thinned out. T h e n leave i t t o crjol. A f t e r w a r d s
h
thoroughly break i t up very fine o n a n a n v i l w i t h a
pounder. Le_* a l i t d e hammer, u n t i l i t i * made i n t o
powder, and p u t i t i n a shell. Afterwards temper
some otincar (Le borax) w i t h water, a n d w i t h this
Pp
temper the nieflo. and place i t where you w i t h [ o n
engraved portions of the gold w o r k t o be decorated].
Sprinkle soda [ f t t f r m i u n ] powder o n top, a n d p u t i t
on coals u n t i l the niello runs weJL I n those places
where you do not w a n t i t t o r u n , p u t some very fine
chalk tempered [ w i t h w a t e r ] . W h e n this is done
p
h
11
maple polishing i t i c k . H e a t it s l i g h t l y b u t often on
0 t the 6re continuing u n t i l i t is In good shape. A f t e r -
H
wards scrape the niello r i g h t down t o the [level of the
P
surface of t h e ] olme^bui and polish i t again as you
know full w d l and leave i L
h
thowt fut pure — -= •-3 elements. They are not adjusted fee the fact
(bat rontratt ion of a casting dunng and alter soiLjlneatiem gives
itp when cold • Htudkr voluRK than its monad carity. Tht
H
modern pattern- maker allows about J to 4 J per cent by volume
for this- Catting;* of both waa and metal are liable to contain
porosity which would upset the rltk» 0/ their weights.
C«aouuEd ^ Note tht use ol Arabic words tn this, and the next eight
fa
HtwA^a chapters^ Tfee Latin identifications (which we translate in
VJ_ L parentheses) are intrrlineal^d in (fat naacuracnpt in a diflerent
hanrL The word • - i ••. ckarty nseana sirver as denoted by thn
interpolation, but !fc does not resemble tbe usunJ Arathc word of
silver. The gebert art irjajghdorward rjanw^peucs,
tun
n H foflowa:
J
IQll alquttrim - i ^ M r t J • lulpbuT
I t 11
_ tfMHP or aaisjafr - bona
pS — asVssU or arrsaAf » lead
- s/^isiap - tin
flKttrtfnsa WJ si-n.y.r u - or a^tfaisriH - soda [Not to be confused
with Latin milrmm, utrnfk See footnote 13 chepv 1)
P
These chapters are not in S, which was compiled in t h t tenth
century, bernrr. the UiGuence of Arab science had begun to be Id t
in Europe- That tbey came via Spain is indicated by the use of
y IOTVH
Note that this nselio tor use on gold a 2 Ag 1 Cu. 1 + St
F
and chat tn the next chapeer for use on sOwer » I Aav I Cu* t &
There is no hnad. sJthough the nieUo of eJiapeers 56 u d a*
wed as that in laeophilui ( I f l J n ) and b a t titer recipe*, in-
clndes it.
Tn* intent hen seems to ht to eliminate caeitir* by n n >
a a v Mpufjgj the nitUo when it is hot ersousrh CO be rjiaatie. bat H t
motten. However, tht tune word* hjesSp A p p e a J i later in.
pjragrapfa snd r a t when whtft simple abrasive rsnlhaiug
clearly
 SMITH AND HAWTHORNE

Jtffc H r / u * . niello for use CTI almenbuz [ J I J W T ] 202. TU joining together ofbrtsst

T a k e oJmndsur and the same amount of copper and
as m u c h alfuibru aa the almenbuz a n d copper together
w e i g h ; and do as waa said above i n die case of gokL
JP7* Again, as about, so that ike
1 pennyweight b y weight of soda* b u r n t cream o f
t a r t a r * * as m u c h as you t h i n k r i g h t . 1 pennyweight
b y weight of boraa: compound these w i t h water, a n d
coat the brass w i t h i t ; afterwards sprinkle over j t
roasted t i n powder ; afterwards heat i t i n a furnace
c4J

gOding may hate color beneath the coals, as i n the case of [ s o l d e r i n g ] g o l d ,

u n t i l it is well joined.
T a k e 50TTK urine and a l i t d e vinegar, a n d some
well-ground garlic, and as much alguibrit as you t h i n k 203. Joining tin iogtther
right, a n d mix them together in a copper shell; and
p u t i n there 2 l i t t l e sheets, one of copper a n d the 1 part of soap. 1 p a r t of pine resin. 1 part of soda
other of arrasgas (i.e.. lead) and when i t is boiling a n d some borax- Coat the t i n w i t h this a n d heat
h o t take them out and d i p them i n cold water, b u t
t
l i g h t l y , as you know how. u n t i l i t joins together, a n d
in such a w a y t h a t they do n o t touch the b o t t o m ; quench i t while still hot i n water.
immerse and remove them repeatedly u n t i l they have
a good c o l o T r * 1
204. An easy way of gzUing
T a k e leaves of t i n . d i p them i n vinegar a n d a l u m ,
193- To soften gold, do as follow* and glue them together w i t h glue made from parch-
P u t gold i n a crucible i n the furnace and m i x w i t h ment. T h e n take safTron and pure ( u * clear a n d
i t alqusbra a n d linear. MeJt them together, a n d transparent) glue, drench them both i n water w i t h
make a n ingot a n d p u t i t i n salt, then i n water. vinegar and c o o k them w i t h Elings [parchment scraps
T h e n work it< m
ings?] over a slow fire. When the glue flows, coat
the t i n leaves [ w i t h i t ] a n d they w i l l appear golden
to you.
199- Again, if yon want to lay goid on a skin
205. For a tin solder
I f y o u w a n t to lay gokJ o n a s k i n , first p u t w h i t e
M i x together two parts of axle-grease w i t h a t h i r d
of egg on Z or 3 t i m e s ; i f " atmenbuz, 4 t i m e s ; i f "
1 3

part of resin a n d a n equal amount of t i n filings. H e a t

aUaxir (Le^ t i n ) S times. t
t h e x l i g h t l y at (he fire and you w i l l be able to f o l d e r . * 1

200. If yon want to color almenbua

206. Painting black on a gilt vessel, so that
I f y o u w a n t to color almcnbuz. take vinegar and you thinh it has been inlaid
salt and mot them together, and then heat the almen-
M d t equal parts of red copper and lead, a n d
bus a n d quench i t i n tbecrt Afterwards take ground
•^winkle native t u t p h t i r cm a n d when y o u have r n d t e d
t i u r c o a i and [ w i t h i t ] r u b [ t h e njptevifru] using a
h

it* l e t i t h a r d e n ; p u t i t i n a m o r t a r , g r i n d i t . a d d
cloth or a b r i i t l e brush.
vinegar, and make the ink w i t h which w r i t i n g is done
of the [ p r o p e r ] consistency. W r i t e whatever you
20J. If you want ta Join copper or brass w i s h o n grsld or silver [ vraestisl Wheal i t has hardened,
T a k e 2 parts of copper, and a t h i r d of tin;"* m d t heat i t , a n d i t w J f be i n l a i d . 1 0

them together i n the furnace, and mix them w e l l ; N o w i t may be melted like t h i s : c u t a c a v i t y i n a
t a k e t t o u t o f there to cool a n d from i t make very
r piece of charcoal, a n d put silver a n d copper i n t t ;
tine powder o n a [ S a t piece o Q iron or h a r d stone, m d t them, a n d when they become l i q u i d mix i n lead,
a n d m i x the powder w i t h olive o i l . m a k i n g i t neither then s u l p h u r ; a n d when y o u have mixed i l pour i t f

too t h i n nor too t h i c k . W i t h t h i s coat the copper or out a n d do as was said above.
brass j o i n t , a n d sprinkle over i t powdered soda
[ a ^ r p n i * f f l ] ti e. alatronum
P [ r t c ] ) a n d p u t it on the
p 207. Gilding by (he application of [rfyeV i w ] leaf
fire to heat, a n d n i b w i t h a l i t t l e forked tool so t h a t
i t joins w e l l . Leaves of tin should be m a d e ; a n d they should be
made like this. M d t the t i n w r i f a n d slowly p o u r i t t

This seem* to be a recipe, nnt fur gilding, but lor producing C/**m Din vsam. The mrsrd m a s t , o t h e r w i s e unknown*
s udflde pa Uns, cm copper and lead. The posnibutltY of vhntroiytic is curiously c o i n c i d e n t with t h e F r . r ^ h t e r m ^ted for purified
a c l « 4 ra%ht b e nceed.
g

C f y v a a u h v a r tartar. The b u r n t product would h e mainly; p o t a s -

u r
This woukd soften the gold by removing stjeer sad other M.JITL carbonate.
mrtitLic imparities is the form oi sulfidet- w
"Roasted tin p o e n J e r p w f a m r rismn t u n . is supposedly
p
r p

Teat reads t a 0 0 , in both places. More adhesive teems to

P tin otDxTe-
b e needed with the stifler foil*. " Chap. ZoL is a duplicate o i rfaia.
J

« This f r j * d e r - 4 U Opprr. 1.5 [ in - i s bri i\\t enough to be tasirj- T r j e s a n a t r«ips, though wrth
w
ackhad s i t t e r in that first
powdcTTd b u t art too b r i n k for ttfc. I t aserrs at about T40°C venlenre. r a s gives, in chapter S t
VOL. 44, rt- w TRANSLATION 59
o u t o n t o a marble slab a n d make t h i n leaves of it_ business, there comes a tic|uid which w h e n set on h

A l l t m a t i v e l y make t h e m w i t h a hammer. A p p l y fire and while still flaming leaves the material [ u n d e r -
them i n the same w a y as gold leaf. Cook down neath] unburnt
s w a l l o w - w o r t a n d take 3 ounces of this concoction, 3
pounds of s a f f r o n and 1 pound of orpiment. [ C o a t
21J + On lading, or the measurement of heights
the t i n leaf w i t h this-J**
Ferei construct i n this w a y an orthogonium [ i . e .
h

Z0S + Dyting tin loaf a n instrument i n the f o r m of a right-angled t r i -

T a k e 1 ounce of clean safTron, 2 ounces of the best
split o r p i m e n t [ S ] . add half [ a n o u n c e ] rjf gum! and
h a l l an ounce of linseed-oiL M i x in r a i n or fresh
water, m i x a n d boil t h e m together. M i x the prepara-
tion together, g r i n d i n g it well, and taking it up w i t h
a sponge, c o a t the leaf w i t h i t W h e n i t has d r i e d ,
coat i t a second t i m e , a n d when i t B d r y . r u b i t w i t h
a n onyx u n t i l i t shines b r i l l i a n t l y -
209. Making proven gold ** 1 stretching between t h e m the hypotenuse.
M e l t together 4 parts of copper, 1 p a r t of silver*
a n d a d d 4 parts of u n b u r n t orpiment, i.e., crude
etirtas a n d w h e n y o u have heated i t . Let i t cool a n d
p u t i t i n a p a n — c o a t the pan w i t h potters clay—and
roast i t , u n t i l i t b e c o m e a cheary red; take i t o u t and
m e l t i t . a n d y o u w i l l find silver. A n d if you roast i t
a great deal, i t becomes elidrium; i f you a d d 1 p a r t of
gold, i t becomes the best gold.
210- [-4 solder front fiber]
F o r a solder f r o m silver, weigh out 2 pennyweight
of silver, 2 o f copper, and one medalla [ J penny¬
weight ? ] o f t i n .
2fJ. .4 solder for poor siber
T a k e good silver, weighing 3 pennyweight, and 1
obol of t i n . F o r soldering good silver, take half an
211. c ^ ; » w ]
F r o m a m i x t u r e o f pure and v e r y strong ifnf w i t h
3 flAjid o f tfm* w
M
cooked i n the vesseta used for this
•"Chaps. 207 and JOS i r e M a r duplicates oi 111 and U L
141
See chap*, IS LB. and Sland the note to cfup- 15.
F
a n g l e ] : M a k e three flat straight rods, the first 3
[ u n i t s — e i t h e r ] inches, feet, or cubits [ i n l e n g t h ] ; the
second. 4 ; the t h i r d , 5- Set u p v e r t i c a l l y the one
t h a t is J units long; lay horizon t a l l y the one t h a t is
i u n i t s l o n g ; and stretch the one that is 5 u n i t s long
between the t i p of the one t h a t is vertical and the t i p
of the one that is h o r i z o n t a l These three rods
fitted together at the corners w i l l then make the
o r t h o g o n i u n t Now the vertical rod is called the
perpendicular; die one laid flat the base; the one
T h e n take
a post whose height readies u p t o the level of y o u r
eye; and attach the orthogonium t o this a t the middle
of its b u e . Then place your eye at the corner where
the tfise and hypotenuse j o i n . Take a sight u p t o
the corner where the hypotenuse and perpendicular
meet; then walk forwards and backwards [ w i t h the
instrument to your e y e ] u n t i l i n your view the corner
where the hypotenuse a n d perpendicular meet appears,
to j o i n the top of the object whose height you are
t r y i n g to find- When this haa been done, measure
the length of the distance f r o m the place where you
then were standing t o the foot of the o b j e c t Sub-
tract a Quarter from this length. T h e height [ o f tbe
o b j e c t ] is then obtained as the length cf the remaining
three parts plus t h a t of the post that you were holding
i n your hand. N'cw you must watch carefully t o see
that the orthogonium w i t h the post attached beneath
does not incline in any d i r e c t i o n : in order t o detect
a n y inclination, hang a plumb-bob d o w n f r o m the
center of the hypotenuse. When i t touches the center
of the base, you w i l l know t h a t the orthogonium is
not inclined-
114. The stsme orchus or ore bus
T h e stone orckui which the Alexandrians call
r
M

H <
A n obol is 1/6 t4 a dram: approximately 1/6 peimyweisSr. cadmia, is engendered i n h u m i d places; a n d i t is
Silver-tin alloys with L/IS and 1/32 of tin melt lespecriveFy a t easy t o pound up- Now i t is black and i t is an
5*25 and W P C . the higher melting point bcprttf appropriate for
ingredient i n silver solder.
Pure iilver. They are whiter in color thaa comparable siTver-
copper alloys, but beta use of the formaxloc of refractory tin
« i d e they mxild be less Hiiefantrsfv as riders than, the suver- kzwjsrn I C C O u a l s o f theffiakios;of alcohol The tall added U t h e
nrapei^xinc alloys of later times. win* before dhflillaiioq woqU sad the Papers!** by lowering t b e
Ta por lasts! of n r e r relative to thai of s ^ohoJ. For a daf-
M
A simple code Icaown by cr^rpoeyarjhert a s the Caesar
r
ruspra o\ Che nstfte? J J t t f a K < V D i e h i (1911. i91i\ Drjjerini
OKoo^phabetic i^T*er a naad in the Latin- Its oex^herwar.
h
QMQ and Forbes (194SX Tne translator* ajjn|| co ici-mwledgc
M hmrslc- jnst substitute l i e preceding letter in the alphabet: a h e l p f u l c r s r r e * p « > 0 * n e e on t i n s chapter with M r . J. J . M c C i i s k w
Latin: sJtnM j W oi the University of Marytnd-
nnv purre »J« a«5vennung ( l ° > l l : p. BJ: has a d^KOsaion ol the words
English i a/ft/ flinii ibmn sreraJ, and r * * * v J m which he imatf i ru r n r l V Higgestx that erckms
T«H parts nsh m a torrnptioo of greek */fl*sur literally peas, t e r m e d with
H

overtones of n * 4 u . gold solder, which Hggeata r a r v a v c s O s . t h *

^iwrtlaiverskinr green ipioenl elnrwhere u*ec? ss a paluer-
• tn t h * nnt word- T h » (haprer proves osw of the eari-st
60 SMITH AND HAWTHORNE | T M » A M I . rncL- tec.

J/5. T k * jlortf atriatia 218, Cold solder for fistulas

T h e stone atrialis which ia called leacapandium C o l d solder for fistulas from gold s t r i p : take one
[ w h i t e p a o d i u m ] . There ia a green earth i n which ounce of astiaun. 1 o i . o f copper calcine, 1 oa. o f
i t is engeridered. W h e n the earth grows and flowers afrtmitrwn. [ oz. of olive-oil soap made w i t h o u t lime*
again, i t produces a w h i t e flower convex, four-sided*
h
2 aolidi of v i t r i o l [?sjW*Jir«] half an o u n c t of vinegar,
H

w i t h sharp edges. A f t e r this i l shrinks and i t w i l l 1 o i . • f water Break them up a n d m i x t h e m , the

+

become a [ c r y s t a l l i n e ] stone. B u t i f the green earth copper separately a n d all the rest i n t o one. Com-
contracts the flower when i t is i n full bloom then T
pound a l i t t l e [ o f these t o g e t h e r ] as a solder to make,
[ i r r e g u l a r l y t e x t u r e d ] rocks w i l l result. Some of when heated, tubes from gold s t r i p . | n

these are of a golden color, others of apple green,

others pandius, others white. When these are struck, 219, Gilding Copper t silver* and brass
they give off Kre_ Quicksilver issues from them. I n
the m o n t h o f A p r i l and M a y , when the earth is Encaustic** or the first burning-on [ o f gold a m a l -
w a r m i n g u p a n d the flowers are abundant, excavate g a m ] on silver, copper, a n d brass- H a m m e r o u t
a h u m i d place knee deep a n d the earth w i l l be dhv some goJd a n d make t t i n t o fine, t h i n leaves, a n d next
b

t k f i e d ; you wiM find old flowers, hardened and stick-
i n g to the e a r t h , which have become gematonc&.
others h a d flowered and hardened, b u t did not stick
to the e a r t h a n d have remained like pearls, because
they d i d not encounter the right season. Others
flowered in the appropriate season, like w h i t e snow.
W h e n you find these, l i f t up the barren earth w i t h
the flown aod p u t them i n t o marble mortars, and
when these are filled, p u t i n water, stir w e l l and
T
p u t i n some quicksilver, and melt the leaves u n t i l a l l
Now the gold is melted. N o w , if the quicksilver is d i m i n -
ished add more, u n t i l all the gold is cooked- T h e n
p u t i t i n an earthenware p o t and g r i n d i t w i t h another
piece of earthenware u n t i l the gold is a t t e n u a t e d and
completely mixed w i t h the quicksilver. T h e n scrape
the vessel w h i c h you have to g i l d , a n d coat i t w i t h a
l i t t l e [ o l the a m a l g a m ] , beat i t , a n d press i t o u t w i t h
a clean Tinen c l o t h , and wipe off all [ t h e excess q u i c k -

t h r o w o u t the e a r t h t h a t is in the water, a n d there s i l v e r ] . N o w p u t [ t h e vessel w i t h ] w h a t remains on

remains quicksilver. Some silver Ore w i l l also come the tire and test i t i n the same w a y - A n d it i t is a
o u t and runs when i t begins to burn. Artisans collect dew pot put o n one or two gildings- However, i f i t
i t " is once l i g h d y coated then r u b i t w i t h a h o t i r o n
h

[ b u r n i s h i n g t o o l ] , a n d i t takes o n color. T h e n r u b
i t w i t h bread crumbs to clear up its color,
216. The pumice stone

Pumice stone is engendered everywhere: after i t is 219 A [Cddimg ra]

g r o u n d , i t is p u t i n t o a new cooking pot and ia placed
in a potter's k i l n a n d is heated w d l , carefully covered
+
I r o n is also gilded in the same way, b u t first i t
so t h a t no i m p u r i t y can get i n t o i t - After this, i t is should be treated w i t h alum- ** T a k e some v i t r i o l
1

taken o u t a n d ground for use. and it becomes part [vitriMum] a n d a l i t t l e salt, a n d some v e r y sharp
of the r e d p e for gold, substituting for a gem i n the vinegar, i n a c u p - and coat the iron t h a t y o u have t o
gild w i t h thia A n d here you have the first g i l d i n g .
tempering of ealaina.
iM
r

21P-B. Ckrysogmpky vilh [ g o i d ] laf [S]

217. The recipe f&r orpiment
T a k e the truest saffron, a n d scrape off the flower for
1 part o f d e a n ground orpiment. 1 or. of q u i c k - a time. T h e n take an egg. open i t and pour off w h a t
silver, 1 tremis \ solidus] of gold. Beat the gold first comes o u t Collect the w h i t e as i t issues i n t o the
saffron and g r i n d i t p r o p e r l y / * coat w h a t e v e r you
1

a n d make i t i n t o a leaf, a n d p u t the leaf a n d the

wish w i t h i t . a n d lay the leaf o n top.
quicksilver i n t o an i r o n ladle, a n d heat i t u n t i l the
gold melts a n d mixes w i t h the quicksilver- A f t e r -
wards p u t a l i t t l e orpunent i n t o the same ladle w i t h 219-C- Again, the chrysograpky of scribes [S]
the quicksilver m i a t u r e , and cook HI. and •seafa i t T a k e quicksilver, m i l i t w i t h gold aa i n gilding, ** 1

u n t i l i t become* pamditu- grind t t well a n d p u t i t i n a c u p | a n d l a y i t o n ember*

Thai B a duplicate of ehajL 1*1.

" T h i s chanter t k - j d d r dncines tbe growth oi mjorraJ ^ aawf Crwtwu, S u w n j and f a s y r n a O * ;
crystal* m the earth, and refiVetj the belirf that tut-h growth was r

anaJiarnus tn the (rewth of plants. I t itdJrkuIt tn ks^rify the — " ™™pf latmLiations of the Greek n u h n r u [| m art un-
u

•pwdhc rnineraii involved. Though gernslones *rem tn be in-
volved at first, the referents tn buroirjg and to quicksilver bints
at cinnabar.
Lmilh word for tbe a m a l g a m -gilding process but obviouvly com-
pares It TO humed-on waa -m . u n t i e ,
This etchant would be more effective 'J the m*ri*t m were
141
a

bluevitriot Stenoses, t d e h a p . I4t l i f i ^ arid W6-H.

h
Dxfca* in £ and S Perhaps calamine u JneMt. elsewhere M
Reading mtiliier as A t . and T . J» reads Uttftr. lightly-
taimm*, which we rrandjte
» Follows T, sicmi tt
VOL. H i FT. 1. 1VU]
u n t i l the quicksilver is dried [ o u t ] and the gold re-
m a i n s ; p u t this i n a m o r t a r ; grind i t well w i t h a n
iron pestfe u n t i l i t becomes powder- T a k e saffron,
t
a n d incorporate i t b y g r i n d i n g ; i f there is an ounce of
gold there should be 2 solidi of saffron, which you
p u t i n t o water a n d let i t cook down. I n the same
w a y p u t w a t e r f r o m gum i n t o the composition; grind
i t for use a n d p u t i t i n a flask and hang i t i n the s u n ;
h
a n d take i t o u t of the sun whenever yon w a n t W r i t e
w h a t you w a n t w i ± the reed pen w i t h w h i c h you
[ n o r m a l l y ] w r i t e . M a k e a similar composition w i t h
silver a n d w i t h copper,
220. How cooked sulphur ii made
Cook l a r d and take 2 pounds of its oil and -3 pounds
of sulphurous earth- G r i n d this earth and p u t i t
mto a tooking-potp boil i t twice or thrice, and pour
i t o u t onto a b r i c k .
221. A recipe for a f r o n i t r u m
A second recipe for afronitrum which is also used
for soldering gold a n d silver or copper [ 5 ] 1 pound
P
of E g y p t i a n n a t r o n a n d 1- pound of axle-grease soap
[ m a d e ] w i t h o u t l i m e . G r i n d these properly and mix
them together. T h e n p u t i t i n the sun. or i n a hot
place; i t is useful i n soldering goUL For silver be-
cause of the softness o f the metal, a softer composition
ts made, i.e., t w o parts o f soap a n d one of natron-
221-A. A redpefnm Brindit?^
2 p a r t s of copper, 1 p a r t of lead, a n d 1 part of t t n ,
£21*3, Another recipe from Brindisi
T w o p a r t s of copper, one p a r t of lead, half of glass,
a n d half of tin- M i x them together and m d t Cast
them according t o the size of the vessels- I t is also
used, w i t h afrtmitrurH for the soldering of copper.
T
221-C+ A recipe for cinnabar [L]
A recipe for t r u e , dean d n n a b a r . T a k e 2 parts of
quicksilver a n d 1 p a r t of native sulphur, a n d 1 p a r t
of clean urine. T a k e a very clean strong flask t h a t
w i l l endure heat w i t h o u t smoke. Put i n t o the flask
the s u l p h u r , g r o u n d and mixed w i t h the quicksilver.
2 ounces s h o r t of filling i t ; b u t i f i t is a larger flask,
i t should be s h o r t 3 ounces- M i x a n d shake. Get
ready a smaller glassworker's furnace, which should
a m p l y hoJd the flask [ £ ] . leaving a place where the
™ Chaps- 2?1-A.anrl221-B are in Sand a T o n J ^ n i - C is in
S t a n d i , h i J> the rirsr two ingredients of 22UA are riv*n
followed inuncdiarriy, without break or caption* by
The association of this Copper alloy with the town BriruLui Later
jave rise to the word bronsc. The comport™ spec ** ™J 16
chapter would be rather brittle. flnod«iaia ipecnluni metal
appears in chap. 89-A.
TRANSLATION 61
flask m a y enter. S p l i t reeds a n d w i t h them l i g h t the
furnace- Leave another window so t h a t the flames
may breathe o u t a l l round the flask T h e sign
of [completion o f ] the cooking is t h i s : w h e n you see
t h a t the flask has less purplish smoke a n d is making
a color l i k e d n n a b a r . stop adding fuel, for the flask
gives a crashing sound f r o m the great h e a t When
the cinnabar is thoroughly cooked leave i t t o c o o l . " 3
221-D. A recipe for verdigris
T a k e copper strips, a n d scrape them down w e l l a n d p
hang them over vinegar. Scrape off and gather the
stuff t h a t collects o n i t ™
221-E. The recipe for lulajt. L i indigo [£]
2 parts o f verdigris, 4 oz. of dean v i t r i o l [ p j f r t t u k f l t ] ,
2 oz. of E g y p t i a n a l u m . 2 or. woad leaves; pound them
cleanly b y themselves. Combine the verdigris v i t r i o lp
and a l u m , a n d take a half ounce of olrve-od soap
w i t h o u t lime, ™ and m U the three ingredients i n i t .
1
x\ow thoroughly mix them and pound them again
with the soap. T h e n take the properly pounded
woad leavts mix them w t t h the above-mentioned
h
ingredients, a n d t r i t u r a t e thoroughly a n d allow t o
rest for a day*
222. This is the recipe for it
M i x 1 pound of dean defrothed urine w i t h the
above ingredients a n d grind for a time- P u t i t i n a n
iron cooking-pot i f y o u have one, otherwise i n a n
earthenware one a n d cook i t u n t i l i t is reduced t o a
h
t h i r d - N e x t take well-pounded cooked g y p e u r n . * a 1
half ounce o f i t Pick up the concoction, m i x the
gypsum w i t h i t a n d t r i t u r a t e for a time, and p u t i t i n
a pot Place i t i n the sun aod w h e n it has hardened
T
break off a piece and p u t i t t o d r y .
222 The recipe for florin
T a k e 1 pound o f v e r y dean lac and cook i t down
w i t h 5 pounds o f defrothed urine a n d cook i t down
cleanly a n d do not let i t boil unduly- T h e n take
clean bones o f a crab, a n d b u r n them cleanly, and
grind a sufficient a m o u n t M i x them i n the lac.
U T
Th* urine in the second luteoce ia aocloded only in Z a n d in
tbeietond version in $ (loi HJr-.J. The entire chapter is missing
in r* A recipe rather similar to this appears in Tneoph L|u 3, 1J4 F
in which a crashing sound is attributed to the uniting of the
mercury Jj*J sulphur.
» i j p P this paragraph EoUowi immediately after the "two
parts of copper and one part oi lead" in the beginning of 111-A.
RoWen'R mige (1967:2: p_ 39) inferred from thia that the copper-
strips were alloyed and that the recipe, was UP make the mixed
F
white and (rten pigment railed erufflcPit by Lr. Begue—the
rpmutm of our chapters vui & a. The earlier readings do not.
1
support this.
P reads without salL
M
bet, plaster oi Pahs-
 SMITH AND
T a k e some fine wheat flour soaked id water, a n d well
soak I O L erf it t o t h t proper consistency, and unite
t h e m . Lfc« t h e crab b o r n aod the lac b y poundirtB T
t h e m w e l l and mix them w i t h the soaked wheat
f
flour; p u t t h e m i n a pot. and d r y in the sun. From
thia you m a y make ftcarin.
224, Coloring [glass for] mosaic* green [S]
T a k e 5 pounds o f a l u m p o f d e a n glass aod 2 oz. of
lead-free copper tilings, a n d p u t them in anew earthen -
w a r t pot- P u t (ire underneath, and in the lower p a r t
o f a glassworker'a furnace cook them down Tor 7 days,
a n d after t h i s take i t n i t and break i t up i n t o small
pieces a n d m e l t it again [ S ] I t w i l l be green colored.
224-A. Tkeortof glass and its cooking
T h e ote [ L e . r a w m a t e r i a l ] o l glass. T h e r e is a
r
sand t h a t is engendered in various places; a n d this
sand is also engendered in the mountains of I t a l y .
T h e r e is also a blackish stone having the color o f
glass [obsidian ? T h i s ia d i e testing of i t : take some
o f t h i s sand a n d p u t i t in crucible [L] t o use i t
L i g h t a fire w i t h coals- Class w i l l run f r o m below
y o u r hand \jicJ b u t a useless k i n d - * 1
22S. The ore of lead and its cooking
Lead ore is a d u s k y earth w h i c h is e n ^ n d e n d
everywhere* more, however, in hot places; and the
stone which is engendered i n i t is green, not w h i t i s h ,
a n d i t is a heavy ore- T h e te*t of the ore is this - take
i t a n d p u t i t i n the fire; w h e n i t boils a n d is molten,
i t emits sparks- T h e grass w h i c h grow? i n this earth
always w i t h e r s under the heat o l the ore- I t is
gathered as follows r because o l the sweltering heat of
the sun excavate the earth t o a depth of 3 c u b i t s —
the earth is weak* a n d w h i l e the excavation is being
d r » e it dries o u t . T h e n i t is smelted in the furnace
r
i n the same w a y t h a t iron ia. though lead burns
more- " 1
** This chapter is in S A i only, throfh in F its titW. #s m^aHe
nJrt r l ^ i m . t* prefixed t o the C e r t ol chapter 7 2 4 . [a £. it
tontinuesH without u i E r s r u p E b o a or rubrLc into our chapter
h
23 T.
m
Note the reference to the sinHlius of i r o n I n this l o d the
following chapter. W a l l blast furnace involved The Junto/ a 1
liquid product n reinforced by ihe direct reference to "running
[Le_ molten] lead, iron and other metals" in the large acale
h S and t this follow* imnwhateLy after 2 2 4 - A without t h e inter-
operation « srestnK (J*>wr /exwnwr) described i n chapter !35.
Jaharirtirti (JMJ). after resjdmf these sMwaawsfll in the Herjfori
version of the C w f o i U w w i Vans*, saw in them some nintfa-
century eviitOrt lor a Mast Furnace producing can iron. Such
a development is federally believed off to ha*e oreurred id
Europe unTil the fowrteestrh rmror?. and there n not at present
anr earner arrswrjloprsd t v p J r t C * for richer furnace or m j s ^
product. However, many of the (urnacH rxoducine;wrouffat iron
and met would • .H .inronjJIy crw-carbuHj* the m«taJ u d they H
could prohtbrv ha*e been operated i n n x h a way ss to niafcr. a
molten prorhsrt m u t n c l y hart thn been H^wfert
HAWTHORNE
226. A nother smelting of lead, from the same ore
T h e same ore ia not d r i e d , b u t c o n t i n u a l l y as i t is
being excavated i t is p u t i n t o an i r o n furnace w i t h
charcoal a n d a slow f i r e T h e fire is not urged [ w i t h
bellows] u n t i l n i g h t f a l l , but during the n i g h t i t is
urged u n t i l tbe f o u r t h hour of d a y l i g h t . T h e n i t is
rtsmelted so t h a t i t becomes d e a n : i t is p u t i n t o the
furnace again, a n d i) smelted w i t h charcoal made
from pine or fir for 3 hours and i t w i l l be worked as i t
should be.
22/ r Another recipe for glass
T a k e some of the same sand, a n d wash i t off because
of the dust [ t o ] k l i t !ose color; buEU a glasswprker's
furnace* and m a k e 2 pairs of bellows. F o r the first
w o r k i n g of the grass cook it down as i n the cooking
fc
of p i t c h . Afterwards take out t h a t first g l a a because
i t is useless* g r i n d i t small [ 5 ] a n d cook i t again i n
the furnace* as p i t c h is customarily r e r o o k e d J "
22S. Ntrw skins ihouid be dyed purple [£]
T a k e a akin t h a t has been stripped of h a i r a n d
properly washed, and for each s k i n take 5 pounds of
nut-gall and 21 pounds [15 Its.* 5. o f water a n d
p u t the s k i n i n i t a n d agitate for a d a y . A f t e r this
wash i t well, a n d d r y i t . T h e n take Asian a l u m a n d
p u t i t i n hot water. A f t e r i t haa settled, pour n i l the
water a n d p u t i n w a r m water again, a n d agitate i L
P u t i n t o t h i s composition one or t w o skins [ o r as
many aa you wish fS, I ) ] a n d take them o u t and
wash thern once. Now each s k i n should have half a
pound of v e r m i l i o n . * T h i s is the first dyeing of
them.'**
229. Dyeing purpU
Put defrothed urine i n a cooking pot. a n d place i t
a t the ftrt. W r a p some vermilion t h a t has been
ground i n a m o r t a r in a linen cloth of loose mesh, p u t
i t i n t o the p o t aa i t is heating and agitate i t u n t i l
h
whatever can come o u t of the d o t h does come o u t
Put the residue t h a t remains back i n t o the m o r t a r and
grind i t . w r a p i t i n the c l o t h , p u t i t i n t o the p o t w h i l e
™ That chapter in S bears the fttU Probmlis M m***tU—
d B
t h t tefluti of ores. Briber* were W 4 K d in [ t u t furnace*.
perhaps a nwsJ-sDe|tirt| funare for rework ing a tags w s s in-
t e n d e d , rather ihan E h e making of a frit and re melt nig i t . En
ruption hy the chapter* « lead and without heading.
^ T n i * vermQion [•rrWciibiet is clearly m l the rnopWn in¬
O r g a n i c pigment of that name but is probably Ehe organic d y t
kermes. See chapters ITS and 17*. For a r j ^ u H O n of the dye-ion.
Of skins, w Edeisten and Bogbefiy (1961} and the excellent
snrpceaded edition o f the f J u Z s t f o f Gkrrureetura Rosetti ( I t t S l
published by th™ game authors with an Entloh translation in
1W.
la^r i n * purple { e n d of chapter 2 2 * ) f r e e r !
l U
3 and apple
ereen dyes are decanted the second, third, and IOMTTH
dyeing respectively.
VOL. H FT. i . I?7i|
Ec is heating, a n d agitate i t u n t i l no vermilion remains
in the c l o t h .
A f t e r w a r d s sew up the skins like a wineskin and
take the b r o t h . i.e., of the above-mentioned m i x t u r e ,
one a n d a half pounds f S J for each skin. R u b i t well
[ i n t o the s k i n ] , a n d let i t remain the whole night i n
the m i x t u r e . N o w En The m o r n i n g again make enough
of the m i x t u r e a n d . after pouring out the broth, wash
t h e skins a n d d r y them- Sheepskins are dyed i n the
same b r o t h t h a t was used for the former skins i . t p
in the same preparation i n which goatskins have been
dyed.
230. Dyeing a skin red
L e t a s k i n lie i n lime for 6 days and put i t i n salt and
barley for 7 days. T h e n let i t d r y , and afterwards
knead i t ; t h e n t o o k v e r m i l i o n En wine, and p u t the
b r o t h i n t o the bladders for a n hour and let them d r y .
P
23Q-A. Dyeing a skin green [S]
S t r e t c h t h e skin o n a rack and scrape i t o n both
sides w i t h a razor- T a k e some salt with flour and
h o n e y ; m i x them together, let them ferment and let
the skin He there for a n i g h t or two. Hang at i n the
sun, and knead i t ; d y e i t w i t h copper, and knead i t
231. Dyeing a skin green
T a k e the d u n g of a dog, a dove, and a cock: dtsadve
i t i n t o a b r o t h , a n d p u t de-haired skins into i t . Proc-
ess them there for 2 days, then take them o u t wash
them a n d l e t them d r y . T h e n take Asian a l u m , a n d
remember to do w i t h these as we taught above should
be done i n the case of the purple dye. T h e n lake
well-pounded weld, cogk i t w i t h urine, and when i t is
cooked let i t cool. Sew up the skins into the form of
a wineskjn. as we said i n the case of the purple dye
a n d p u t the m i x t u r e i n t o these skins, and r u b them
w e l l , i n f l a t i n g them a b i L so t h a t i t has a i r ; and
process t h e m Thoroughly u n t i l the preparation is
absorbed. A f t e r this pour off the composition, wwgk
t h e skins once, a n d again take 4 oa. of lulax to each
skin a n d fj pounds of defrothed urine and when the
lulax ia mixed w i t h the urine, put i t on the skins,
just as f o r m e r l y you p u t o n the weld b r o t h ; mix well,
u n t i l the wetness in l i e mixture is absorbed and used
up. T h e n p o u r off w h a t is left over of the weld broth
a n d the ltdax l e t i t d r y . a n d d y e a sheepskin i n i t . as
Y
we said before i n the case of purple dye- I t w i l l be
green.
232. Again, dyeing a s&in green
T a k e de4iaired skins^ as we said above, artd process
them first i n dung, then i n a l u m a n d whfin they are
t
taken o u t o f t h * m o r d a n t , sew them into bladdere,
T h e n t a k e n half pound o f lulax a n d mix i n 10 potinds
of defrothed urine p u t i t i n t o the bladders, and process
them t h o r o u g h l y letting i n a l i t d e air as was said
p h
TRANSITION 61
above- N o w d o this continuously for 4 d a y s ; a n d
after the 4 days pour the mixture i n t o sheepskins,
process them for 5 days wash them a n d let them d r y .
p
233* &yting skins apple-green
Process akin* i n an apple-green d y e i n the same way-
Treat them w i t h a l u m as we said before, and when
h
they have been washed after the a l u m , sew them up
h Into bladder*. Afterwards take well-pounded weld,
cook i t w i t h well-defrothed urine, a n d , when i t has
cooled, p u t the b r o t h i n t o the bladders and process
them as we said before for 5 or 6 days. A f t e r t h i s
pour i t o u t and d y e the sheepskins as we t a u g h t above,
and after dyeing wash and d r y them.
234. Apple-green purple
Process skins i n purple [ d y e ] as above. P u t them
i n t o alum- Wash them off and dye them w i t h apple-
green- Then m i x kermes and p u t the m i x t u r e i n t o
the skins t h a t you have d y e d ; a n d process them as
we t a u g h t above-
235. Thefirsl pandius dyeing
I n the first pandius dyeing, process the skins i n the
same w a y as was said above a n d treat them w i t h
alum- A f t e r the a l u m treatment, wash off the m o r -
dant a n d d i p them i n v i t r i o l [ n f r f r j i u n ] ; after the
dipping wash them well. T h e n compound v e r m i l i o n >
as we t a u g h t above [chap- 2 3 0 ] ; and p u t some of the
broth of this concoction i n t o bladders a n d process
them i n the usual w a y ; and when the confection has
been poured o u t , d i p the sheep*kin* wash them a n d
T
d r y them.
P
236. The second pandius dyeing
N o w i n the second pandius d y e i n g , when the skins
have been processed as above a n d dipped En v i t r i o l
[prfrurfunij a n d washed, p u t some weld b r o t h i n t o
bladders and process them for 4 days.
237* The third pandius dyeing
I n the third pandius dyeing, when the skins have
been processed as we said above, take some kermes
broth a n d p u t i t i n t o the bladders; agitate a n d
process as we said above.
23S. [Pandius again]
T a k e 2 pounds of ground thin red-sea coral of a
good color, t pound of murex lac, a n d 2 oz. of c a l -
rothar; grind and mix them all together, and t o o k
them w i t h u r i n e ; and when you w a n t to dye,, p u t
some of the b r o t h i n t o the bladders, after processing
in defrothed u r i n e ; process for 2 days. A f t e r this
wash them well, and d r y them out-
I
 SMITH AND HAWTHORNE [TTASl A * £ a _ »rt- SOL

£J1>. [Pandius a g a i n ] but let i t have a breathing hole- Place i t either i n

the sun or i n any other h o t place you like where i t can
T a k e madder, pound i t well and cook i t ia a cooking stand undisturbed- After IS or 20 days to allow
pot w i t h urine* A d d a l i t d e a l u m , mix them together, them to m i x collect the efflorescence t h a t is formed
1

a n d allow them to cool. T h e n strain the broth a n d on the sheet! [ o f lead] wash t t i n water and d r y i t
P

p u t i t i n t o the bladders made of skins that have in the sun-

already been processed, and agitate well aod process
them for a day, a n d wash a n d d r y them- After this
take 1 oz- of weld b r o t h and 1 os_ of lulax, mbc them 244. Haw c e b d l i n u m is made
together, a n d coat the surface of the i k i n s w i t h thern-
Cebeilinum will be made as follows; take wood of
the t u r k e y oak or deirinum and clean the b a r k off its
240. Dyeing banes, horns, and woods green
branches and adze its surface smooth, a n d b u r y i t i n
F i r s t scrape whichever o f these you w a n t and p u t a m u d d y place for 20 years. Afterwarda t a k e i t o u t
t h e m i n t o Asian a l u m : treat bones w i t h alum for 12 of the m u d and leave i t i n the shade for a year to
d a y s ; h o r n , however, for 9 d a y s ; a n d wood for 4 days. dry out and work o u t of i t whatever you wish.
T h e n cook well some weld, and while it is simmering,
h

p u t whichever of these materials you w a n t i n t o i t ;

a n d when i t has cooled mix some lulax, a n d p u t d i e m 245. COding iron
h

i n t o j t a n d leave for 5 days. Afterwards take them

p
I f you wish to gild iron, take equal weights of
o u t and wash them. calcothar and Asian a l u m a n d salt similarly, and
t r a g a o n t h weighing as much as all three: a n d m i x
241. Dyeing the same materials blue-green them all together w i t h water a n d very sharp vinegar;
put the m i x t u r e i n t o a copper p o t ; a n d let i t boil for
W h e n dyeing these things blue-green. treat w h i c h -
114

one hour i n d a y t i m e - Afterwards, when the i r o n has

ever of t h e m you w a n t w i t h a l u m as we said above,
been wiped d e a n a n d Q r d K i l l y polished w i d i pumice
a n d make some lulax a n d p u t them i n i t — i f i t is bone,
stone, coat i t w i t h thia concoction i n the place where
for 10 days, b u t i f h o r n , for 9 days, a n d i f i t is wood
you w a n t to gild i t ; and when you have left i t for a
p

for 3 days [ S J
short t i m e in this- concoction, w i p e the i r o n , a n d i t
w i l l have the color of copper. T h e n t a k e an o n y x
242. Dyeing Ihe same materials apple-green
stone and r u b the i r o n w i t h i t . I f i t should Icte its
I n dyeing these apple-green, treat the things t h a t color b y this n i b b i n g , dye i t a second t i m e ; b u t if i t
are t n be dyed w i t h a l u m , as we said above; a n d cook refuses to take the giJdiug m i l i t [ t h e gold a m a l g a m ]
p

weld w i t h defrothed u r i n e ; a n d when i t botls. p u t them in equal amounts w i t h the preparation and a p p l y i t
in I t as we said b e f o r e , 1,1

NX A pigment [tike] cinnabar

Now i f y o u w a n t to make a pigment like dnnabar. 245-A. [A dressing for (gilding) cloth]
t a k e 2 parts of cooked sinopia 1 p a r t of sirieum.
H Mix
them together and temper w i t h water. [Put] made from an oxhide o n whatever
k i n d o l cloth you w a n t to w o r k : i f i t has t o polished,
243-A. Parchment from oxhide rub i t w i t h an onyx,

I f you w a n t to make parchment from Cfthide. p u t

the hide i n lime a n d let i t lie there for three days- 246. [A rocipt for a gold-alorad transparent varnish]
T h e n stretch i t on a rack and scrape i t on both sides
5 oz. o f linseed o i l . 2 oz. golbanum, 1 oz. o f
w i t h a razor. After it has been scraped, let i t d r y .
t u r p e n t i n e , 1 o t of Spanish p i t c h . M e l t these 3 s u b -
Make whatever you w a n t b y c u t t i n g w i t h a l i t d e
stances ( L t . gasman, turpentine. Spanish p i t c h )
carving t o o l , and afterwards p a i n t i t w i t h pigments.
m

i n t o one w i t h a l i t t l e linseed o i L Nrjw afterwards

24J-B Tie r n p e foe whdle tend
T a k e very sharp vinegar a n d pour i t i n t o a j a r
u n t i l i t ta half f u n . T h e n hang t h i n Lead sheeta over
the vinegar i n such a w a y t h a t they are not touched
b y the liquid. Seal the m o u t h of the j a r carefully.
F a a a S a a j t : tbe C£*Or of the V e n e t i a n H _ For t ptgrnertt a*
this color, see c h a p . 2 S 3 .
mix some linseed oil and ox glue w i t h 2 o i - o f o r i e n t a l
saffron, 3 oz. of frankincense, 2 oz_ of m y r r h [ 5 ] . 2
« * o* mastic. 2 o r . erf pine renin. 2 oz. of earty-bloom-
ing poplar flower, and 2 oz. oJ v a r n i s h ; s t r a i n i n t o a
"•Tnis p r r x t M mufh«* the i n n by Wbiraf tad c H t l i t
ejTth C t f p p e r hy t t c c T r a h e m t a l r e c 4 a c e n n L See note to
chapter 1**C
^ B I M U L . For kleadr«tJori ef t h h i * sixe, m Hedfcrv pp. H
t

133. US I n L this chapter L entitled Pe ^ u s t b M n i paiiii

Reading unlptttotm fcr KappiUmlnra- Chapters J4J-A a n d tbe ippbeabor. at rold leal 4 clearly urpiierL In 5. n P.
u d MMeaW •• i -silted from ihej are cut 4 K T h i a u 1 ecitin uaiioe <J the p t e r i n * chapter.
VOL. H « . 4 19I4[
TRANSLATION 65
H

copper bowJJ™ W h e n they seethe al] together, m i l u n t i l o u t of the [ o r i g i n a l ] 8 leaves 1028 are m a d e . "
1

w i t h them 1 o i - of cherry-tree gum. When all these
have been u n i t e d make them boil i n 3 ounces of
h
linseed o i l b y measure. After the cooking strain them
T r i m them w i t h the shears a n d w r a p the t r i m m e d
pieces i n a linen cloth, since they ought to be heated
in the furnace where the gold leaf is p u t _ m

t h r o u g h a linen c l o t h a n d mix the above-mentioned
substances ( i . t . gutbn7ium turpentine and Spanish
Y
p i t c h ) , a n d i f later i t is at all defective so t h a t i t
cannot be d r i e d , add as much mastic as you w a n t
namely either an ounce or half an ounce a n d i t w i l l
be corrected.
244-A. [Slaking gold lmf}
H o w the leaf should be made. M i x together i n t o
a n ingot [ ? f i a m u n ] 1 oz. of Byzantine gold, and 1 oz.
o f clean silver. Purge i t b y means of lead a n d after-
wards Cast i L T h e n m i x a n d beat o u t a sheet a n d
when i t has been beaten t h i n c u t i t [ i n t o square
1
pieces e a c h ] weighing 5 B y z a n t i n e f r e W f I f soledij.
I f one is long or shore, equal it o u t i n breadth a n d i n
l e n g t h w i t h a hammer. E i g h t leaves should result
f r o m the [ i n i t i a l ] 2 oz. after they have been made
equal i n siie. H e a t them on the hearth, beat them,
h o l d i n g t h e m i n i r o n pincers and while you beat
h
them, they should be spread from inside t o the o u t -
side, ao t h a t they appear thinned i n the middle.
W h e n they have increased b y a half, cut them w i t h
a small k n i f e three times b y measure to give four
equal pieces. F o l d them edge to edge equalfy extend
t h e m a n d c u t them w i t h shears [ t o give 32 pieces
T h e furnace itself should be 2 feet high f r o m the
ground a n d there should be placed o n i t s w a l l [as a
c o v e r ] a perforated tile w i t h 3 holes o n one side and
h
3 on the other and one i n the center. A n d another
t
tile should be put half a foot above the ground, w i t h
a hole i n the center. A n d at ground level a hole
should be made [ t h r o u g h one erf the w a l l s ] through
n which the wood is p u t , and [higher u p ] i n f r o n t ,
[another h o l e ] through which the gold is p u t . A n d
you should dean the gold well [ b y heating i t ] w i t h
ashes of cow d u n g mixed equally w i t h salt, b u r n t and
ground like the ashes. I n the first [ h e a t i n g ] you
h
should p u t in old ashes, i n the second, new ashefl, and
in the t h i r d ashes s i m i l a r l y sieved,
247. Ban tr&Ksparenl varnishes aught
ia be put peer pigmeTits [ S ]
3 oz, of linseed o i l , 3 oz. of turpentine. 2 oa. of
golbanum* 2 oz. of larch [AxriH, £ ] . 3 Oz. of frankin-
cense. S oz. of m y r r h , 3 oz. of mastic, 1 oz. o f varnish,
2 czr of cherry-gum, 2 oz. of poplar Dowers. 3 oz. of
*"$ic. Actually there should be 2* or 1024 leaves. Assuming
r
each leal to be 5 cut. aquare, tbe area per ou nee of {did leal would
be 25,600 *q cea_ and the thickness 0.006 mm., or twice thia for
P F

T h e pieces should be placed on each other edge to (he 2 ounces, i l no silver had been removed. TTiia is wme nfty
times the thickneas of modern leal (about 1/250,000 inch, 0.1
edge on the hairs [ o f a s k i n ] * pressed Itghdy b y
17

micron, equivalent id round numbers to 100 sq. fL per troy

hand a n d p u t i n oiL 64 leaves have now been made
f r o m the above 8. T h e n make a p o u c h " o u t o f
[ s h e e t ] copper a n d always beat them i n i t ; and place
more copper for the beating, one leaf above and one
below- A n d as you beat w i t h a Bat-headed hammer,
ounce).
1
mHedfora {1931) translates thasentence thus: "Schmidtaio
uiit der Schrrt lurtcht. aJle- Abftlk aber wickle in ein [einene*
Tuch, darnik du « im nflrn&chn Oien Scamehen Icannst, der
[das Gold]iurdas BlattjQld aulnimmt- * I t # certainty ptauiribln
-

that a serar>rtcsreery process on the trtmminja should be referred

s t r i k e as m a n y blows o n one side as on the other.
A n d when they have increased a half, c u t them a n d
lay one o n t o p o f another. N e x t p u t them i n oil a n d
always f o l d copper [^between t h e m ] and fit them
together a n d beat t h e m long enough- Repeat this
to, but there is no mention CH" mrldna; in the Latin and we bv-
lieve that the hiroace is actually a ctmeotatioa furnace tor use
on the metal in process, not the scrap. Melrjaf waa usually dona
in a hearth using bellows, while the furnace described, which a
weed axed, is jirniku" in both sue i n d construction tn the )ow-
ternperaturc cementation iurnace referred to in Theoptiihu (Book
111, chap- •• Moreover the leaves were of an alloy containing;
: ;
h

50 per cent silver and would bt white unless chemically treated

m
* h u o H which we hesitantly assume to be an early reference
p
to dinauderie,
n
This chapter, which appears in £ between our chapters 2ii
S l i d Hi. ia u i i n j f in both P and 5. but « include it for iU
technical interest- The Latb i l unusually obscure and Other
intrrprerations could be easily justified- Tnwphilta (1-23)
however, ( t v o an eaxrllent description el tweJfrrr«ntury tech-
uiquo of r f t j J r i n p and applying foM leal. For ths liistOry of sheet
metal in general see TT:ec*baid ll9!2J. The bactffrnai rechnLque
of jold heating at its hcEghl, before tbe introduction ol
raethock ia described m detail by Lewis (lJuJ) and lire (1SUJ.
to deplete the surface in server and so restore a gcdden color.
Reaction with the prescribed mixture of ashes and * * i l would do
thin dftctrvdy in an hour or two at tempetaturea Far below th*
mc-Ecing point, especially ~d hearing were repeated three times with
the specified ever-scrcneer mncuures. (See chap, 3, fn-, tor wmn
similar processes.) T h t final leaves would be almost impossible
to handle snd would be too fragile to survive the operation
tact, to it is likely that the crmenration was ccmhaned with the
first three anneaJcug crperaciona on the sheet while it was thicker.
Some centuries later "gold" leaf Jor vpun gold was made by
cladding »urer sheet Vtlh fukJ and hamnaerio it down (E)u>
e

mffijecM IS40. id. B « * HI chap. 9). Thia wo-Jd ^ »=<jre r ^ o m .

h

CapOaioras, liitrallY bairy. Thia »not the hue stria m wfndi
tnbeat the i e ^ r q u [n tater practice- but is perhapn a ahnirt-hairtd
Pad to facilitate handling; the leaves. See, however. Hedfort (p.
Eor a diflerent intexpretatirjrn
™ The UK Of copper p Lit-- to interleave the jold instead ol aim
(which Theopbilus describes and has been standard for centun*
• mentkhled hy Pliny and even as late i s the shrreeptb cePtury
(Porta. I5S9).
kal of gold but the product would be ttmilar in natun and ap-
pearance to that made by superficially remenflna the ecj|d-si|ver
alloy as suggested here, Tn £, this chapter continues into a para.
arapfa drncnbtDfl the dyeing O* tin leaves to represent [old ( M *
chapten 1LS add 116) and their applkau^cn tn glass, wood, and
skin as wed as to lead and M obfeCtL
 SMITH AND
66
a l m o n d - g u m , 2 o t of pine resin. A l l these should
be pounded a n d « f t e d then [ p u t ] into * bras* dish
h b u t y o u should p u t i t i n water overnight m order t o
w i t h theabove-mentioned linaeed o i l ; a o d they should
be p u t i n t o a hot oven where they may be cooked
w i t h o u t flame i n such a w a y t h a i they do not evapo-
rate. A n d when they have been cooked, they should
be strained through a clean linen d o t h : and if they
come o u t t h i n cook them down u n t i l they become
p
t h i c k . Afterwards you w i l l be able t o vamieh what-
ever k i n d of w o r k yog w a n t , either paintings or
carved w o r t - W h e n they are vauriished. leave them
to dry.
trV- Ckryso£rapky
File some refined gold w i t h a fine file, and p u t i t i n
a p o r p h y r y m o r t a r w i t h very sharp vinegar, a n d g r i n d
i t u n i f o r m l y and wash i t aa long as i t is black and
decant. F i n a l l y p u t i n either a grain of t a i l or some
n a t r o n , and in this w a y t t ia m a d e l i q u i d . Afterwards
w r i t e w i t h i t a n d polish the letters. A l l metals are
made liquid in thia way.
-MP H rtij m t a pid train
t
T a k e gold sheets or silver ones and make them
l i q u i d b y g r i n d i n g i n a mortar w i t h Greek salt or
n a t r o n , u n t i l they are impalpable. Then add water
a n d decant [ 5 ] , a d d salt a second time, and wash i t
tn the same way. W h e n pure gold remain*, add a
l i t t l e verdigris a n d ox-gall, g r i n d them together and
w r i t e [ w i t h the m i x t u r e ] . Polish the l e t t e r s . Now
if y o u wish the w o r k t o be spread out a n d want t o
w r i t e more lavishEy. g r i n d separately 4 parts of deav-
able c r p i m e n t a n d I part of didrhan, and when you
h a v e sifted i t m i x i t w i t h a n equal amount of gold,
g r i n d i t u n i f o r m l y a n d write- W h e n i t haa dried,
poltsh the letters. Y o u can also p a i n t both on glass
a n d on marble w i t h thia. i n the same w a y that you
w r i t e w i t h ( p o r t ] gold.
250 CBi^m*m
T a k e a red skip a n d r u b i t thoroughly w i t h pumice
stone; then wash i t w i t h w a r m water unlit the water
comes off clear; a i t e r w a r d t stretch it on a rack and
scrape i t o p t o f o u r tirrio; then stretch i t on a p l a c e "
t h a t has a clean surface, a n d even i t out thoroughly
w i t h a clean piece o f wood. N o w after i t haa dried, p the d u g t y p e , sand w i l l be collected either f r o m the
t a k e the w h i t e o f a n egg d i p a d e a n sponge into the
h gravel [ S ] o r the banks of rivers. Sea sand dries o u t
l i q u i d , a n d go o v e r i t once i n stripes. Now if t h i s
is not enough, go over i t again ; and when i t haa dried,
place a leaf [ o f gold oa 8j then d i p the i p e c g * i n
water a n d p r a s the leaf t o the s k i n ; when i r h a s d r i e d t
polish i t T h e n r u b t h t top of i t w i t h a dean skin
a n d polish i t a second time. G i l d i n g is done i n the
" Jhip> the t h a t of t h e c h a p t e r • i wrnfcerwn.
t m i i ii P i o K e a d of
HAWTHORNE LTLAXS. A M I a- r * n _ s o c _
l a m e w a y w i t h t r a g a o n t h [ i n place o f *Sg w h i t e J,
dissolve i t
251. The rmpefor malta
S pounds o f olive oD S pounds of cheese, 30 egg
p
yolks, an oz. of egg w h i t e , half a peck o f clean
!ime. a pound o l clean flax c u t up v e r y fine.
1TB
252* White copper
P u t w h i t e copper i n t o the b o t t o m of a l i t d e cup,
p u t glass on top a n d so m d t t h e m together.
h When
It is melted and you w a n t to e n j t i t remove the glass p
a r o d : i t w i l l not Joe* i t s color ** 1
253. Lac. htm it u worked for painling
on wood or on a Wall
F i r s t g r i n d lac a n d from i t p i c k o u t the k n o b b l y
bits and i m p u r i t i e s ; t h e n p u t i t i n a m i l l a n d g r i n d i t
fine; then take the urine of a m a n or w o m a n a n d first
p u t i t In a cauldron a n d let i t b o i l u n t i l i t is a h re-
duced t o a t h i r d . Continue always to take off the
f r o t h . Afterwards p u t i n the lac and let i t b o i l ; then
take v e r y clean a l u m , a n d g r i n d i t a n d m i x i t i n the
above-mentioned lac_ T h e n take a small c l o t h and
keep o n d i p p i n g i t u n t i l a good color appears [ o n i t ] .
T h e n p u t the l i q u i d i n t o l i t t l e pota a n d w o r k [ w i t h i t j
T h r o w o u t the stone " which forms i n the l i q u i d ,
1 1
111
liecause i t is of no value. I n t o 5 pounds of lac p u t
5 Oz. o f a l u m and 10 pints o f urine.
254. Lime and sand
F u r t h ^ m p r e a builder m u s t k n o w w h a t are the
practical qualities o f lime a n d sand. N o w there are +
three kinds of sand t h a t can be d u g u p f r o m the
g r o u n d : black, reddishp a n d grayish-white. O f all
these the phncipaj ones, of greater value, are the
reddish ones- T h e grayish-white is second i n value,
and the black occupies t h i r d place. Of these t h e n , h
t h a t [ s a n d ] which emits a s t r i d e n t s o u n d when
squeezed i n the hand w i l l be useful for the builder-
I t is excellent a L » i f w h e n i t is spread o n t o a c l o t h
t
1
or the Imrm p a r t o l a w h i t e garment a n d shaken out*
i t leaves no stain or d i r t B u t i f there is no sand of
more slowly, a n d therefore should n o t be b u i l t w i t h
™ S reach mitii H « a l t » which u mea mag/leu i n d
r channel to ttff™ « * £ c u moJium Jiwnduwm. The material
leerm to be a kind of thcesc-ejrf; ijeiao or aiMg n u t t n a l . MaTra
La prpbably corruption 0* nujja. mcrtar, a i is chapter l M
a
The cover ct molten gla*t U u w t to prevent Oxidatum Of
i n
evapteatirm of a/Kflar from tbe sLLoy add corwqueni Van of
•a ta PhiLipr*'* PrrjUbry a c x y n l t u * hinrp of
toeapDuacb-
 VOL, M h n . i h 197*1 TRANSLATION 67
continuously, b u t i n t e r m i t t e n t l y , so that its weight vein, crush t t w i t h a pestle after m i x i n g i n some
does riot wreck the structure. I t also loosens the copper; and so melt w i t h glass [ S ] i n a furnace
plaster on v a u l t s because of its deceptive witness.
For the sands t h a t are dug up are particularly useful 25S- Anvlher tuny
for plaster a n d for vaults because of their quick d r y -
ing. T h e y are b e t t e r i f they are mixed as soon as Pour crushed Ardennes stone over green glass w i t h
they are d u g o u t , for they deteriorate in sunlight, or which copper has been mixed.
in w i n t e r , or i n r a i n . R i v e r sands w i l l be more
suitable f o r plaster. B u t i f i t is necessary to use sea 259. Silver sotder and gold wider
sand i t w i l l be advantageous to immerse i t first i n a
pond of fresh water so t h a t i t may lose the defect of T a k e 2 parts of silver and a t h i r d p a r t of copper,
saltiness b y being washed off i n fresh water. add a l i t d e t i n a n d you can j o i n silver or copper well*

N o w we make lime by calcining hard white [ l i m e - ]

stone or t r a v e r t i n e or dove-colored* [ l i m e s t o n e from
u
26Q- Another one
a r i v e r also or red stone, or a spongy erne [ 5 ] , q r
r p
Also, take three parts of gold, a f o u r t h of copper,
finally m a r b l e . W h a t e v e r D i m e ] comes from dense
T
and melt them together.
or hard stone is suitable for buildings but t h a t from r

porous or softer stone is more usefully applicable to 261. Another tin solder
plaster. N o w i n t w o parts of sand, one of lime should
p

be mixed- B u t i n using r i v e r sand, i f you add a third M i x together 2 parts of axle-grease, w i t h a t h i r d of

p a r t o f crushed c h a l k y brtck the solidity of yourh resin a n d an equal a m o u n t of t i n filings. You w i l l
structures w i l l be w o n d e r f u l l y pre-eminent. be able t o solder [ w i t h the m i x t u r e ] i f you heat i t
gently a t the lire.

255. Brick walls 2ti2* [Gt&tfHfi i t f t t i ] a p&mywcigfti of gold

B u t i f y o u w a n t to make brick walls i n a very A plate of copper w h i c h is 10 inches wide a n d
large house, y o u should take care that* when the equally long can be gilded w i t h a pennyweight of
walls are topped off, a terracotta structure should be gokL' B

made t h a t is to be beneath the beams, w i t h cornices 263, (Twklmkm

a foot and a half h i g h so t h a t the rain w i l l not pene-
trate the w a l l i f the tiles should be broken or become
rain-sodden. T h e n you must take care t h a t the
plaster is l a i d o n the brick walls when they are d r y
and have been roughened, because i t w i l l not adhere
to wet or smooth ones. Therefore you first have to
scratch lines o n t h e m three times [ i n three different
d i r e c t i o n s ] so t h a t they hold the plaster w i t h o u t i t s
breaking off.
I f quicksilver has stuck to a gold object t h a t y o u
cannot p u t on the fire [ t o remove the m e r c u r y ] , take
the urine of a man, mix w i t h i t v i t r i o l and salt, make
a t h i c k paste, p u t some of i t o n any of the quicksilver
chat has stuck to the gold object, and leave it on for
some time. T h e n wipe i t oft a n d the quicksilver w i l l
not be visible- T h e n r u b i t w i t h a [ b u r n i s h i n g ] t o o l ,
as you know how,

243-A [50mr ntfar]

256. The recipe for sappkirti [-tfltoraJ f k w ]
For s t a i n i n g [ g l a s s ] sapphire, sifver and sulphur
should be set on fire together; afterwards from 2
pounds of clear mosaic glass a n d 3 oz. of the above*
mentioned sapphire cooked together, you w i l l make
jacinth s t o n e s . * 1
257. The recipe for red gtats
T a k e i r o n clay a n d cook i t on the fire and after-
wards p o u r w i n e on i t . I n order to produce a red
Weigh o u t 2 pennyweight and an obol of the purest
copper, and I pennyweight of s i l v e r a n d melt t h e m
together. N e x t , hammer i t to the thinnest t h a t y o u
ran; a n d afterwards thoroughly b u m some w i n e -
stone; a n d when y o u w a n t to solder, take some of t t
and temper i t w i t h water b u t leaving i t t h i c k . T h e n
cut up very A n d y t h a t v a y t h i n copper a n d p u t i t i n
and on top of the j o i n t t h a t you w a n t to solder.
T h e n add on t o p the t h i c k paste t h a t you made f r o m
P the water and wine-stone, p u t i t on the fire a n d w o r k
the bellows.

LB
Cf. Bbinguccio, 1540: p. 148: 1a rainH ctf tutte I'albajioO.
L
263-B. [To color gilded workj
D'^tra], e[ r^e^ercm^ k
marmo. . „ - T a k e a l o t of v i t r i o l and ignite i t w e l l , a n d some
The UHof silver to color ajass is described in detail by R- H.
Brill flOTO), I t a not necessary to mcLc the uiatariaUr tiace good salt so t h a t there are two parts of salt a n d a
p

diffusion of silver Irom the surface into the »Efl ?bue oerurs
rradHy at low temperatures and produces deep cokr* S reads "with left pennyweight* oJ p * L "
68 SMITH AND
t h i r d pure of v i t r i o l , Afterwards mix t h e m together
a n d temper t h e m w i t h the best vinegar. T h e n w u h
the gilded w o r k well a n d coat i t all over w i t h the
above-mentioned porridge. N e x t put it o n (he tire
a n d heai i t u n t i l i t becomes red hot and then quench
i t i n a copper pot a n d wipe i t off w i t h a bristle brush.
N o w . i f i t [ t h e poor color J does not disappear the
first time,, a p p l y salt, and repeat.
264. The lead arrow, for setting on fire
M e l t lead once, twice, or three times, a n d d e a n i t
of all dross, a n d leave i t u n t i l i t is collected D n *
A f t e r thia b r i n g u p a t r a y , properly pound the lead
i n i t . soak i l w i t h vinegar, t h e n take off the scum
t h a t i t gives out a n d d i p the arrow i n i t . Sharpen
a n a r r o w w i t h this scum on [ a plate o f ] lead, aa on a
whetstone* u n t i l i t i t shining b r i g h t - a n d the arrow
itself w i l l now be t h o r o u g h l y coated w i t h lead-
26S. A nother toxic substanee, milk wkuzk on
may be pvisoned in battle
T a k e the sweat w h i c h appears between the hips of
a h o n e o n the r i g h t side a n d d i p the a r r o w i n i L
h 1 p o u n d of sulphur, 1 pound of naphtha. 1 pound
T h i s haa been property proved-
266. The arrow which rmits firr
T h e a r r o w for e m i t t i n g tire is triple-spiked and
perforated- N o w the recipe for the fire is as follows:
1 o i . of n a p h t h a . 2 solidi of cow. 4 socidi of seasoned
p i t c h . 1 ) t o t i d i of a clean d r o p of native sulphur, I f
solidi of dimatis f S J . 1 sol i d us o f sea salt. 1 aolidus
of oJive oil* 1 aoJidus of raw b i r d lime. 1 soiidus of jet
stone. 1 solid us of soap made f r o m olive o i l . T a k e
these, p u t t h e n i n a marble m o r t a r , and g r i n d t h e m
properly w i t h an i r o n p e s t l e . " F i r s t finely g r i n d the
1
naphtha t h a t y o u have p u t i n w i t h the tow. the
p i t c h , the dtmatis, a n d the native s u l p h u r the j e t ,
and t h t sea salt. A f t e r t h i s p u t i n the olive oil* soap,
and 1 aolidus of a woman's m i l k , a n d unite everything
together b y g r i n d i n g finely. T h o r o u g h l y g r i n d four
n u i kernels and m a k e y o u r composition- N o w . the
m i l k should be f a t t y h
T h i s ia the w a y of d i p p i n g [ i . e , . c o a t i n g ] the arrow ;
d i p some soft flai t o w [ i n the incendiary m i x t u r e ]
a n d make a fine l i t t l e rope such as can fit i n t o the
* T B f meaning of this abbr*v^i^n L> o n k o e n r r t . C h a p t e r !
264 add 265 have b e e n cut o u r . cf S a n d a r e » t a v a i l a b l e fear
owparwo.
• tn S I o i _ +Lr the b a l a n c e of t h u chapter has been cat O u t .
h b
Fee- * d W H U of the factory erf n r i l i t a r y . v e r - l i a r i m . He J. IL
PartuarUB pMfc Parana™ b d ^ v » tHil the tmimxn G r r e k
A r e w a * a verfarik distilled oil p r o j e c t e d by a Same th raver,
Cfuite (liferent b e a n the: ttxfcy aarnl 1 Lt^ m a r . ™ *J tbeae
r e e t p e ^ •hicb a r e all e a R s a r r e r y «xnpfica{«d a n d d — i l j r e p r e -
sent B U T uf r c e r u p e n e i o f words f r o r a t r w a l r i r y i s g r j i
bAkACnrej to the FrribcL
HAWTHORNE [ R I M aiillL. PHIl. W C .
p r ^ o r a t k n s . W i t h the remainder m a t the a r r o w as
you have provided f o r ; and w h e n you s t r e t c h y o u r
bow set tbe arrow o n fire and immediately shoot i t
where you w a n t a fire t o be started b y the a r r o w .
267. Another [recipe~] a short one
M
A n o t h e r k i n d of a r r o w , which emit* fire w i t h a
simple recipe: native sulphur, colophony, a n d resin
i n equal weights, a n d n u t oil- M i x these together
a n d dispose i t as w e said above.
M L Another hind
T h e ballista w i t h the arrow [ p r o j e c t i l e ] envenom-
ened in toxic. L i n e the channel w i t h copper so t h a t
i t does not catch fire. Now o n the projectile, treat
the triple-spiked head i n accordance w i t h the former
recipe. There is also an incendiary stone w h i c h emits
fire- t h i s ia n o t smooth b u t rough a n d has perforations
t o contain the composition.
arrow
269. The fastest [incendiary] composition
of tow, 1 pound of dimaiis, 1 pound of seasoned p i t c h ,
I oz. of a woman's m i l k . 1 oz, of hog o i l , 1 oa. of j e t
stone [ 1 oi. of resin ( S ) ] I pound of seasoned resin,
h
! pound of n a t i v e sulphur, li oa, of l i q u i d p i t c h , 1 oz,
of cedar [ p i t c h ] , 1 oa. of olive o i l , 1 o i - o f cooked
s u l p h u r , J oz. of o r p i m e n t , J oa. of n a t r o n : collect all
the d r y i n g r e d i e n t a n d g r i n d t h e m for a t i m e then P
take all the moist ones a n d m i x t h e m all together;
t h e n g r i n d carefully for use, and w h e n they h a v e been
compounded use i t b y coating the s t o « w i t h i t .
filling all its perforations. P u t i t i n t o the b a l l i s t a .
a p p l y fire t o i t and i h o o t i t off q u i c k l y .
270. The construction of a battering ram
for taking watU by assault
M a k e three f r o n t feet 5 cubits loo£ middle ones 4h
cubits, rear ones 3 cubits. A n d there should be
wheels one a n d a half spans high, a n d 4 inches t h i c k .
M a k e t h e m r o u n d and make a hole i n the center, cut
columns, a n d insert t h e m * inches deep i n t o the
wheels, [ C o v e r the wheel (S) j a n d make a j o i n t on
t o p a n d fix i t t i g h d y w i t h a wedge [ ? u t e W f l ] . Bind
the rams a n d w i n d ropes around t h e m . Shield w i t h
leather, a n d cover on t o p w i t h pieces of felt, a n d over
the felt, p u t pieces of leather; a n d o v e r tbe leather 4
inches of sand, and over the sand. woof, so t h a t the
sand cannot move, and on top [more ! pieces of
leather. T h e columns themselves should have hinges
such t h a t w h e n i t w a l k s y o n m a y t u r n i t whesre you
wish. I f y o u t i g h t e n the hinges i t cannot m o v e , be¬
cause they are joined together inside. N o w p u t
supports underneath f o r the wheels. Y o u c a n j o i n
 TRANSITION
u p t o 4 w a l l w i t h t h i s engine, and you can work w i t h *
out hesitation. * 11
2?S. Hour you should stl Ihe shield ef a
battering ram on fire
Fill a n unfired p o t w i t h the competition dedamia}*
l i g h t it a n d toss I t on t o the shield and i d set lire t o
the leather pieces a n d the wooi. After this there
remains the sand fixed i n place because It does not
catch fire. T h e n t h r o w atones t o make the sand fall
down i n heaps; again m a k e a similar pot of the same
composition [ a n d ] throw i t o n the shield: and if,
because there is too m o d i sand i t [ s t i l l ] does n o t
+
catch fire, t h r o w more stones at i l aod fill another pot
w i t h the composition a n d throw i t OIL
272. Four types of [incendiary'} material
T h e most useful incendiary composition contains
four type* of m a t e r i a l : n a p h t h a , p i t c h , tow. dimalis.
273, The recipe for naphtha it this
N a p h t h a [ i s made t h u s : ] namely, the Huff washed
o u t i n processing flax or olives mixed w i t h [ 1 J™ I
pound of the cleanest n a p h t h a , [ 1 1 ] 3
pomds of
native s u l p h u r . * oz. of iwiIimMt, [ l i t ] 4 solidi b y
weight of sea salt, | T V ] 4 solid! b y weight of 2-year-
old o i l , f r o m freshly collected and pressed olives (S)
C V ] 2 ox- 1 soJidus o f d e a n , liquified colophony. [ V I ]
4 aolidi a n d 6 aurei of p i t c h o i l . [ V I I ] 1 u of hard
p i t c h . [ V I I I ] 1 o i - o f serpentine turpentine otlp [ I X ]
2 aolidi o f cedar resin, p C ] 2 eolida of cypress p i t c h ,
[ X I ] I solidus of mastic, [ X l l ] 1 solidti* of j e t stone.
These are the twelve ingredients in the recipe for
naphtha,
274. The recipe for serpentine oiP
m
1 p a r t of t u r p e n t i n e o i l , 1 p a r t of ordinary od, I
part and 2 aolidi of o i l of laurel-
27S. Tk* preparation these [ti(rrerto^j] u asfoBawt
G r i n d all the d r y ingredients .afterwaftjs d m u g h l y
mix the wet ones w i t h the powder of the d r y ones, and
r u b them all well- A f t e r this p u t i t i n a glazed
***Thu whole nraarapli w more than usually otacure.
» Ofl the nature ol A*Li**i*> see chap. 1ST I P -S tfeJ. ^
lines U-IS) foUcw a l a t r a a j a p h o* frJamu* thac is titwrCy
beyond O u r power* of interpret**;™ It re*d*r C * s ^
4*d*m*u ^ fmemaiarie. Cempeeim ***imnu * ut*
Cmmmaen frtltrv famta per mm cjrtn*m s a W * « ~^
m t m
J v n f u i l b w aUnhn p a r i * — u s u r p s - 6t
^ T h e interpolated Roman amnerih are all f r W * • 1 ( , J i r t u r t e r p ^ t i A O * in t b e e*L acre separated Eor clarity,
" l a *• A l l de-ini-joa o i JrmumXid** b * * J
•*tur* at the e*d erf item VI |1 k i t i * midd> <* the *htr*t reap*
i>d bean a eermn^ chapter bead: ^**f**S!S£
tain L b s main mmum of rnrnxt l - X l l . a* ifl 4 but retain Peal-
hptm'i hcactiaf add chapter aumbrr r
64
eavrdierrsrare pot a n d leave t t like this tv 2 or 3 days,
and after this, take i t o u t . heat i t a l i t t l e u n t i l i t boils,
and leave i t t o settle.
276, The recipe for pitch
1
T a k e [ I J " 1 o* I pennyweight o f d r y p i t c h , [ I I ]
P
1 pennyweight of native sulphur, £111] 1 pennyweight
of resin, [ I V ] iscim, 9
£\Q- T h e n p u t i n 1 oa of amor
aquae 1 t n . 6 aurei of clean balsam, [ V I ] 1 solidus of
sSieum o i l — w h i c h Others call wicmMm [castor oil j .
others tancidum [ o i l of a a p h e d d ] and others wtscnm
[ o f l of m i s t l e t o e ] — [ V I I ] 1 solkfus a n d 12 aurei o f
cypress p i t c h . [ V I M ] I f solidi of pine p i t c h . [ I X ] 2
solidi of obvc oil soap. [ X ] 1 solidus of n a t r o n ,
[ X I ] 1 o i - of dried and ground parsley [ j ^ Eni.T/renee], *
[ X I I ] lavender (atcdms^ 4 aolidi, 1 pennyweight o f
i t d r i e d and g r o u n d / [ X I I I ] c&muitus [rabastieis]*
take one solid us of its seeds, dried and ground.
[ K e e p ] all the dried* ground ones a p a r t ; t h e n mix
them together a n d add t o them 2 solidi of hornbeam
and m i x everything a n d unite b y grinding. P u t i t i n
a glazed earthenware p o t ; a n d when ir Once boils over
a slow lire, i t w i l l become a compound like p i t c h .
•Others call this j f o j aquae [Bower af erater), others
^ t i n aqua* [ail ol watt--1_ others cetidowia [cu&tinui, S I
but the AleurjdrUn*. » w o r u r . A n d i t f o r o i s ia water
w h e r e there is white, reddish^ or black earth. Aod wben
i t comes oat. t h t water will become a yellow-green on top
P
of the water around w h e r e the waters flow away. Now.
i t is a heavy sickly liquid owing t o t h e earth that generates
i t as an efflorescence. And i t is coUected aj loJiows i t t a
collected, i l the place is hot. I r o n the months of March or
April until October. Take a V e r y soft washed wool and
lay i t on top o l the water, and squeeze i t into a glass pot
which has a vary tiny hole in i t a s if nude with a n e e r j l e ;
seal tt with wax and set it undisturbed i n the sun for ten
days and oiglibj. Alter this open up the hole b y removiaf
the w u , holding clean w o o l b e n e a t h i t until the water soaks
into i t , a n d amor aquae remains.
•Others call this radii*, others pammm t^mtitm 3
k
pamdi*x* E j others r * j f i » s j . others gmmma [ ^ u r n ] , others
r
mantuam (S. £ 1 others Thyme, others truiuit, others
b ^ i e f » a n ^ r n a i d n h a i r ] for: i t grows i n enter like parsley
a n d on walls where there is tine and i t a called the hairy
plant.
* Others call ttus rhcu • triers cdmvicm. otben iotiam
p
[cdiaWA. 5 ] . others rrirf*, others W M M f t h e Akx-
aadrians however call it KvawmanJij^ the Esaurians [call
i t ] papati. I t a t whitiah slender plant with branches
and iavulute i p t m Many people tight candles out of i t .
I t jrows ia rouih, rocky p l s m . Its leaves are thick and
l i t e those of nsyrtie,
'Others call this txmit**, others pietamm, others
quisn&sbatu [quinoibotUt S. Kunobaloi, Dioacoridce],
a* The RCJ™ n nameraU t h a t i d c Q t i f y t h e various scafee of the
an^rxanboa ars i d 9 only. Tsere a eocuirkrable eartathoa ol
i f B t H i n g in tbe d Jerent nisauacripra u d n o t of ta* n a m e s a r e
40 corrupted M t o bm iiivecofnizahk. The roatrrial Ln nctea a p
25 also in ea*pter ITT. Tn* rymbol f a n w i I Crrek ^ oav
F
^ ^ r ^ rifMrrrm, jpp»*rt lfi f for ikrt tirnenere. 9ha«*imp|y
r creased a\. Tb* e u U t a w # w r t f ^ ic rJearfy peenbrun
c t ^ k e e w t frxm n a r i i r t l (See l e A n r * *).
70
olht^r- - [ t grows [ike a bramble, but with stronger
branches and is dense; and its fruit is Hire the jujube but
more rounded, for which reason countryfolk call i t the
wild j u j u b e : and i t has hairy, triangular seeds inside.
277. The recipe for kn
1 oz. 3 pennyweight of m i l k of i r o n . 1 oz- 12 aurei
of native sulphur. 3 pennyweight of Persian alum 1
solidus of maple gum> 1 pound of atn$r . . ^ w * , 4 o i -
of balsam. 1 pennyweight qf o l i v e oil 41 aurei of j e t
atone, 2 amrei and 3 grains of hornbeam, 7 solidi 2
aurei of f a t cedar resin. l w . of soft QS] apple-green
sulphur. I I Jatra nt oil o f laurel. 4 aurei of dean
apple-green turpentine resin, 1 o i - of cold pine p i t c h .
ApalUs.' T h i s ia a t a l l plant reaching up t o die
knee, w i t h leaves like those of m y r t l e b u t much
larger- T h e r e ia another plant* one is the greater
litior, and another slender one the leaser tiiior a span
h i g h ; a n d when you break the greater titiar, m i l k w i l l
come o u t . I n branches are rounded a n d its l a v e s
t h i c k . Collect a n d d r y the m i l k [ t a k e j 4 ; auroi of
it M i l k w e e d [ B r a t t i t t i J * Collect. d r y and grind
1 oz. and 1) anroi of this, Seafoam [ O n £ i j . Take
the skin a n d dust of seven of these f u n g i . T a k e 1
solidus o f dried, h l a c k ground hellebore, I oz. of the
t
gum f r o m the tree elat&n w h i c h i f the fir tree- G r i n d
r
a n d m i x all the d r y ingredients separately and the
w e t one* separately, t h e n mis: them together* p o t
them i n a g l a n d earthenware p o t a n d l e t them boil
over a slow fire.
• Others [call t h i s j ramilax •. : - t : »: v.; SJ others
fOTdman. others datualliz, others marafniK the Egyptians
Call i t f&mttUa, country folk call i t linrfuj [ d y e j , others
poiliaOa.
*Ot\m[^li*i*llulumaU*m others damn* [S^ others
l
leptvraJia. others - i ^ j . others lepUtitiu. Now it m
hke the f o r m e r , but not so tail, tor the former throw* out
tranches as w o n as i t begins [ t n grow J, while this o n e
has rounded branches above, slender leaves, but more
rounded than the former which i f why the Ethiopiansr
tailed i t f a r Y u n a
* Others Trail this? lavtia. others jffttttti tnarinum
[sea tailowj] O t h e r s i r U n u O t h e r s ipnma marina [[sea*
b
foam], others etooberowK others tnattniia, the Egyptians
dVnrtu ' P - . i - i - j ST Jt groars everywhere* more how-
ever in eery bard pt>nncL I i is a rounded fungus. Country
folk c a l l i t amentia. When i t is dried and yon hit i t , t t
gives r i s e to lota of dost, so they call i t p/affim [ S j . I t
grows i n tbe earth completely r o u n d , and if, when i i i t
Iry i t uj stepped o n o r h i t a d u t t will come out and the
residriaj hard skin remains like a cooked egg.
273. The wipe for d i m a t i s " E
4 solidi a n d 3 aurei of dried a n d ground flown [rem
the twig* oi a wQd vine. I or. of mdk of i r o n , 1 o t of
naphtha, 1 , oa. o f n a t i v e sulphur. Z solidi of resin,
2 solidi of o l i m p i a n pease. Ma all these together
a n d p u t them i n a glazed earthenware p o t and boil
them once over a slow fire a n d allow t o settle.
- T r e k in S read* A « « J Wi+wi* d jmehe.
SMITH AND HAWTHORNE [TJLANS. A J C E B . run.
278-A, The more useful incendiary mixtures of the
four abave-meniioncd materials^ i.e., naphtha,
iow. pitch and t l i m a t i s
t
4 pounds of good w e t n a p h t h a . [ J pounds of cooked
down wet p i t c h . 2} pounds o f cooked wet tow* 2
pounds of cooked wet climatis them a l l i n
M i l
a copper cooking pot. and cook over a slow &re> a n d
till i t u p [ ? ] f r o m the copper pot. Thia the founda-
1
t i o n of incendiary compositions
p
279. An aid for extinguishing [fires'}
I f a fire blazed up, i t should be extinguished w i t h
sand a n d bran i f i t blazes u p further, p u t o n
sand soaked i n urine.
r
2 SO. How soap u made from olive oil or talluw
Spread well b u r n t ashes f r o m good logs over w o v e n
h
w i c k e r w o r t made of t i n y w i t h i e s , or on a thin-meshed
f
strong sieve, a n d g e n t l y pour hot water o v e r them »
t h a t i t goes through drop b y drop. Collect the lye
in a clean p o t underneath and strain i t two or three
times through the same aahes, so t h a t the l y e becomes
strong and colored. T h t ; is the fini Lye of the soap-
maker. A f t e r i t has clarified w e l l let i t cook, a n d
when i t has boiled for a long t i m e and has begun t o
t h i c k e n , add enough o i l a n d s t i r very w e l l . Noaf i f t
y o u w a n t t o make the lye w i t h l i m e , put a l i t d e good
F
lime i n i t b u t if you w a n t i t t o be w i t h o u t l i m e , l e t
M
the above-mentioned l y e boil b y itself u n t i l i t ia
cooked down and reduced t o thickness. A f t e r w a r d s ,
allow t o cool i n a suitable place whatever has re-
mained theae of the l y e or the w a t e r y stuff, T h t s
clarification is called the second l y * cf the saaptTiaker.
Afterwards, w o r k [ t h e s o a p ] w i t h a l i t t l e spade for
2, 3 or 4 days, so t h a t i t coagulates well a n d ia de-
watered a n d lay i t aside Tor use.
P If you w a n t t o
make [ y o u r s o a p ] out o f tallow the process w i l l be
the same, though instead oJ o i l p u t i n well-beaten
beef taDrjw and add a l i t t l e wheat flour according t o
your j u d g m e n t , and l e t them cook t o i h i c k n e m . as
waa said a b o v e N o w p u t some salt i n t h e second
l y e t h a t I mentioned a n d cook i t u n t i l i t dries o u t
p
and this w i l l be the afronitrum for J o l d e r i n g _ m
Ut ZA white g l o w ]
T h e w h i t e p i g m e n t : 10 pounds o f t i n a n d 1 p o u n d erf
lead terfneed t o powder [ b y a l d n a t i o a ] 10 p o u n d *T
of Asian a l u m . A} pounds of yellow s a n d Make a
furnace and A r t i t a n d after the cooking break up
h
t
the cooked atuff and sieve i t N a t a d d t o i t 9&
pounds of s i m i l a r l y a i i t t d sand, a n d t h e n 6± p o u n d *
VOL. t U , PT. A 1 9 7 i | TRANSLATION"
f
pf lead a n d 5 pounds of t i n + [calcined] i n the same
way as described,™
232. Starch pazte
Starch paste ifl half a pound of wheat kernel w i t h
mixed h o t w a t e r , a n d 5J ounces of glass sapphire * 11
and sufficient waters
293, The blue-&een pigment
T h e blue-green p i g m e n t : 10 oz_ of cfeavable a l u m
and 5 oz- of sand a n d 4 ounces of w h i t e rounded
stones, all of t h e m roasted a n d sifted, and 4 ounces of
lead, and E l oz- [ o f ?1, a n d 15 H a t ] of silvery
294. Th$ stone from Egrippus
I f you have found the stone, f r o m the earth o f
Egrippus, a f t e r i t has been roasted and sifted, add t o
i t 4 pounds of lead, a n d mix i n t o this composition
i p o u n d of p u r p l e e a r t h . Also, add 2 pounds of rock
from C o r i n t h and 1 of lead and 1 pound of purple
earth.
295. The recipe for sesame candy
T h e recipe for sesame candy. P u t w h i t e pure
honey near a moderate fire i n a tinned [ p a n ] a n d stir
i t unceasingly w i t h a spatula- Place i t alternately
near the fire a n d away f r o m the fire, and while i t is
being stirred more extensively, repeatedly p u t i t near
and away f r o m the lire, s t i r r i n g i t w i t h o u t interrup-
t i o n u n t i l i t becomes t h i c k and vacous. When i t is
sufficiently thickened, p o u r i t o u t on a [slab ofJ
marble arid l e t i t cool for a l i t t l e . Afterwards, hang
i t o n a n iron b o l t and p u l l i t out very t h i n l y and fold
i t back* d o i n g this frequently u n t i l i t turns w h i t e as
it should. T h e n t w i s t a n d shape oa the marble,
gather i t u p a n d serve i t properly.
" T E t U U the white manatotta glaze later so popular i a
majolica and Drift ware. Chaps. 2fl3 and 2 * * below K e ^ i CO be
garbled versions o( colored lead gLuea for U M on pottery, tilQUjrh
they could perhaps be ground sod used a* pigmea&
V t l r f t m wfLrunL C J . chap. 2 5 6 , though the aapphue gla«
] h
there described would hardly be a useful ingredient Jn a paste,
71
2Sft Sugar candy
N o w by a similar cooking process Q m t J some sufiar
soaked i n a l i t t l e water i n a tinned [ p a n ] and defroth
i t when i t boils and strain i t well i n a colander. In
this way after adding i n the ingredients t h a t y o u
h
know, stir i t unceasingly u n t i l i t reaches f t h e correct J
consistency. Pour i t out i n separate pieced o i l a
marble [ s l a b ] t h a t has been l i g h t l y oiled. Carefully
cool the pieces on the marble, separate them f r o m i t
b y hand and keep them properly. ** 1
29?. Penidia* candy
Now penidias candy [ i s m a d e ] like sesame candy
after the sugar has been defrothed and strained, b u t
w i t h o u t stirring i t When i t has been f u l l y ccoked.
work i t on the b o l t as described above, then shape i t
by c u t t i n g w i t h shears.
£fA\ ffene azure is milled
M i l l azure w i t h soap; afterwards wash i t well i n
water. M
2SS A [On w £ 4 j j ]
Hence i t was agreed t h a t a saia should be made
and called a siliqua. T h e smallest is the calcus r
weighing the same as two seeds of che chick-pea."*
u
On the history of tugar, *ee M . F. Deexr {19*9}. Although
sugar w W known in classical antiquity IT WSJ not much used tn
Europe until the twelfth century, after Arabic utfluentt.
m
This seems to be a reference to the flotation precede foe tJ>
tracting pure U ItramarirL* bl ue from ground lapis lazuli by mixing:
it with a greasy compound and kneading; under waters f t de-
fend* upon the fact that the iffierfaoaE energies cause grease
to stick prrirreflTiaJ[y to sandy and earthy particles, leaving the
ultramarine, which is preferentially wetted by water. Free to float
in suspension. A pure soap alone would not w o r t but some un*
saponined lat ia it enuJd make it effective. Liter redoes call lor
nurtures of ptne resin, linseed oil and mastic The earliest clear
description and one of the t t r t i l that in chapter d l of CtniunO
Ctnnini, It Ltir* idTArie (co, 1400, English translation by D. V P
ThompsOn Jr. [l933]h The anunymous Bcjognese manuscript
r
StFrtti per coUrrr of slightly later date published by \terrt&eJd
£1*4°: S: pp. 340-3$?) has even more cimjrnetintial detail.
These two lines are hexameter and seem to be part of a longer
a T
mnemonic poem on weirhTa.
12 SMITH AND HAWTHORNE h*u* ™ n«n- « c

^ i if [—#c«kj « [-«, mouth]

-J. . - M M V DM
K t H n . i , mtl TRANSLATION

Z3S-C. lAtabieof

T n l v e ox., 12.

E l ™ cc IL

Ten iBjp i a

Two-third* [pound - ] S [«.] PeuroboCt,

f.
t> Seres, en. rmrobok t r

<; Half [pound - ICL or.] G obola m p n m n T • p H m y w i f l h t

Try* at. H*

One^durd [pound - tour o t ]

Onexiuarur [pound = three o t ] D r a m , L i ouDCc

Ofw-inrth [pound - t w o o t ] H ^ H P , - ft.

5
OiS OLincc.

second water a n d alto some o l the first O r ehe i f

2£&D. [ M a t i n g F r e K * raapl
you soak ground poplar berries for • d a y f i n the
A g i t a t e w i t h c o l d w a t e r two p a r a of oak ashes w i t h muted lye a n d t a l l o w ] a n d afterwards squeeze and
a t h i r d o f oak [ J K ] lime. Afterwards when they are discard them, the soap w i l l be reddish a n d better.
well stuck together, p o t the whole in a basket, strongly T h i s ia French scap and ipalerrnta. i , e , sharp.
pressed d o w n t o make o n top a place for ihe w a t o j o
t h a t i t does n o t r u n away. I n thia you wflJ put cold
w a t e r t w o or three tiroes accordion to »rnou n l
ZM-E. [A MHitiptiuitien tabU]
consumed h y the u n d e r l y i n g ashes and the lime. N o t •i rH
q u i c k l y b u t on the following day, the water * u l d r i p 1 u • • •• V
HI• uIf T
down onto leaves of laurel or the U K C placed under- 1
mm Liu VI X
a VIII
141 vi ii mi XV
n e a t h , t o t h a t l a t e r i t m a y flow off i n t o another pot.
a n d t h a i * the cap-tilum. N o w , i f you want t o make • Till en lei XI
soap, p u t i n a second w a t e r following the first, and X rv a
when t h a t has r u n d o w n , p u t in also a t h i r d , and i t vi x0 KVtU XXX
w i l l be good u n t i l i t become, white. Afterwards, vH niii xxi XXV 111 XXXV
melt some t a l l o w , s t r a i n i t . and when i t a s t r a i n * !
rrl
nJ xxiiii xL
viu
a n d cleaned o n t o p if necessary, boil i l w i t h the last ii nfl xxvii xxevi xfv
water. W h e n i t becomes thick, put i n some of the X a t n u 1

•t ^ t m r Jiind—perTLtp* Phillipp* i—haa camct«i this

trjexv Trie tOwier pnrtioi tht t h r e e M B I H I p M d to
ID*™. Sc**ms. w t K h arc the M b t of ft™ unintElhffl>ility Bertfcekt. »nti mWpUted
t

H t h . i - m f e of t r t f t b p-n, * th* po-ed T V . r ™ b * • * « [rwriidiry luppoerf thai l b - f-luch i * i i ™ t tim

w mmi bj the body of ihe mMuscrh*. * - -e loo«»« * it* *ifld kaoenO f t c o r d r i nuiaiol m 4 » H - d in
a«ufbC p i p * * -
 SMITH A N D H A W T H O R N E I THAN*. ftfJB. fllLi VK.

F. ZA*a-ioyJ* 28S-J- [A trnne fouwtiain with a amstant fareJ]

M e l t together 9 oz. of t i n . 2 flfc of copper, 6 O L of F r o m the same, wine will ran out frnm a large jar
into a ba»in u n t i l i t 61U the basin; w h e n the basin is
silver.
filled, no m e r e will r u n out of the jar-
ZM-G, [-4 fountain^

By mearu of the figure arragab, the fountain will play

2&S-K, {An apparilicn']
or ttop aa you wish.™
Similarly. In a n oil-burning lantern, by means of

sand and a pivot a n d water, an apparition will c o m e

2S8-H [Atr*kt*i#:
out of a tiny house a n d go in again.
B y the same [arrangement] a goblet will either let

the drink flow out or retain i L

2SS L [Cartful
W h e n the things below have been cloacd by means
of tire a n d water C o r y d o n will winnow [his grain 1
If oxen d r i n k first out of figure A [in a fountain, the t

..!i u n r L of w h i c h is m i n i n g ] , there will be plenty for

both the m e n and the homes. If h e m [try to]
2SS-M. [A tcy castU with mmittt lot-tiers']
drink Brat, there will be none for either the oxen or
the hones. W h e n through figure A the apear [ w h i c h acta aa a
plug] is removed, soldier? will c o m e from the castle
•*TWft*lbr ( S J per c u t S o , J S per cent A c 11 p e r r e n t C u (
a n d will return aa the spear hisses.
ii t « riefa i a t i n to c u t w e l l nr to t i k e J p » d polish u • irurrur ri

a n d i* t o d r i c h ir) c o p p e r a n d s i l v e r t o b e a ( O d d p e w t e r . It might
p e r h a p n ttt i n t e n d e d i n A s o l d e r o f uiterrnediate n i d t j n g point*
o r a s | h-L :rJ H ^ f f o r
r : pewter.
A t p h : . L p p s r e p o r t e d * t h e k e J prexedtns; t h i s n o t h w b e e n corn
out. leaving only 4 una|lTYajrnentof i t ) tower e o r i i e r J V . I . : . : : tn U s e an egg tn lime [ w h e n ] the lime [is used in
the bindirig between folios 64 a n d 05. It b e a r * the iin[Lc letter mortar] in a w e l l
1. o n W h 4 t h a d b e e n t h e v r n o . D i d it p e r h s p * contain the c o n -
t n u 4 t > o q of the m u L t i p l n t » a table, t o r n o u t b y u eager user?

" T h i s atari x i « ; ! •>. l o w i n j i t s : i u p e e r s , * h ich i n t b e nuuATipt

2SS-0 [Cymbals]
: -
: nfeeber w i t h o u t d i v i s K x i . a r e brief r t t e r p t a v e s s e n t i a l l y o n l y
ihe titles, of > l i • r i p c J o n i at WTKM potninate: dcvireS rind
W h e n the lower four circles t u r n w i t h i n e a c h other t

automat! oi tht Vinci d f * r i b e d by Philo ol Byurjtiurn u d

e l a b o r a t e * ! b y H e r o oi A l e x a n d r i a . E s r e y C !• r t h e c c n s t a n t - l e v e l the arrangement of their diameters being as set forth
f CHJ n l s i a r i k e y do not. h o w e v e r , cCincioW w i t h a n y a f the d e v i c e * [Id a miaeung diagram], a n d a pot suspended in the
ckvnbed i n t h e p u b l i s h e d m ^ u s t r i P T * of t b e H a u t h o r s ' u r c r t s center, nothing will pour out whichever w a y the
See WilheliD Schcnidt (IJW). The tint eoninktt v*r*-0n nl
circles turn.***
P b i l t i - i w C r l t J i i in L O A r a b i c m a n u s c r i p t i n I s t a n b u ] j u b l i s h c d
with f m c h t r a n i l i i i o n b y C i r r a de V a u a (1901)^ I t u nnt Ut>
lilriy that t h e c h a p t e n in l i e were Tetranslattocii f r o m T h i s u n l i a b l e pot • set l a a u n j v e r B l j o i n t c4 the type
later to b« c a J k d the Cardam i m p a m , after the uteenth-
• s i m i l a r A r a b i c s O u r t e o r n i l t i n f t h t d a c t i n u b u t HOT t h e r e f e r - century author who deacribed ita use as a l-uiperiatori for a
e n c e * to t h e m in the text- P h - l r / i original diagrams a r e labeled magoetir compajs, A nearly identical o W k t ia d i e polyhedral
with Lkeek letters in the usual aiph-i^rhrat sequence, afl-rft i n k w e l l d e s c r i b e d an<t i l l i u c r a t e d i n t h e A r a b i c P h i l o r n a n u a c H p t
The word amfdA in the Kcoad s e n t e n c e is h a r d t o decipher. in I s x a a b u l deferred to in che l o o t n o t e to c h a p t e r l S f t - G . Accord^
BertbekK [wbc m M P J tbe n a t u r e of the device* t a d thought a i t to D e V n w ' t F r e n c h t r a r k s c a r m u (he d e v i c e - a n be c c t a g n i n a l .
that C b c y w e r e a c o l l e c t i o n gf m a f i c lpell»> j u g g e s l e d that thi« heaagTjoaI p _=-e Or " a n y one o( tb* ahapet that a r e [ i r e * to
waa a LiMrupaJoci o t d r T e a f U P lend {see n o t e t o c b l p u 1 J|. 0
ap- pnjmatic B slaises_ H
T h e r e i s a b o l e i n e a c h l a c * , a n d Orrf t a n dip
p l i e d 10 a C H figurine; T o US, it s e e m s f i r m o r e L i k e l y t h a t tbe i n t h e peal t h r o u g h w h k h e v e r b o l e h a p p e n s tO> h e o n t o p a n d w r i t e .
figure refer r e d to t i t dAsram, add that arraaruY is a coemp- " I n . the interior there • a rrag on a n aale<w3: w i t h i n X h i i rin( U
t i o n , t h r o u g h •ucceaarve t r u t h [eraficrn f r » i G r e e k to I - * t ™ |c> aric-chee W e w t h e a a J e T* . i a t h e c e a t e r o f t t e ^ or.d rina; there
A r a b i c and b a c k tn L a t i n * u i letters oras^nally used to doierjate i l a l i t t l e c u p o n t h e a a l e t f i n d it i i t h i s t h a t f o r r n a t h e i n k w e l l .
pant- net i l h l f t n t t b o r u t h a t h a v e n o t b e e n c o p i e d [ T h * k e a of II y o u please* thia i t in the J e w i s h m a n n e r a n d t h e r ^ r u t r u c t i n r i
the drawing! H probably nc< lerrju*. lor Philo'• u d Kern's resembles t h a t of a ctflaer w h i c h t u r n * a d d r e n a i n a a l w a y s in
d r a w t n e t luflered e v e n [ r e n l e r i n c r T h a n id e f l d o c r v a t the handi equItUiiJin, . , Thouah the prindpJe is the l l A e U the
•fWfgHltbiadid Lhenrtzxta.) There4orxexAnrh i^ormataOil device in f the a c t u a l a c o u n t B c k v t y ::•>:-••.>•. I t h> n «
to cecrjueruct tbe merbajuMtti, • S r x i f b ( b e e f f e c t M^OMA at « impcfSfaihle T h a t t h e o > r a w a a d e a c r i b e d b y P h l l o F thrx.jfcth the
uanally d e a r enouth. The I r v i m in chapter* 23S-G to 2SH-M refeurerbCM t o the janvnatk giassen e n d the Jewish m a n n e r are
aa w e l l a * tbe C u r i a * iiupenmicHi o f c h a p t e r 2&&-Q l e e m r a t h e r both obvtcuily later. Jnaeofa Needham (IflflJj pp.
more e l a b o r a t e t h a n the- O t h e r ( a d * * * * t h a t P t i i t a d e s c r i b e ^ but b e d i e v r s t h e d e r a o r ^ H * ritraa Chinese
they a t e nee b e r ^ i - J h a c a p a c i c m or interesra. Tbey eaay* of
B k a t J i fa* h t * r a c a b t a m by a a lAftriHra F o t o w e r . The
desenptioa CJ( t h e senod cerrtury a J i . and iHLfsrrate* wrveral
rnaterial in t h e a d j a c e n t c h a p t e r * ia n o t in a n y w a y rehtee] t o t h e p

Pbrloruc deeicea, a n d in face. unUauaUy d r w * e In reeionaE

frenri the eifht century a n d later. A tjne e a r l y E n i r r p e a j i o n e i s
the rateerith-centiiry copper handwarrner (tncense burner?)
Aavnr.
at SL Riquier h illustrated aa No. 7 7 in. t h e c a t a l c - g t o i h e f i h i b i -
tjofl La TriMan * « £ f J i « r aV r w i (Paris, 1961).
™ . H, I T , *, i*M] TRANSLATION

K • 1 ' R -

B b
x * H •

| < r • T •

i d
M m
/I -

M • i • * •

[ f i e Greek alphabet?"

-] Alpha (• 0 [an w

[B beta ot f i n b a •1 DO

r r gamma S a Co M

&u delta d nrrr P" -] P [] P

cpsilon c
V ••] rbct CO

3 d rl uta T O w

ij CD r r T ] m oa

Co t o * tb v y •j DO

t j-x
P
-1
iob
• A
T
:* *] Phi
—

-1 d Bft
d m

lambda a f t
•
p*

d tag WJ a) •cacti

*i 2 8
* " ™* Append* C
B
• , T, j e t t e d
f A -belt line oi Lalifl ftjidwlat |«Wr> Jod HTMH-
76 SMITH AND HAWTHORNE i JA.^S. AMEE. ran., t o e .

2SP- T* cut glass a n d wiped d r y - T h e n i t is gilded in the same w a y as

copper or silver r a n d heated t o d r i v e off the q u i c k -
W i t h a stinging nettle the Saracen* stingingly silver as usual. I t should be rubbed w i t h a [ b u r n i s h -
nettle the udden of a she-goat* and (hump them with i n g ] tool so t h a t i t acquires b r i l l i a n c y . * *
the palms of their hand* so that the milk d esc ends
into them The milk ia subsequently milked into a
vascE in which the gLaa« ta put overnight* together M Another iny
w i t h the iron tool with which i t is to be c u t The Rounded a n d well-preserved alum, which is called
tool will be hardened [ b y heating and quenching] in rock i a l t , * * b l u e v i t r i o l a n d some very sharp vinegar
the m i l k or in a small red-headed gtri s urine that
t
h
are ground in a bronze mortar T h e cleaned iron is
r

been collected before sunrise. Now* when neces-
u r y the milk should be re-heated to the same tem-
p
perature that i t had when i t waa freshly milked, and
rubbed w i t h this ^composition] using a stick or some
other smooth l i t t l e point. A n d w h e n i t has taken o n
the color of copper* i t is wiped again and gilded a n d h

the glass should always be heated in it until i t be- then, after the quicksilver haa evaporated, i t should
comes soft and t o i t may be cut. Other gems also be coded i n erater and rubbed w i t h a tool t h a t ta very
in the same way. The goat, now, should be fed oa smooth and b r i g h t u n t i l i t becomes b r i l l i a n t

290. Ta ekip crystal inta shape 293. /wry

Take a he-goat which haa never copulated and put N o w . i f you w a n t t o straighten i v o r y or (o bend I t ,
it in a cask for three days until i t has evacuated i t should be p u t i n thia above-mentioned m i x t u r e 3 1 4

everything that i t has i n its stomach. Thea give i t for three days and nights- When you have done t h i s ,
ivy t a eat for four day*. Then clean a jar for col- hollow o u t a piece of wood in whatever way you w a n t H

lecting its urine- A l t e r this, kill the goat and mbc then put the i v o r y i n the hqllow a n d straighten or
its blood with the urine, then put the gem itoae into bend it as y o u wish.
i t for a night* and after tht*, either c h i p " ' i t into
shape or engrave i t if you wish. T o make i t beautiful, 293- A. [J mil ptasta^
make yourself a lead slab and sprinkle on i t white
flint, ground like pepper, and rub the stone rjp i t T a k e 2 parts of quicklime* 1 part of ground t i l e . 1
until you smooth the roughness away- Afterwards p a r t of olive o i l , one part of chopped t o w : m i x a l l
wrap up some of the same ground Hint in a woolen these w i t h a l y e made f r o m elm bark.
d o t h , and with it rub the corner* that you were
previously not able ta shape on the Bat sheet [of 294- [Sam* vtertiftiatimsj*»
l e a d l Then, so that i t may recover its pristine
clarity, make y o u r x l f some OL3 from nuta and rub i t Cinnabar i.e. vermilion
with this. Further, you should am ear i t over with a farin Le. efflorescence o f copper
wined d o t h so that i t becomes brilliant and ceases
r
Psimithium Le- efflorescence o f lead
to sweat AfaffrwJ i.e. sinopia or A r m e n i a n bole

29L Gilding iron ***Thi**ftd the lolWine; chapter on the tame subject are nearly
tdenrjca] with ^hapten I46-G and El4-H which alw iik*ica]ly
p

Copper filings are ground In a bronze mortar with
vinegar, B a i t , a n d alum to the consistency of honey.
Socne people use water instead of vinegar. Then the
iron is well cleaned a n d gently heated, coated with
this mixture, and is rubbed until i t takes on the ccJot
of copper. After this, i t is washed off with water.
9 7
Cemprime literally ccmpreu-
h
Follow a didCLiiiioq o l the polishing of [ c m i
** fn chapter 146-H. which ia D e a r l y irLuitkal with thai lb*
material* railed lea: in tbe 6rat H a r e m are. m o r e pbunUy.
"Rounded alum, the salt that i i called rock salt* b l u e e i r n J
and » m t very iha/p vjneaar."
**Pcrbapa the mixed M t ' i milk or urine oJ thap«. ZS? tnd
WOr
^ Tb.ee* are written in a different Lmt M a r l y contemporary
hand on the bank at the laat l e a l ol the manuscript.