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1 


THEOPHILI, 


QUI    ET 


R  U  G  E  R  U  S, 

PRESBYTERI  ET  MONACHI, 
LIBRI    III. 

DE  DIVERSIS  ARTIBUS: 


DIVERSAKUM     ARTIUM     SCHEDULA. 


OPERA    ET    STUDIO 


R.    H  E  N  D  R  I  E. 


LONDI  KI: 

JOHANNES    MURRAY,    ALBEMARLE    STREET. 

1847. 


AN  ESSAY 

UPON   VARIOUS   AETS, 

IN   THREE   BOOKS, 

BY 

THEOPHILUS, 


CALLED    ALSO 


R  U  G  E  R  U  S, 

PRIEST  AND  MONK, 

FORMIHO   AN 

ENCYCLOP.EDIA  OF  CHRISTIAN  ART 

OF  THE  ELEVENTH  CENTURY. 
TRANSLATED,  WITH  NOTES, 


ROBERT     HENDRIE.  i'J>f^to 


LONDON : 

JOHN   MURRAY,  ALBEMARLE   STREET. 

1847. 


7H^0 
T3S 
/S¥7 


LONDON : 
GEORGE     WOODFALL     AND    SON, 

ANGEL  COURT,   SKI.VNER   STREET. 


THE    TKEATISE 


THEOPHILUS, 


CAI.l.ED    AI.SO 


RU6ERUS, 

UPON     VARIOUS     ARTS, 

Is  dedicated,  by  permission,  to  His  Royal  Highness 
Prince  Albert  and  Her  Majesty's  Commissioners  on  the 
Fine  Arts, 

By  their 
Most  obedient,  humble  servant, 

THE  TRANSLATOR. 


Lenses  o..  rock  crystal,  useable  as 
magnifying  and  burning  glasses,  were 
made  in  the  tenth  century,  a  thousand 
years  ago,  by  a  Benedictine  monk 
named  Theophilus,  reports  Dr.  Wilhelm 
Theobald,  Berlin  engineer. 

Soh^  \S>35  „        . 
PREFACE. 


The  contentions,  which  during  the  third  and  fourth  cen- 
turies  agitated  Eastern  Europe,  and  in  which  Chris- 
tianity  was  opposed  to  the  fading  doctrines  and  practices 
of  Pantheism,  awoke,  amongst  the  supporters  of  either 
persuasion,  a  spirit  of  research,  which  was  not  pursued 
without  great  advantage  to  the  practice  of  the  arts,  as 
it  unlocked  the  hitherto  closed  gates  of  the  mystic 
sciences,  which  had  been  the  peculiar  province  of  the 
priests,  whether  of  Greece  or  Egypt,  the  only  persons 
initiated  into  the  "  sacred  arts,"  or  "  divine  sciences." 

The  Christian  emperors  of  Byzantium,  who  had  suc- 
ceeded  their  more  warlike  predecessors  of  Rome,  were 
themselves  participators  in  this  war  of  persuasion ;  the 
sword  had  been  laid  aside,  the  toga  donned,  and  the 
pagans  were  to  be  attacked  by  means  of  the  strife  of 
philosophy,  so  acceptable  to  the  intelligence  of  Greece 
and  Rome,  enlightened  at  the  same  time  by  the  spiri- 
tualism  of  Christianity.  In  the  ardour  of  the  conflict 
which  the  last  of  the  pagan  philosophers  were  sustain- 
ing  against  their  irresistible  opponents,  means  of  de- 
fence  were  sought,  not  only  among  the  received  pre- 
cepts  of  their  own  sages,  but  the  mysticism  of  Egypt 
was  introduced  into  Rome1,  and  in  her  ancient  hier- 

1  Jamblicus,  a  strenuous  advocate  of  paganism,  was  initiated 
into  the  mysteries  of  the  Egyptian  Isis  in  the  temple  in  Rome. 

a  2 


IV  PREFACE. 

archical  doctrines  the  weapons  were  solicited  wherewith 
to  foil  their  adversaries. 

Nor  were  the  theologians  of  this  period  averse  to 
draw  from  the  ancient  philosophy  itself,  instances  by 
which  they  might  turn  these  weapons  back  upon  the 
"  Gentiles ;"  confident  of  their  strength,  and  of  the  in- 
equality  of  the  combat,  they  met  these  upon  their  own 
ground.  Apollonius,  Solon,  Thucydides,  Plutarch,  Plato, 
Aristotle,  Sophocles,  and  the  Sibyls1  were  summoned, 
to  the  delight  of  the  Greeks,  to  aid  in  the  overthrow 
of  the  antagonists  of  Christianity,  and,  having  been 
honoured  as  bearing  testimony  in  the  conflict,  appear 
to  have  remained  to  this  hour,  celebrated  in  the  Christian 
iconography  of  the  Greek  Church,  collaterally  with  the 
prophets  of  Judea 2. 

The  symbolism  of  Egypt  appears  to  have  exerted  no 
small  influence  upon  the  arts  during  the  early  period  of 
their  introduction  into  Constantinople.  Clement  of 
Alexandria  speaks  of  the  tradition  of  a  race  of  giants 
having  been  produced  from  the  commerce  of  the  angels 
with  mortals 3.  Scaliger,  citing  a  manuscript  of  Zozi- 
mus,  adds  that  the  book  from  which  they  taught  their 
arts  was  called  "  Chema,"  Xfjfia,  from  this  the  word 
Xrjfieia,  chemia,  was  derived4.  The  sacred  art,  rk%vt] 
Upa"  was  in  the  fourth  and  fifth  century  called  chemia 
by  the  Greeks,  and  the  instruments  necessary  for  the 

1  Lactantius,  "  Divinarum  Institutionum  adversus  Gentes." 

a  Manuel  cTIconographie  Chretienne,  Grecque  et  Latine.  Di- 
dron  and  Durand.  Paris,  1845.  A  manuscript  from  Mount 
Athos.     'Ef fj.riv'ict,  tJjj  £<uypa<p»x>}$.     Pp.  140  and  148. 

3  Clement  Alex.  Stromat.     L.  V. 

*  Ola.  Borrichii  de  x>rtu  et  progressu  Chemiae,  in  Bib.  Manget. 
T.  l.p.  2. 


PKEIACE.  V 

practice  of  the  science  xvtKa  opyava  \  These  phi- 
losophers,  or  chemists,  of  the  Alexandrian,  or  the  neo- 
Platonic  school,  have  not  been  sufficiently  remarked  by 
writers  on  the  progress  of  the  sciences.  Ammonius,  of 
the  second,  Plotinus  and  Jamblicus,  of  the  third,  Zozimus, 
the  Panopolitan,  the  describer  of  the  distilling  appa- 
ratus,  of  the  fourth,  Marie,  the  Jewess,  Synesius,  Olym- 
piodorus,  of  Alexandria,  Marcus  Grsecus,  the  author  of 
the  "  Book  of  Fire,"  who  is  the  inventor  of  Greek  fire, 
which  appears  to  be  no  other  substance  than  our  gun- 
powder,  and  who  appears  to  have  lived  under  Constantine 
Porphyrogenetes 2 :  these  have  been  almost  neglected. 
The  influence  of  symbolic  mysticism,addedto  the  alliance 
of  ancient  mythological  representation,  with  the  new  por- 
traiture,  required  by  the  Greek  and  Roman  people  in  the 
illustration  of  their  Christian  temples,  became  at  last  so 
much  abused,  that  the  church  was  forced  to  interfere,  and 
at  the  quinisext  council,  held  at  Constantinople  in  692, 
this  spirit  of  allegory  was  damped,  although  not  sub- 
dued. 

Under  the  reigns  of  Arcadius  and  Honorius,  and 
even  of  Theodosius,  the  Christian  temples  were  deco- 

1  Alexander  of  Aphrosidia.  The  word  is  probably  derived  from 
xvpccu,  from  the  ancient  word  x?v>  to  pour  or  melt. 

2  A  Latin  translation  of  the  Greek  MS.  is  contained  in  the 
valuable  MS.  Sloane,  1754,  written  in  the  fourteenth  century. 
Marcus  Grsecus  is  cited  by  Mesne,  the  Arab,  who  lived  in  the 
eleventh  century.  I  translate  the  passage  for  the  curious. — 
Fol.  232.  "  Flying  fire  is  made  in  this  manner :  Take  1  scruple 
of  saltpetre,  5  drachms  of  charcoal  of  the  willow,  or  lime  tree,  and 
3  drachms  of  sublimed  sulphur  (sulphuris  vivi),  and  make  a  fine 
powder.  And  from  this  powder  you  can  make  an  explosive  fire 
(ignem  discrepantem),  and  one  flying  in  the  air  like  a  dragon." 


VI  PREFACE. 

rated  with  a  magnificence  capable  of  causing  the  con- 
verted  Gentiles  to  forget  those  which  were  formerly  the 
abode  of  their  idols  ;  the  churches  were  already  entirely 
covered  with  paintings  or  mosaic  work  ;  "  on  whatever 
side  the  eyes  of  the  faithful  were  turned,  the  fathers  of 
the  church  desired  that  they  should  be  affected  by  pious 
representation  and  the  mysterious  effects  of  light."1 
The  stories  of  the  Old  and  New  Testaments,  the  deaths 
of  martyrs,  the  portraits  of  Apostles,  were  represented, 
sometimes  landscapes,  sea  views,  animals,  &c,  whether 
as  allegories,  or  in  order  to  impress  an  admiration  of 
the  marvels  of  creation.  "  Large  draperies,  sometimes 
ornamented  with  figures,  floated  before  the  doors, 
around  the  sanctuary,  above  the  altar2;  windows  of 
stained  glass  contributed,  by  the  effects  produced  upon 
the  gildings  and  various  precious  ornaments,  to  increase 
the  splendour  of  the  decoration." 

The  Greeks  were  thus  taught  to  prefer  riches  to  the 
perfection  exacted  by  their  forefathers ;  the  artist  yet 
enjoyed  some  privileges,  but  the  same  laws  which  gave 
them  confounded  him  with  the  gilder,  the  stucco  layer, 
the  plumber',  and  other  workmen  employed  in  the  con- 
struction  of  the  edifices 3. 

The  inundation  of  the  Goths,  under  Alaric,  consum- 
mated  the  work  of  havoc  which  the  iconoclasts  had,  by 

1  Emeric  David,  Discours  historiques  sur  la  Peinture,  p.  74. 
Gori  Vet.  Dipt.     V.  3,  Tab.  81,  p.  261. 

2  St.  Chrysostome  remarked  that  all  admiration  was,  in  his  day, 
reserved  for  the  goldsmiths  and  weavers.  In  Joan.  Homil.  69. 
C.  3.  V.  8. 

3  Emeric  David.  P.  85.  L.  2  and  L.  4.  Cod.  Theod.  De 
Exc.  Art.     Lib.  13.  tit.  4. 


PREFACE.  VII 

the  destruction  of  the  ancient  statues,  commenced, 
barbarians  as  they  were  they  appear  to  have  advanced 
upon  the  ruins  of  previous  destruction.  The  arts  under 
Theodoric  appear  to  have  somewhat  regenerated  in 
Italy,  under  the  fostering  protection  of  that  prince  \ 
while  Justinian,  at  Constantinople,  re-embellished  the 
church  of  Saint  Sophia  with  increased  yet  heavy  mag- 
nificence. 

The  persecution  of  the  artists  by  the  iconoclasts  under 
Leo,  the  Isaurian,  a.d.  726,  and  which  lasted  120  years, 
and  the  cruelties  inflicted  upon  them,  while  it  broke 
the  chain  vvhich  had  for  so  long  bound  them,  only  ex- 
cited  them  to  new  efforts.  The  more  the  artists  were 
dragged  to  martyrdom  by  their  oppressors,  the  more 
the  class  augmented.  The  woods  and  caves  were  filled 
witli  them.  The  dissemination  of  the  arts  was  a  natu- 
ral  consequence  of  such  proscription :  the  popes  of 
Rome  opened  vast  monasteries  for  the  reception  of 
these  artist  monks  who  fled  from  Greece,  which  the 
benefits  bestowed  by  Pepin  increased.  France,  Eng- 
land,  and  Germany,  were  visited  by  them.  Charle- 
magne  ordained  by  a  law  (a.d.  807)  that  the  ancient 
custom  of  decorating  the  whole  interior  of  churches 
should  be  continued2;  indeed  the  churches  of  Italy  and 

1  Muratori,  Script.  rer.  Ital.     V.  2,  part  1,  pp.  113,  123. 

3  Capital.  an.  807.  cap.  7,  apud  Balur.  Capit.  Reg.  Franc. 
V.  1,  col.  460,  quoted  by  David.    "  Volumus  itaque  ut  Missi  nos- 

tri  per  singulos  pagos  praevidere  studeant primum  de 

ecclesiis,  quomodo  structae  aut  destructae  sint,  in  tectis,  in  maceriis, 
sive  in  parietibus,  sive  in  pavimentis,  nec  non  in  pictura,  etiam  in 
luminariis,  sive  officiis."  Also  Capitul.  Karoli  Magni  et  Ludov. 
Pii.  Lib.  4.  c.  35,  and  Lib.  5.  c.  97.  "  Si  vero  essent  ecclesiae  ad 
jus  regium  proprie  pertinentes,  laquearibus  vel  muralibus  ordi- 
nandae  picturis,  id  a  vicinis  episcopis  aut  abbatibus  curebatur,"  etc. 


Vlll  PHEFACE. 

France  were  not  considered  finished  until  they  had 
been  thus  decorated. 

These  works  were  all  directed  and  executed  by 
masters  chosen  in  the  Latin  empire,  within  the  seas  r. 
Muratori  has  published  a  manuscript  of  this  epoch,  of 
Byzantine  origin,  which  allows  us  a  slight  glimpse  of  the 
state  of  the  studio  at  this  period.  See  Muratori,  Antiq. 
Ital.  Medii  iEvi.     V.  2,  p.  269. 

In  England  the  arts,  which  had  been  brought  by  the 
Romans  into  Britain,  appear  never  to  have  been  wholly 
neglected,  although  subjected  to  the  vicissitudes  con- 
sequent  upon  internal  disorder  and  the  irruptions  of 
barbarians.  "  Even  the  Anglo-Saxons,"  writes  Henry2, 
"  who  were  among  the  most  destructive  of  the  northern 
conquerors  who  overturned  the  Roman  empire,  did  not 
long  continue  to  despise  the  pleasing  arts,  particularly 
that  of  painting,  which  was  practised  by  them  with  con- 
siderable  success."  We  find  that,  previously  to  the 
edict  by  which  Charlemagne  resolved  to  encourage  the 
various  arts  to  the  utmost  of  his  power,  Wilfred, 
Bishop  of  York,  and  Biscops,  his  friend,  had  already 
extensively  availed  themselves  of  the  assistance  of  the 
artists,  in  order  to  decorate  the  cathedral  of  St.  Peter, 
before  the  year  675.  Biscops  undertook  a  journey  to 
the  Roman  states,  and  brought  home  many  pictures  with 
which  the  churches  of  St.  Peter  and  Weremouth  were 
ornamented8.  The  second  visit  of  Alfired  to  Rome,  with 
Ethelwolf,  although  undertaken  at  an  early  age,  would 

1  "  De  omnibus  cismarinis  regionibus."  Monach.  Sangall.  <le 
eccles.  cur.  Karol.  Mag.     T.  3,  C.  30,  p.  118. 

4  Henry's  History  of  England.     Vol.  3. 

3  Bede.  Hist.  Abbat.  Wiremuth.,  L.  1,  p.  28  et  seq.  See 
also  p.  434  of  this  work. 


PREFACE.  IX 

doubtless  not  be  without  due  influence  upon  such  a 
mind,  when,  upon  his  return,  the  society  of  Judith,  his 
step-mother,  the  sister  of  Charles  the  Bald,  contributed 
to  unfold  his  character.  The  painted  chamber  at 
Westminster,  in  which  Edward  the  Confessor  died ' ; 
the  renown  of  St.  Dunstan  as  an  accomplished  painter 
and  a  skilful  contriver  of  instruments 2 ;  the  remains  of 
the  Saxon  chased  and  enamelled  work,  which  was 
esteemed  upon  the  continent  as  early  as  the  seventh 
century,  and  the  manuscripts9  which  are  yet  extant, 
prove  that,  in  this  country  at  least,  the  arts,  as  intro- 
duced  by  the  Romans,  were  never  wholly  lost ;  for, 
when  Alfred  the  Great  called  workmen  from  all  parts 
of  Europe,  in  order  to  assist  in  the  construction  of  the 
edifices  he  purposed  to  erect4,  it  is  probable  that  the 
first  infusion  of  the  Byzantine  taste,  which  for  so  long 
continued  amongst  us,  was  imbibed :  yet,  previously  to 
this  period,  the  churches  in  England  were  hung  with 
silk  draperies,  brought  from  foreign  lands,  while  the 
windows  and  ceilings  were  richly  decorated 5. 

The  Arabs,  who  at  the  commencement  of  the  pre- 
vious  century  had  obtained  an  empire  in  Spain,  were 
now  (in  the  ninth)  consolidating  their  conquests,  and 
from  the  begiuning  of  the  tenth  exercised  an  influence 

1  Smith's  Topogr.  of  London,  p.  12. 

2  Gervasius.  Act.  Pontif.  Cantuar.  in  Hist.  Angl.  V.  1,  10. 
Also  Strutt,  pp.  5  et  seq. 

3  One  of  these,  illuminated,  presented  to  Winchester  Cathedral 
in  966,  in  which  that  monarch  is  represented  adoring  our  Saviour, 
is  in  the  British  Museum. 

4  Asser.  De  Alfred.  reb.  gestis  :  in  Ang.  Norman.  d  vet.  scripl. 
p.  13  et  seq. 

5  William  of  Malmesbury.  De  gestis  Pontif.  Anglic.  L.  3, 
p.  261. 


PREPACE. 


upon  the  arts  and  the  sciences.  Gerbert,  afterwards 
Pope  Silvester  II.,  was  educated  in  the  schools  of  the 
Arabs,  in  Spain,  in  the  tenth  century,  and  acquired 
their  language.  Less  inventive  than  practical  in  science, 
the  Arab  writers  appear  to  have  accumulated  the  ex- 
perience  of  preceding  authors  rather  than  made  new 
discoveries,  to  have  instructed  rather  than  progressed. 
The  simple  character  of  the  early  sciences  of  the  far 
east,  with  the  speculative  philosophy  of  the  west, 
appear  to  have  been  united  to  afford  them  their  know- 
ledge.  The  Caliphs  Harun-al-Rashid  and  Al-Mamun 
were  philosophers  and  scientific  men ;  they  caused  the 
Greek  classics  to  be  translated  into  Arabic  ;  from  them 
the  writings  of  the  Arab  physicians  are  principally 
drawn.  The  mystic  doctrine  of  the  neo-Platonic  school 
of  Alexandria,  eminently  qualified  to  captivate  the 
ardent  imagination  of  the  Arabs,  was  adopted  by  them  ; 
they  attributed  to  the  science  of  alchemy  the  art 
of  transmuting  the  metals  into  gold  and  the  universal 
panacea1.  Geber,  their  most  famous  chemist,  who 
appears  to  have  lived  in  the  eighth  century,  as  he  is 
quoted  by  the  Arab  writers  of  the  ninth,  restored 
alchemical  science  to  its  true  nature,  and  thereby 
earned  the  title  of  the  father  of  chemistry.  Geber  has 
the  credit  of  making  known  the  process  of  distillation 
by  a  simple  description,  although  this  art  had  been  for 
centuries  described  in  the  books  of  the  initiated2. 

1  Pocock.  Trans.  ofAlbufarag.  Hist.  dynast.  Casirus.  Arabico- 
Hispana  Escuri.  Bibliotheca.  Leo.  Libellus  de  viris  quibusdara 
illustribus  apud  Arab.     See  for  an  account  of  the  Arab  chemists. 

2  A  manuscript  of  Zozimus  the  Panopolitan  (who  lived  in  the 
fourth  century),  in  the  Royal  Library  at  Paris,  No.  2249,  contains 
a  description  and  a  drawing  of  a  distilling  apparatus. 


PREFACE.  XI 


The  ninth  century,  however,  offers  the  important  fact, 
in  the  history  of  the  arts,  of  the  invention  or  introduction 
of  Painting  upon  Glass.  The  Benedictines  have  remarked 
upon  this  fact,  and  attribute  the  period,  with  every  proba- 
bility,  to  the  reign  of  Charlemagne,  who  died  in  814 l.  The 
art  itself  is  probably  of  Byzantine  origin,  as  the  flux  for 
colouring  a  plate  or  vessel  of  glass  was  known  to  the 
Greeks,  who  were  much  employed  in  the  manufacture  of 
the  coloured  and  gilt  glass  mosaic  work,  as  we  shall  pre- 
sently  see.  A  fact  is  mentioned  in  the  chronicles  of 
the  historian  of  the  monastery  of  St.  Benignus,  at  Dijon, 
who  wrote  about  the  year  1052 2.  He  states  "that 
there  existed  yet  in  his  time  a  very  ancient  glass  window, 
in  the  church  of  the  monastery,  representing  the  mar- 
tyrdom  of  St.  Paschasie,  and  that  this  painting  had 
been  taken  from  the  old  church  restored  by  Charles 
the  Bald."3  The  reasoning  appears  inconclusive  by 
which  David  seeks  to  limit  the  invention  to  the  reign 
of  this  later  monarch,  as  such  poets,  who  have  at  all 
alluded  to  coloured  glass  as  used  in  windows,  have  so 
cursorily  noticed  it,  that  it  is  sometimes  even  difficult 
to  determine  their  meaning ;  the  art  was  neither  neces- 
sarily,  nor  would  it  be  even  probably,  included  in  their 
descriptions,  which  relate  to  the  effect  produced  by  the 
light  transmitted  through  the  coloured  medium 4. 

1  Histoire  litteraire  de  la  France,  par  les  Benedictines  de  St. 
Maur.     V.  6,  p.  66. 

s  Chronic.  S.  Benigni  Divion,  apud  D'Ach.  Spici,  V.  2,  p.  383. 
Also  Emeric  David,  p.  153. 

3  "  Ut  quaedam  vitrea  antiquitus  facta,  et  usque  ad  nostra 
perdurans  tempora,  eleganti  praemonstrabat  pictura."     Loc.  cit. 

4  Prudentius.  Anastas.  in  Honor.  1.  Ciampini,  V.  2.  Sidonius 
Appolinarus.  Fortunatus.  Carm.  L.  2.  See  notes  to  L.  2  of  this 
work. 


Xll  PREPACE. 

With  the  exception  of  the  Arabs  and  the  Byzantine 
Greeks,  and  a  portion  of  the  clergy,  all  Europe  was,  in 
the  tenth  century,  plunged  in  a  profound  ignorance. 
Even  the  Emperors  of  the  East  were  occupied  in  vain 
dogmatical  controversy,  or  in  repelling  the  attacks  from 
without  of  Saracens,  Sclavonians,  or  Bulgarians,  while 
the  rulers  of  the  West,  not  more  enlightened  than  their 
subjects,  were  almost  powerless  before  the  turbulence 
of  vassals,  whom  the  iron  hand  of  Charlemagne  no 
longer  restrained.  The  clink  of  the  mail,  introduced  by 
Charles,  drowned  the  voice  of  science,  and  was  only, 
but  with  difficulty,  silenced,  when  opposed  to  its 
dogmas,  by  the  jealousy  of  the  Roman  Church,  now 
become  a  formidable  power.  Another  cause  of  the 
general  prostration  of  knowledge,  during  the  tenth 
century,  originated  in  the  prevailing  superstition  that, 
at  the  end  of  a  thousand  years  from  the  birth  of  Christ, 
the  Antichrist  would  appear  and  the  last  days  arrive1. 

When  the  opening  of  the  new  century  had,  however, 
somewhat  calmed  this  disorder,  and  as  the  minds  of 
men  became  reassured,  the  dark  age  seemed  about  to 
pass  away,  and  a  new  zeal  appeared  to  animate  them. 
The  ancient  temples  were  everywhere,  even  without 
necessity,  demolished  ;  and  in  their  plaCes  arose 
churches  more  vast  and  rich  than  the  old,  as  if  the 
world,  again  grown  young,  were  being  newly  attired2. 

In  the  tenth  century  the  monks  of  Richenaw  orna- 
mented  many  churches  in  Germany  with  paintings: 
Tutilo  and  the  monks  of  St.  Gall  had  erected  and  em- 

1  Robertson,  Introduciion  to  the  History  qf  Charles  V.,  V.  1, 
p.  45. 

2  Glabri  Rudolph.   Histor.  sui  teniporis.     L.  3,  C.  4. 


PREFACE.  Xlll  . 

bellished  the  churches  and  monasteries  in  a  surpassing 
manner1. 

It  was  apparently  about  this  period  (or  the  middle 
of  the  tenth  century)  that  the  compilation  of  Eraclius, 
"  De  Artibus  Romanorum,"  was  written ;  for  it  bears  all 
the  signs  of  this  epoch.  The  bad  Latinity  in  which  it  is 
composed,  the  complaints  made  by  the  author  of  the 
neglect  into  which  the  arts  had  fallen,  sustain  this  sup- 
position. 

"  Jam  decus  ingenii  quod  plebs  Romana  probatur 
Decidit,  ut  periit  sapientium  cura  senatum. 
Quis  nunc  has  artes  investigare  valebit  ? 
Quas  isti  artifices  immensa  mente  potentes 
Invenere  sibi,  potens  est  ostendere  nobis." 

That  Eraclius,  or  Heraclius,  was  posterior  to  the 
seventh  century,  his  quotation  from  Isidore,  who  died 
a.d.  636,  attests.  That  he  did  not  write  later  than  the 
decline  of  the  tenth,  the  absence  of  all  allusion  to  the 
infusion  of  Arab  science,  which  at  the  close  of  that 
century  tinctured  the  arts  of  Europe,  would  denote. 

The  art  of  Eraclius  is  of  the  school  of  Pliny,  in- 
creased,  it  is  true,  by  Byzantine  invention,  but  yet 
essentially  Roman.  Since  Pliny  had  written,  the  art 
of  glass  manufacture  and  painting  on  glass  and  porce- 
lain  had  made  great  progress,  and  the  chapters  of 
Eraclius  upon  this  head  are  interesting ;  a  few  of  these 
are  quoted  by  Theophilus.  The  treatise  of  Eraclius 
likewise  proves  the  existence  of  the  art  of  mixing 
colours  with  oil  and  of  the  preparation  of  canvasses, 
skins,  or  panels,  with  colours  ground  in  linseed  oil,  for 
the  purpose  of  the  reception  of  paintings  which  were 

1  Eckerhardi  Carmina,  T.  2,  part  3. 


XIV  PREFACE. 

afterwards  to  be  executed  in  colours  ground  in  the 
same  oil  *. 

1  The  most  voluminous  MS.  of  Eraclius  at  present  known  is 
contained  in  the  collection  of  writers  upon  ancient  art  made  by 
"  Magister  Johannes  Le  Begue,  licentiatus  in  legibus,  greffarius 
generalium  magistrorum  monetae  regis.  Parisius,  anno  Domini 
1431,  aetatis  verd  suae  63."  This  note  is  placed  at  the  end  of  the 
MS.,  and  is  in  the  same  handwriting  as  the  rest  of  the  book.  It 
contains  "  Tabula  de  Vocabulis  synonymis  et  aequivocis  colorum, 
rerumque  accidentium  colorum : — Experimenta  de  Coloribus  : — 
Experimenta  diversa,  aliaque  de  coloribus  : — Recepta?  extrahendae 
ab  uno  quaterno  michi  presentato  per  fratrem  Dionysium,  &c,  in 
Janua.  1409,  scriptae. — Item  die  Martis,  xi.  Februarii,  1410,  feci 
copiari  in  Bononia  a  receptis  mihi  presentatis  per  Thedericum  de 
Flandria,  quas  receptas  idem  Theodoricus  dixit  habuisse  in  Lon- 
donia  in  Anglia. — Item  de  diversis  a,  quodam  libello  Magistri 
Johannis  de  Modena,  pictoris  habitantis  in  Bononia.  (Is  this  the 
painter  John,  born  in  Ilaly,  who  decorated  the  Abbey  in  the  monas- 
tery  qf  St.  Gall,  about  990,  and  rvho  tvas  afterwards  called  to  Aix- 
la-Chapelle  by  Otho  III.  to  enrich  the  oratory  qfthe  palace  ?  Otho 
named  this  artist  Bishop  qfLiege.  (See  David,  p.  156.)  This  writer 
speaks  qf  a  mixture  qf  oil  and  varnish,  to  be  employed  with  colours. 

"  Mordans  quod  stet  ad  aerem")  Annol411.  Johannesde 

Normannus,  de  azurro  novo,  lapidis  lazulli  ultramarini. — Liber 
Theophili,  admirabilis  et  doctissimi  magistri,  de  omni  scientia  pic- 
turae  artis  (a  fragment,  qf  the  Jirst  book  only,  qf  Theophilus). 
Liber  magistri  Petri  de  Sancto  Audemaro,  de  coloribus  faciendis : — 
Eraclii,  sapientissimi  viri.  Libri  tres  de  coloribus  et  artibus 
Romanorum: — Liber  Johannis  Archerius,  a.d.  1398.  Ut  accessit 
a  Jacobo  Cona,  Flamingo  pictore : — Capitula  de  coloribus  ad 
illuminandum  libros  ab  eodem  Archerio  sive  Alcherio,  ut  accepit 
ab  Antonio  de  compendio  illuminatore  librorum  in  Parisiis  et  a 
Magistro  Alberto  Pozzotto  perfectissimo  in  omnibus  modis 
scribendi,  Mediolani  scholas  tenente : — Aultres  ecriptos  en  Latins 
en  Francois  per  Magistrum  Johannem  Le  Begue,  &c,  qui 
praesens  opus  seu  capitula  in  hoc  volumine  aggregata  propria 
manu  scripsit,  a.d.  1431.  JEtatis  verd  suae  63.  Illustra  Deus 
oculum."  A  copy  of  this  manuscript,  which  I  verified  with  the 
original  in  March  1846,  was  kindly  presented  to  me  by  the  Count 


PREKACK.  XY 

But  a  new  impulse  had  been  given  to  the  arts  at 
an  early  period  of  the  eleventh  century.  Emulation 
was  first  directed  to  the  sciences  and  literature,  which 
at  that  period  the  services  of  the  church  and  political 
quarrels  rendered  the  most  necessary,  towards  theology, 
jurisprudence,  geometry,  logic,  rhetoric,  music  or  psalm- 
ody,  architecture,  and  painting.  Dunstan,  Aldred  \  and 
Lanfranc  in  England,  Robert  in  France,  Hildebrand  at 
Rome,  were  encouraging  the  arts,  raising  and  decorat- 
ing  churches,  which  the  reverence  for  relics  caused  to 
be  ornamented  by  sumptuous  shrines  and  costly  gates 
of  bronze  or  silver2.  In  England,  France,  and  Italy,  a 
great  number  of  manuscripts,  ornamented  with  minia- 
tures  and  otherwise  illuminated,  were  executed  s.  The 
ornaments  for  the  Roman  altars,  desks  of  gilt  bronze, 
and  objects  which  ornamented  the  choirs  much  favoured 
the  arts  of  casting  metals,  modelling,  enamelling,  niello, 
damascene  work,  and  often  produced  works  of  surpass- 
ing  execution4. 

It  is  to  this  period,  the  early  half  of  the  eleventh 
eenturv,  that  the  work  of  Theophilus  upon  "  The 
Pivers  Arts"  is  to  be  ascribed. 

While  Greece  was  the  pajnter  of  the  continent ; 
Tuseany,  the  enameller;  Arabia,  the  worker  in  metals; 

de  L'Escalopier.     It  will  be  seen  that  I  have  made  considerable 
use  of  it  in  elucidation  of  the  meaning  of  Theophilus. 

1   William  of  Malmesburv. 

8  Ciampini.      Vet.  monum.  v.  1,  c.  4. 

3  Montfaucon,  Dinr.  Ttal.  p.  322. — Strutt,  Antiquities;  Ancient 
England. 

4  Vita  B.  Richardi,  ab  S.  Viton.  Virdun.  c.  6.  Acta  SS.  ord. 
S.  Benedict,  v.  8,  p.  541. — Emeric  David,  p.  215. 


XVI  PRKFACE. 

Italy,  the  jeweller1;  France,  the  worker  in  glass ;  Spain, 
the  cheniist ;  industrious  Germany,  anxious  in  acquiring 
dexterity,  or  knowledge  in  all :  when  all  these  artists 
had  constructed  and  were  adorning  the  church  of  St. 
Mark  at  Venice,  and  were  elsewhere  occupied  in 
Western  Europe  in  "writing"  or  painting  the  sacred 
histories  in  the  churches  (the  terms  were  at  that  time 
synonymous),  so  that  the  illiterate  might  read  the  ex- 
amples  set  before  them 2,  the  "  Treatise  upon  Divers 
Arts  "  came  forth. 

It  is,  however,  principally  by  analysis  of  the  processes 
described  by  our  author  that  we  can  be  enabled  to  as- 
certain  with  some  precision  the  epoch  at  which  he 
wrote.  Lessing,  Leist,  Raspe  and  Emeric  David,  have 
placed  Theophilus  in  the  tenth  century,  a  period  too 
early,  as  we  may  confidently  infer,  by  remarking  the 
occurrence  in  the  work,  not  only  of  Arab  mysticism, 
but  of  Arab  nomenclature.  The  chapter  of  Theophilus 
on  the  production  of  "  Spanish  Gold,"  L.  III.  p.  267,  is 
evidence  of  the  former ;  his  mention  of  Borax,  p.  239, 
under  the  confused  name  of  Barabas  or  Parahas,  of  the 
latter ;  while  both  instances  shew,  at  the  same  time,  a 

1  This  was  at  a  period  before  Italy  had  for  a  second  time  become 
glorious  by  means  of  art.  This  word  "  glorious,"  applied  to  Italy, 
is  not  found  in  any  of  the  older  MSS.  of  Theophilus,  and  is  cer- 
tairily  an  interpolation  of  Le  Begue  himself,  in  whose  MS.  only  it 
is  found,  and  who  wrote  at  the  commencement  of  the  fifteenth  cen- 
tury,  when  Italy  had  indeed  acquired  a  claim  to  the  title. 

2  The  council  of  Arras  in  a.d.  1025,  declared  that  **  the  books 
of  the  illiterate  were  the  paintings  in  the  temples."  Illiterati,  quod 
per  scripturam  non  possunt  intueri,  hoc  per  quaedam  picturae  linea 
menta  contemplantur." — Synod.  Allrab.  C.  3.  T.  \.p.  62.  Apud 
D'Achery. 


PREFACE.  XVII 


very  early  and  incomplete  knowledge  of  their  works, 
which  he  had  probably  heard  of  in  Constantinople  or 
Italy1. 

Monsieur.Guichard,  Monsieur  Didron,  and  the  Abbe 
Texier  assuredly  have  assigned  too  late  a  period,  when 
they  fix  the  twelfth  or  thirteenth  century  as  the  epoch 
of  Theophilus. 

It  is  remarkable,  and  is  a  correlative  proof  with  what 
has  been  remarked  above,  that  there  is  no  mention  in 
the  "  Treatise  upon  Divers  Arts  "  of  distillation,  nor  is 
any  substance  indicated  by  which  we  can  presume  that 
Theophilus  was  acquainted  with  that  art.  This,  coupled 
with  the  preceding  facts,  will  place  our  author  in  a  pe- 
riod  of  transition,  or  among  the  writers  of  the  early  part 
of  the  eleventh  century.  The  school  of  medicine  of 
Salerno  had  but  commenced  at  that  period  to  inculcate 
the  Arab  science,  and  to  disseminate  it  through  Italy. 
Had  Theophilus  been  cotemporary  with  Roger  Bacon 
or  Raymond  Lully,  as  Mr.  Guichard  supposes,  this  art, 
which  would  have  simplified  so  many  of  his  processes  and 
which  has  added  so  many  materials  to  art,  would  have 
been  noticed.  The  influence  of  the  crusades,  although 
doubtless  great  upon  the  taste  of  Western  Europe,  we 
have  already  seen  could  have  but  little,  if  at  all,  added 
to  the  sciences.  There  is  no  art  mentioned  by  Theo- 
philus  which  was  unknown  at  the  commencement  of 
the  eleventh  century ;  yet  distillation,  or  any  of  its  pro- 
ducts,  is  omitted,  although  a  glimmering  of  Arab  science 
is  observable  in  the  work. 


1  "  The  works  of  the  Arabs  were  known  in  Italy  before  they  were 
known  in  France  and  the  other  countries  of  Europe."  Hoefer, 
Hist.  de  la  Chimie,  p.  346. 

b 


XVUl  PREFACE. 

Another  circumstance  may  be  adduced  favourable  to 
this  opinion.  The  very  few  instances  in  which  Theo- 
philus  affords  iconographical  description  are  eminently 
of  this  period  of  art.  In  the  delineation  of  the  beaten 
censer,  L.  III.  C.  60,  Byzantine  art  is  particularly  ob- 
servable ;  the  octangular  towers,  the  long  columns,  the 
lengthened  windows,  the  circular  opening  above  the 
centre  column  between  them ' ;  the  rivers  of  Paradise 
in  lmman  form,  the  raised  arch  at  the  bottom  of  the 
censer,  in  which  are  the  tigures  of  the  evangelists, 
whether  delineated  in  likeness  of  men  or  symbolically, 
are  all  of  Byzantine  art ;  but  in  C.  61,  the  marks  of  the 
period  are  yet  stronger.  The  figures  of  the  Jewish 
prophets  fraternized  with  those  of  the  apostles,  with 
their  names  inscribed  above  the  head,  each  provided 
with  their  testimonies  "that  they  may  agree  with  each 
other;"2  the  personification  of  the  virtues,  also  with 
the  name  inscribed ;  the  Arabesques ;  are  not  only  By- 
zantine,  but,  if  introduced  into  the  West,  indicate,  ac- 
cording  to  M.  Didron,  an  early  period  of  the  eleventh 
century.  "  The  East,  where  the  old  law  was  born,  al- 
ways  remained  faithful  to  its  respect  for  the  Jewish 
law,  and  the  personages  of  the  Old  Testament.  With 
us,  the  characters  of  the  Old  Testament,  however  ele- 
vated  in  esteem  and  glory,  are  not  equivalent  to  a  saint, 

1  This  description  does  not  coincide  with  the  character  of  ogival 
decoration  of  the  thirteenth  century,  which  M.  Guichard  and  the 
Abbe  Texier  attribute  to  it. 

2  "  The  Greeks,  more  discoursive  than  the  natives  of  the  West, 
place  inscriptions  every  where.  This  is  a  great  advantage.  Had 
our  Gothic  ancestors  acted  thus,  we,  archseologists,  should  have 
less  trouble  to  specify,  or  name,  personages  and  subjects  sculptured 
or  painted  in  our  churches."  Didron,  Manuel  de  Vlconog.  Chret. 
p.  464. 


PREFACE. 


much  less  an  apostle,  prophecy  is  placed  in  the  same 
rank  as  history ;  in  Greece,  they  wear  the  nimbus  and 
are  holy,.their  feet  are  bare,  and  they  are  assimilated 
to  the  Apostles."  "  Until  the  eleventh  century,  Latin, 
as  well  as  Greek  Christianity,  fraternized  with  the  Jew- 
ish  religion,  but  from  the  moment  of  the  schism,  con- 
summated  by  Michael  Cerularius,  this  respect  sensibly 
diminished." ' 

The  Roman  Church,  of  which  the  head,  Hildebrand, 
afterwards  Gregory  VII.,  had,  in  the  middle  of  the 
eleventh  century,  matured  the  plan  of  an  universal 
power,  the  more  frightful  because  under  the  form  of 
an  universal  theocracy,  would  not  be  likely  to  tolerate 
the  progression  and  dissemination  of  a  practice  con- 
trary  to  its  dogmas;  Dante  did  not  appear  until  the 
fourteenth  century. 

M.  Guichard  remarks,  with  truth,  that  this  treatise 
belongs  to  a  period  of  transition — "  de  renouvellement 
et  de  renaissance."  This  character  is  pre-eminently 
attached,  as  I  have  endeavoured  to  show,  to  the  early 
half  of  the  eleventh  century. 

Who,  and  of  what  country,  was  this  artist  Monk  ?  is 
a  question  which  must  still  remain  a  problem.  Lessing, 
misled  by  a  resemblance  of  names,  was  inclined  to  at- 
tribute  the  authorship  of  the  "  Diversarum  Artium 
Schedula  "  to  Tutilo,  the  Monk  of  St.  Gall,  who  lived 
at  the  close  of  the  ninth  century2.  Lessing  has  not 
been  able  to  seize  from  the  text  of  Theophilus  a  single 
indication  which  militates  in  favour  of  this  high  anti- 
quity  of  the  book,  and  his  argument  reduces  itself  to 
an  analogy  of  proper  names,  this  name  also  being  very 

1  Didron,  Manuel  de  Vlconog.  Chret.,  pp.  133,  134,  135. 

2  Vom  Alter  der  Oelmahlerey,  pp.  304,  323,  362,  363.—Raspe. 

b   2 


XX  PREFACE. 

common.  It  is  not  sufficient,  observes  M.  Guichard, 
that,  as  a  Tutilo  is  found  in  an  old  chronicle  qualified 
as  "  painter,"  picturce  artifew,  he  should  have  written  the 
"  Diversarum  Artium  Schedula." 

It  is  a  circumstance  not  to  be  neglected,  that  all  the 
manuscripts  of  Theophilus,  at  all  copious,  have  issued 
from  Germany.  Matthias  Farinator,  the  editor  of 
the  Lumen  Animae1,  and  who  first  has  mentioned  the 
work,  relates  that  he  received  it  from  a  monastery  in 
Germany.  The  Lumen  Animse,  however,  contains, 
with  citations  from  Theophilus,  allusions  to  sentences 
which  are  not  to  be  found  in  the  chapters  of  our  author, 
and  which  are  probably  part  of  an  appendix,  or  addi- 
tion,  made  by  the  scribe  or  possessor  of  the  volume,  and 
which  Farinator  had  not  the  acumen  to  distinguish. 

Of  the  different  manuscripts  of  Theophilus  which 
have  been  yet  remarked,  that  mentioned  by  Farinator 
claims  the  first  notice.  The  fate  of  this  MS.  is  un- 
known ;  it  is  probably  in  the  Vatican,  buried  in  the  mass 
of  unknown  works  which  have  yet  to  be  described. 

The  manuscript  alluded  to  by  Cornelius  Agrippa2 
is  now  at  Wolfenbuttel,  according  to  Raspe,  who,  how- 
ever,  gives  no  authority  for  this  statement.  The  MS. 
which  exists  at  Wolfenbiittel  is  thought  by  Lessing  to 
be  of  the  tenth  or  eleventh  century.  The  third  book 
of  this  MS.  terminates  with  the  first  chapter  upon  the 
organ,  as  I  have  noted  in  the  work,  p.  345. 

The  manuscript  at  Leipsic,  which  had  been  forwarded 
to  Lessing  at  Wolfenbiittel,  is  thought  by  him  to  be  of 
the  fourteenth  century3.      It  likewise  contains  three 

1  First  printed  a.  d.  1477. 

8  "  De  Vanitate  Scientiarum."    C.  96. 

3  Vorn  alter  del  Oelmahlerey,  p.  21,  85. — Raspe. 


PREFACE.  XXI 


books,  but  the  third  has  been  mutilated ;  it  possesses  the 
first  seven  chapters  only  of  the  book.  This  MS.  came 
from  the  convent  of  Alten-Zell1. 

A  MS.  in  the  public  library  of  the  Cambridge  Uni- 
versity,  was  discovered  by  Raspe  in  1779,  and  stated  by 
him  to  be  in  the  writing  of  the  thirteenth  century.  This 
merely  contains  a  portion  of  the  first  book  of  Theophi- 
lus,  with  an  appendix  by  the  copyist  collected  from  other 
writers.  A  copy  of  this  MS.  is  in  the  British  Museum. 
Sloane,  715.  Raspe  states  that  this  MS.  is  in  4to,  and 
in  the  handwriting  of  the  thirteenth  century. 

Another  copy  was  found  by  Raspe  in  the  Trinity 
College  library,  and  is  also  in  the  writing  of  the  thir- 
teenth  century.  This  MS.  is  now  in  the  British  Mu- 
seum.  It  is  that  published  by  Raspe;  it  contains  a 
portion  of  the  first  book  of  Theophilus,  with  a  collection 
of  recipes  at  the  end,  among  whieh  are  to  be  found  the 
five  chapters  given  by  the  Count  de  L'Escalopier2. 
which  are  not  by  Theophilus.  These  are  neither  to 
be  found  in  the  Harleian,  the  Vienna,  nor  the  Wolfen- 
biittel  MSS.  It  is  in  this  manuscript  that  the  epithet 
"  Lombard  "  is  given  to  the  first  book,  "  JSic  incipit 
Tractatus  Lombardicus  Qualiter  temperantur  Colores  ad 
depingendum.  Whether  the  books  of  Theophilus  are 
"  Lombardic  "  or  not,  it  is  an  instance  of  the  estimation 
of  the  writer  in  the  thirteenth  century.  Lombardy  was 
the  pupil  of  Byzantium,  and  this  is  corroborative  of  the 
view  I  have  taken  throughout  my  notes  to  this  work, 
that  the  influence  of  the  Byzantine  Greeks  is  every 
where  traceable. 

1  Simler,  "  appendicem   Bibliothecee  Conr.   Gesneri."  —  Tiguri, 
1555. 

3  C.  C.  xxxiii — xxxvii.  L.  1.     Edit.  Paris.  1843. 


XXII  PREFACE. 


Another  MS.  of  the  seventeenth  century  was  an- 
nounced  by  Morelli  in  the  Nani  Library  at  Venice,  in 
which  Theophilus  is  called  Rugerus.  Morelli  states 
that  this  is  copied  from  the  ancient  parchment  Codex 
in  the  Imperial  Library  at  Vienna :  "  descripti  ex  antiquo 
codice  membranaceo  manuscripto  Augustissimce  JBiblio- 
iheccB  Ccesarece  Vindobonensisr  M.  Guichard  has  omit- 
ted  this  conclusion  to  his  quotation  from  Morelli,  and 
questions  the  correctness  of  the  statement  made  in  p. 
35  (Morelli,  Cod.  manuscript.  Lat.  Biblioth.  Nani.)  that 
there  were  two  manuscripts  of  Theophilus  at  Vienna. 

Mrs.  Merrifield !  writes  to  me  that  she  saw  a  copy  of 
Theophilus  at  Milan,  made  from  the  old  Vienna  Manu- 
script,  similar  to  that  in  the  library  of  St.  Mark  at 
Venice. 

The  copy  contained  by  the  Le  Begue  MS.  in  the 
Royal  Library  at  Paris  has  already  been  noticed.  It 
is  a  very  careless  transcription  of  the  first  twenty-nine 
chapters  of  the  First  Book  only,  and  in  quantity  is  si- 
milar  to  the  Trinity  College  MS.  published  by  Raspe, 
but  the  appendix  is  wanting. 

Although  neither  Lambecius  nor  other  bibliographers 
have  noticed  the  Manuscripts  at  Vienna,  and,  in  conse- 
quence,  M.  Guichard  suspects  some  error  in  the  state- 
ment  of  Morelli  already  referred  to,  I  have  been  able 
to  ascertain,  through  the  kindness  of  Dr.  Ferdinand 
Wolf,  of  the  Imperial  Library,  that  the  assertion  of 
Morelli  is  correct. 

Extract  of  a  letter,  dated  "  Vienna,  1 8th  June,  1846. 
"  The  dates  which  Morelli  gives  are  exact ;  we  pos- 
sess  two  manuscripts,  of  which  one  upon  vellum  (now 

1   The  accomplished  translator  of  Cennino  Cennini. 


PREFACE.  XXUl 

No.  2527),  belongs  to  the  twelfth,  or,  at  latest,  to  the 
very  commenceinent  of  the  thirteenth  century ;  the 
other  (No.  11236)  is  but  a  copy,  but  made  from  an- 
other  manuscript  than  our  own;  it  is  of  the  seventeenth 
century,  and  is  upon  paper." 

"  The  ancient  manuscript  is  defective :  it  commences 
by  the  three  prologues  of  the  three  books,  the  index  of 
chapters  of  the  first  book  follows.  The  rubric  of  the 
first  chapter  stands,  De  temperamento  colorum  in  nudis 
corporibus,  the  last,  the  thirty-eighth,  Quomodo  colores 
in  libris  temperentur.  The  second  book  contains  thirty- 
five  chapters,  of  which  the  title  of  the  first  is,  De  con- 
structione  furni  ad  operandum  vitrum ;  the  last,  De  anu- 
lis.  The  third  book  contains  seventy-eight  chapters ; 
the  first,  De  constructione  fabricce,  the  last,  De  organis ; 
but,  as  I  have  said,  some  leaves  are  wanting  at  the  end." 

"  The  other  MS.,  the  modern  copy,  gives  also  the 
prologue  of  each  book,  and  then  the  index ;  the  first 
book  contains  forty-two  chapters,  viz.,  De  temperamento 
colorum,  fyc,  the  last,  De  cerosa.  The  second  book  is 
composed  of  thirty-five  chapters,  conformable  in  every 
thing  to  the  other  MS. ;  and  the  third  book  contains 
seventy-six  chapters,  viz.,  De  constructione  fabricce ; 
the  last,  De  organis,  and  finishes  '  a  plectro  autem  infe- 
rius  omnes  unius  mensurce  et  ejusdem  grossitudinis  erunt. 
Finis:  " 

It  will  be  seen  that  the  more  modern  manuscript  is 
similar  to  that  at  Wolfenbiittel,  which  is  deficient  in 
the  C.  xl.  L.  1.  De  encausto,  contained  by  the  Harleian 
and  the  Cambridge  University  MSS. 

Dr.  Wolf  thus  replies  to  my  demand  respecting  the 
four  missing  chapters  in  the  second  book,  which  yet 
form  a  part  of  the  index. 


XXIV  PREFACE. 

"  Vienna,  5th  Sept.  1846. 

"  The  chapters  which  are  wanting  in  your  manu- 
script,  and  of  which  you  have  requested  a  copy,  are 
equally  absent  from  both  our  manuscripts,  although 
they  figure  in  the  index ;  in  this  respect,  therefore,  our 
MSS.  are  exactly  conformable  to  the  printed  text." — 
(The  Edition  of  Leiste  and  Lessing.) 

"  I  have  the  pleasure  of  remitting  you  the  fac-simile 
of  the  first  page  of  our  most  ancient  manuscript,  (of 
the  twelfth  century,)  which  you  likewise  requested, 
and  which,  at  my  request,  my  colleague,  M.  Ernest 
Birk,  proficient  in  this  art,  has  had  the  kindness  to 
transcribe." 

This  fac-simile  I  have  caused  to  be  placed  at  the 
commencement  of  the  work,  as  it  belongs  apparently  to 
the  most  ancient  copy  of  Theophilus  known,  one  of  the 
twelfth  century,  and  it  bears  the  name  of  Rugerus. 

For  how  can  we  reconcile  the  conflicting  opinions  of 
Lessing  and  Leiste  ?  Lessing  affirms  the  Wolfenbiittel 
MS.  to  be  of  the  eleventh,  Leiste,  of  the  tenth  cen- 
tury ;  both  Lessing  and  Leiste  assign  the  thirteenth  or 
fourteenth  century  as  the  date  of  the  Leipsic  manu- 
script ;  Leiste  himself  was  undecided,  as  the  following 
passage  will  prove.  Comparing  the  manuscripts  of 
Wolfenbiittel  and  Leipsic,  he  writes,  "  Beyde  sind  in 
gross  Quart  auf  Pergamen  geschrieben,  und  gleichen  sich 
sehr  in  den  Schriftziigen,  so  dass  man  sie  wahrscheinlich 
in  ein  Jahrhundert  versetzen  muss"1 

Paleographical  knowledge  has  much  increased  since 

1  Zur  Geschichte  und  Litteratur.     T.  6.     Vorbericht.  p.  5. 

"Both  are  written  in  large  quarto  on  parchment,  and  resemble 
each  other  much  in  the  written  character  ;  it  appears,  therefore, 
that  they  must  be  placed  in  one  and  the  same  century." 


PREFAOE.  XXV 


that  time,  but  in  the  absence  of  proof  it  may  be  con- 
jectured  that  they  are*  both  of  the  thirteenth  century, 
a  period  at  which  the  work  of  Theophilus  was  multi- 
plied. 

I  have  therefore  adopted  the  title  of  the  manuscript 
of  Vienna  as  probably  the  most  correct,  for  the  title 
and  prologue  of  the  first  book  are  unfortunately  want- 
ing  in  the  Harleian  Manuscript,  otherwise  so  complete. 
Rugerus  was  probably  the  name  of  the  Monk ;  Theophi- 
lus,  one  of  those  names  often  assumed  by  the  priests 
according  to  the  bent  of  their  ideas.  It  is  a  title 
above  all  others  likely  to  have  been  adopted  by  our 
lowly  priest  and  monk,  who  regarded  his  own  labour 
and  study,  and  that  of  others,  "  as  so  many  sacrifices 
offered  up  to  God."  The  Abbe  Texier  eloquently 
writes, "  Theophile  est  un  nom  de  guerre,  un  nom  de 
religion.  L'humble  moine,  qui  s'oublia  si  completement 
en  un  traite  qui  pouvait  donner  la  gloire,  dont  le  tra- 
vail  artistique  n'etait  qu'une  priere,  1'humble  pretre, 
qui  se  regardait  comme  indigne  du  nom  et  de  la  pro- 
fession  monastique,  a  cache  sa  personnalite  sous  une 
appellationallegorique;  il  se  nomme  Theophile,  comme 
1'ame  devote  de  Saint  Fran^ois  de  Salles  s'appelle  Phi- 
lothee."1 

Lombardy,  which  was  overrun  and  peopled  by  the 
Germanic  tribes  at  an  early  period  of  Northern  irruption, 
was  possibly  the  country  of  our  author.  Theophilus  may 
have  written  for  the  Germans,  although  himself  a  fo- 
reigner :  in  such  case  the  German  words  found  in  his 


1  Analyse  du  Traile  de  Theophile,par  M.  lAbbe  Texier,  Annales 
Archeologiques.    Didron  aine,  Paris.     March,  1 846. 


XXVI  PREFACE. 

books,  so  much  insisted  on  as  proof  of  his  Germanic 
origin,  would  be  employed  as  explanatory,  not  used 
idiomatically.  Boih  Greek  and  Italian  terms  are  like- 
wise  employed,  as  "  asperella,"  "  smigma,"  "  ismaris," 
"  isca,"  &c,  &c. 

The  most  important,  because  the  most  voluminous 
and  correct,  if  not  the  most  ancient,  manuscript,  now 
remains  to  be  noticed,  and  which  I  was  fortunate 
enougli  to  discover  among  the  Harleian  Manuscripts  at 
the  British  Museum.  Owing  to  the  imperfect  classifi- 
cation  of  these  MSS.  towards  the  end  of  the  last  cen- 
tury,  this  had  remained  unknown  or  unnoticed  until  I 
had  withdrawn  it  from  its  hiding-place ;  classed  in  the 
general  catalogue  immediately  under  the  head  of  The- 
ology,  and  after  "  Theophilus  "  the  ecclesiastic,  is  found 
"  Theophilus,  monachus;"  it  has  doubtless,  therefore, 
been  classed  with  works  on  theology.  It  is  not  men- 
tioned  under  the  works  treating  upon  the  arts,  but 
under  the  head  "  Natural  Philosophy,"  "  Physics,"  is 
found  "  Theophilus  Monachus,  de  Chemia,"  a  position 
in  which  we  should  never  have  expected  to  find  our 
author  upon  "  The  Divers  Arts,"  and  which  sufficiently 
accounts  for  its  neglect1. 

This  manuscript  is  upon  vellum,  in  octavo,  and  is1 
written  in  a  clear  German  character  of  the  very  com- 
mencement  of  the  thirteenth  century.  Sir  F.  Madden, 
the  keeper  of  the  manuscripts  at  the  British  Museum, 

1  Sir  Frederick  Madden  assures  me  that,  although  he  was  aware 
of  the  existence  of  such  a  manuscript,  he  was  unacquainted  with 
its  true  importance  and  value,  until  it  had  been  called  for  by  me  in 
January,  1844,  and  he  had  collated  it  with  the  Paris  edition, 
printed  in  1843,  by  the  Count  Charles  de  1'Escalopier. 


PREFACE.  XXVll 

and  whose  authority  is  conclusive,  states  that  it  is  of 
that  period,  and  that  it  is  certainly  written  in  Germany  \ 
It  contains  115  folios  of  the  books  of  Theophilus,  and 
five  folios  of  recipes  relating  to  the  arts,  written  by 
another  hand  of  the  period.  A  treatise  "  De  Unguen- 
tis  "  follows ;  it  is  a  collection  of  medical  recipes.  The 
title  and  preface  to  the  first  book  are  unfortunately 
wanting;  in  so  voluminous  and  superior  a  copy  some- 
thing  might  have  been  otherwise  adduced  from  these 
which  would  have  unravelled  the  mystery  which  shrouds 
the  age  and  country  of  our  author. 

That  this  MS.  is  likewise  but  a  copy  from  an  older 
work  is  proved  by  the  variations  it  presents  from  the 
Vienna  and  Wolfenbiittel  MSS.,  supplying  many  omis- 
sions,  claiming  also  the  restoration  of  a  few  which  I 
have  carefully  noted  during  the  progress  of  the  work. 
The  four  chapters  missing  in  the  second  book  (see 
Index,  p.  110),  have  probably  been  cut  from  the  ori- 
ginal,  as  no  lacuna  is  left  by  the  scribe  in  this. 

It  will  be  observed  upon  perusal  that  the  whole  of 
the  work,  from  C.  LXXXI.  L.  III.  p.  345,  is  new. 
It  had  been  hitherto  lost ;  the  promises  held  out  in  the 
preface  to  the  First  Book  are  fulfilled. 

The  Third  Book  has  evidently  been  treated  by 
Theophilus  with  more  care  and  attachment  than  the 
others.  The  eloquent  preface,  the  labour  expended  in 
description,  and  the  great  volume  of  the  work  upon 
metals,  attest  this.  He  had  proceeded  gradually  to 
describe  "  all  those  things  which  were  still  wanting 
among  the  utensils  of  the  House  of  the  Lord," *  when 

1  Sir  Frederick  stated  to  me  that  it  was  not  impossible  that  this 
MS.  was  written  at  the  end  of  the  twelfth  century. 

2  Preface  to  L.  iii. 


XXVUl  PREFACE. 


the  treatise  abruptly  closed  with  one  chapter  on  the 
construction  of  the  organ.  The  description  of  this 
instrument  is  now  rendered  complete  '  as  it  existed  in 
the  time  of  our  author.  An  important  description  of 
the  manner  of  founding  bells  follows.  The  next,  "  Of 
Musical  Cymbals,"  tends  to  show  the  antiquity  of  the 
author.  Our  monk  treats  of  the  more  humble  vessels, 
made  of  tin ;  of  iron,  with  a  description  of  the  apparatus 
employed  in  Damascus  work  upon  steel.  Then  follows 
a  description  of  the  Italian  work  promised  in  the  pre- 
face  to  the  whole  work,  of  sculpturing,  gilding  and 
staining  ivory ;  of  gems,  pearls  and  electra.  It  should 
be  remarked  here  that  Theophilus  quotes  Eraclius,  a 
strong  argument  against  his  Italian  origin.  The  monk 
would  here  appear  to  have  travelled,  note-book  in  hand, 
to  collect  the  various  arts  from  different  countries. 
The  passage  in  the  preface  to  the  Second  Book,  which 
I  have  preferred  to  translate  literally,  rather  than  to 
take  in  the  allegorical  sense,  in  which  it  has  been 
hitherto  received,  and  which  the  character  and  writings 
of  Theophilus  do  not  warrant,  affords  strong  presump- 
tion  that  Theophilus  was  no  Greek  monk,  which  his 
description  of  the  "fistula,"  the  reed  or  pipe  formerly 
used  by  the  Roman  Church  in  the  celebration  of  the 
sacrament,  confirms:  "  apprehendi  atrium  Agife"  or  "Re- 
gice  Sophice,  conspicorque  cellulam  diversorum  colorum 
omnimoda  varietate  refertam  et  monstrantem  singu- 
lorum  utilitatem  ac  naturam.  Quo  mox  inobservato  pede 
ingressus,  replevi  armariolum  cordis  mei  sufficienter  ex 
omnibus,  Sfc."2     The  phrase  "inobservato  pede"  points 


1  Note,  p.  439. 

2  See  p.  117.     The  Atrium  was  at  all  times  open  to  the  public 


PREFACE.  XXIX 

to  the  existence  of  schism  between  the  two  churches, 
which  strengthens  our  view  of  the  period  of  our 
author :  and  this  literal  acceptation  is  warranted  by 
the  description  given  of  his  efforts  and  travels,  to  pro- 
cure  information,  in  the  prologue  to  L.  I.  "  Quapropter, 
fili  dulcissime,  quem  Deus  omnino  beatum  fecit  in  hac 
parte,  qua  tibi  gratis  offeruntur,  quce  multi,  marinos  se- 
cantes  fluctus  cum  summo  periculo  vitce,  famis  ac  frigoris 
artati  necessitate,  fyc.  8fc."  The  book  concludes  with 
two  chapters,  certainly  by  Theophilus,  "of  fish  glue," 
or  isinglass,  and  "  of  signs,  when  searching  for  water." 

Although  the  whole  work  of  Theophilus  abounds 
with  curious  and  valuable  information,  yet  the  allusion 
to  the  practice  of  painting  with  colours  ground  in  oil 
has  perhaps  elicited  more  attention  and  remark  than 
any  other  part  of  the  treatise,  on  account  of  the  gene- 
rally  received  opinion,  drawn  from  the  statement  of 
Vasari !,  which  has  been  followed  without  further  inquiry 
by  the  Italian  writers,  and  adopted  by  C.  Van  Mander2, 
that  painting  in  oil  had  been  the  discovery  of  the 
brothers  John  and  Hubert  Van  Eyck,  in  1410. 

This  statement  has  been  so  completely  refuted  that 
further  labour  is  needless  on  this  point.  Horace 
Walpole,  the  Rev.  Mr.  Bentham,  and  Mr.  Smith,  have 
shown  that  the  art  of  painting  in  oil  was  practised  in 
our  own  country  from  an  early  period  up  to  the  fifteenth 

indiscriminately  ;  the  side  colonnades  and  porticus  afforded  shelter 
to  the  catechumens  and  penitents,  aud  such  others  as  were  not 
allowed  to  advance  beyond  the  threshold  of  the  church  itself.  The 
Atrium  was  also  often  used  as  a  place  of  burial  for  persons  of  high 
distinction.  Description  qfthe  Basilica  qf  St.  Clemente,  by  R.  W. 
Mylne,  Esq.     Weale's  Quarterly  Papers,  1845. 

1  Vite  de'  piii  eccellenti  Pittori.     Mil.,  V.  5,  p.  97. 

2  Het  Schilder-Boeck.     Amst.  1617,  fol.  123. 


XXX  PREFACE. 

century l.  Raspe  has  sufficiently  and  successfully  op- 
posed  the  assertion  of  Vasari ;  and  the  mention,  by 
Vasari  himself,  of  the  picture  in  oil,  painted  by  Lippo 
Dalmasio,  at  Bologna,  in  1407,  is  sufficient  confutation 
of  the  tale.  The  passages  from  Eraclius  and  Cennino, 
which  I  have  given  in  the  above-named  notes,  are  suffi- 
cient  to  prove  that  the  art  of  using  driers  with  oil  in 
the  process  of  painting,  so  as  to  render  the  work  less 
tedious,  was  likewise  known  previously  to  the  time  of 
Van  Eyck  ;  the  opinion  of  Raspe 2,  in  which  M.  Guichard 
coincides,  is  not  therefore  tenable. 

A  third  supposition  was  started  by  Emeric  David 3, 
that  painting  in  oil,  having  been  abandoned  in  the 
tenth  or  eleventh  centurv,  had  been  invented  anew  in 
the  fifteenth  by  John  Van  Eyck.  This  is  open  to  equal 
objection,  as  the  English  authors  referred  to  above  have 
shown ;  and  it  is  singular  that  some  of  the  materials 
used  for  the  purpose  of  painting  the  chapel  of  St. 
Stephen,  in  1350,  were  procured  from  Bruges:  "  the 
sum  of  four  shillings  and  ten  pence  was  paid  to  '  Lomyn 
de  Bruges '  for  six  pounds  and  a  half  of  white  varnish, 
at  nine  pence  per  pound." 

Yet  that  Van  Eyck  merely  pursued  the  path  which 
had  been  previously  trodden,  no  one  can  admit  who 
has  compared  his  works  even  with  those  of  modern 
times,  which  we  know  to  have  been  painted  with  oil 
simply,  (the  more  ancient  works  having  disappeared 
partly  on  that  account,  and  partly  from  the  class  of 
colours  in  use,  as  will  be  seen  by  a  reference  to  notes 

1  See  note  on  "  Gummi  Fornis,"  p.  71  of  this  work.     Also  note 
on  "  Oleum  Lini,"  p.  94,  id. 

a  "  On  the  discovery  of  Oil  Painting,"  pp.  6  to  19,  and  54  to  71. 
3  "  Discours  Historiques  sur  la  Peinture  Moderne,"  p.  188. 


PREFACE.  XXXI 

to  L.  I.) ;  and  tliat  he  was  the  inventor  of  a  means  of 
rendering  his  pictures  bright  and  permanent,  we  have 
at  this  hour  the  evidence  of  his  works  to  show.  The 
freshness  and  purity  of  his  colours,  and  the  transparent 
medium,  which  allowed  every  means  of  careful  execu- 
tion,  are  not  to  be  obtained  by  the  linseed  oil  varnish  de- 
scribed  by  our  author,  and  in  use  in  Italy  and  Germany, 
on  the  authority  of  Cennino,  previously  to  his  time. 

Having  been  too  much  lauded,  the  Van  Eycks  have 
lately  risked  the  being  too  much  decried  :  improvement 
in  every  art  is,  in  something,  debtor  to  the  pre-existing 
state  of  that  art,  and  our  inquiries  upon  these  being  like- 
wise  naturally  progressive,  in  seeking  the  cause  of  the 
reputation  of  Van  Eyck,  we  may  again,  by  striving  to 
promote  the  truth,  discover  the  secret  of  his  success. 

Paul  Lomazzo,  an  author  of  credit,  has  the  following 
singular  passage  in  his  "  Arte  della  Pittura."  Writing 
of  Leonardo  da  Vinci,  he  says  '  "  Leonardo  ha  cdlorito 
guasi  tutte  Vopere  sue  ad  oglio,  la  qual  maniera  di  colorire 
fu  ritrovata  prima  da  Gio.  da  Bruggia,  essendo  certa  cosa 
che  gli  antichi  non  la  connobbero."  Thus  far  Lomazzo 
follows  Vasari :  he  continues,  "  Ora  Leonardo  fu  quello 
che  lasciato  Vuso  della  tempera  passo  alV  oglio,  il  quale 
usava  di  assotigliar  con  i  lambicchi."  He  adds  to  this 
that,  on  account  of  the  bad  priming  upon  the  walls,  the 
"  Wonderful  Battle  Piece"  at  Florence,  and  the  "  Last 
Supper"  at  Milan,  were  spoiled. 

Upon  turning  to  the  works  of  Leonardo  da  Vinci,  we 
find  that  the  materials  mentioned  by  that  artist  are 
either  walnut  oil,  thickened  in  the  sun,  or  amber  var- 
nish  and  walnut  oil 2. 

1  Gio.  Paolo  Lomazzo,  Pittore.  Arte  della  Pittura.  Bologna, 
1590,  C.  xiii. 

2  Trattato  della  Pittura  di  Leonardo  Da  Vinci,  C.  ccclii. 


XXXll  PREFACE. 

Having  shown,  in  a  note  to  L.  I.  p.  63,  of  what  the 
varnish  of  Theophilus  was  composed,  and  which  was 
employed  during  the  early  period  of  art,  there  is  every 
reason  to  believe  that  "  Amber  Varnish  "  was  one  of 
the  inventions  of  the  brothers  Van  Eyck ;  and  that  this 
invention  was  carried  into  the  school  of  Venice  we  have 
proof  \  The  head  of  a  Venetian  Doge,  by  John  Bellini, 
in  the  National  Gallery,  is  painted  with  this  varnish. 
Mr.  Eastlake  pointed  out  to  me  the  amber  beads 
hanging  upon  the  wall,  in  the  picture  by  Van  Eyck, 
in  the  same  place :  this  is  a  curious  circumstance  worth 
notice. 

In  the  manuscript,  Sloane  345,  Pl.  85  C,  which 
contains  a  series  of  medical  writings,  "  Tract.  Var.  Me- 
dicinal."  collected  by  Johannes  Ketham,  who  flourished 
towards  the  latter  part  of  the  fifteenth  century,  is  a 
book  upon  colours  and  materials  for  painting,  written  in 
old  Dutch  or  Flemish,  and  which  should  therefore  be  of 
an  earlier  period  in  the  same  century.  In  this  I  found 
the  first  mention  of  amber  varnish  yet  upon  record,  and 
it  arrives  from  the  country  of  Van  Eyck.  The  MS.  is 
extremely  difficult  to  read. 

•  "  Substancie  tmdken  daer  alle  Wrie  indinz. 
"R  ltb  lyn  olys  end  sidz  een  ure  end  dan  nemt  viii. 
loet  bernsteen  ghepulvirt  end  doen  dy  yn  een  erden  poot 
ende  ghiten  dar  op  lyn  oly  dy  voer  gesad  is  dat  dy 
wynstey  bedowe  ys  myt  den  oly  end  laten  dat  syden  also 
langhe  dat  de  bernsteen  gesmonf  ys  dy  bernsteen  soe 
salmet'  sy  ghen  doer  een  doeck  en  doent  toste  irsf  oly 

1  I  shall  have  better  opportunity  and  more  space  to  treat  upon 
this  in  a  work,  preparing,  to  which  I  have  before  alluded.  Mr. 
Eastlake,  whose  work,  "  Contributions  to  the  Literature 
of  Art,"  we  are  expecting,  possesses  further  documents,  and 
will  enter  upon  this  subject. 


PREFACE.  XXXUl 

end  latef  sid~  pruvet  op  ey~  leye  of  het  sterck  genoch  sy. 
End  yst  steerck  genoch  soe  doet  dar  1  pont  spigelhars  yn 
end  latent  syd~  een  luttel  end  dan  so  settet  af~  end  dan 
ys  bereyW1 

In  the  accounts  handed  down  to  us,  Van  Eyck  is  de- 
scribed  as  a  clever  chemist,  and  it  is  stated  that  he  was 
continually  consulting  works  upon  that  science  for  in- 
formation.  The  works  of  the  Arab  chemists  had  be- 
come  known;  Albertus  Magnus,  Roger  Bacon,  Arnold 
of  Villa  Nova,  Raymond  Lully,  had  all  lived  and  written 
upon  the  "  Magnum  Opus,"  the  basis  of  which  rested 
upon  sublimation  and  distillation,  by  means  of  which 
the  elixir,  spirit,  or  excellence  of  all  things  were  to  be 
extracted.  The  words  of  Lomazzo,  which  we  have 
quoted  above,  would  therefore  probably  bear  a  literal 
meaning. 

Leonardo  da  Vinci  is  stated  to  have  followed  the 
manner  of  colouring  invented  by  Jolin  of  Bruges,  and 
to  have  thinned  his  oil  by  means  of  alembics.  This,  I 
was  convinced,  intended,  that  Leonardo  distilled  the  oil 
(he  himself  mentions  walnut  oil)  for  the  purpose  of 
painting. 

Aware  that  the  older  Italian  writers  used  the  word 
"  lambicco  "  as  representing  any  chemical  apparatus,  yet 

1  The  materials  employed  are  Ifb  linseed  oil,  lyn  olys ;  4  ounces 
of  amber  in  powder,  bernsteen  ghepulvirt ;  (a  loet  is  half  an  ounce,) 
and  1  pound  litharge,  spigelhars.  The  amber  is  dissolved  with  a 
little  oil  over  the  fire  ;  when  dissolved,  the  oil  is  added  hot  by 
degrees  ;  the  litharge,  of  which  an  enormous  quantity  is  added,  is 
then  put  in ;  it  is  cooked  a  little,  and  is  finished.  There  were 
various  modes  of  making  this  varnish  practised  in  Italy  at  a  later 
period.  The  process  here  described  would  make  a  very  dark 
varnish,  which  would  require  to  be  thinned  with  walnut  or  other 
oil  for  use. 


XXXIV  PREFACE. 

having  always  found  that  by  stillare  or  assotigliare  per 
lambicco  distillation  was  intended,  while  filtration  was  de- 
scribed  as  distillare  perfeltro,  it  became  necessary  to  seek 
for  any  precedent  that  distilled  linseed,  or  walnut  oil, 
was  used  in  the  art  of  painting,  experimenting,  at  the 
same  time,  at  home.  I  was  fortunate  enough  to  suc- 
ceed  in  both  instances l. 

1  I  think  it  better  to  give  the  result  of  the  experiment  as  I  noted 
it  down  at  the  time  it  was  tried,  without  further  comment  than  that 
it  is  one  which  should  be  attempted  by  no  inexperienced  hands ; 
the  explosive  nature  of  the  gas  produced  rendering  the  process 
highly  dangerous  to  an  unskilful  person,  although  a  very  simple 
and  easy  one  to  the  chemist,  or  other  operator. 
Walnut  Oil  :  its  Distllation. — March,  184-5,  and  July  25, 1845. 

4  oz.  distilled  in  a  glass  retort  and  receiver,  over  a  small  char- 
coal  fire  without  flame. 

Water  was  the  first  product;  then  came  over  a  Hght-coloured 
empyreumatic  oil,  which  gradually  became  of  a  darker  colour, 
mixed  with  water  during  the  whole  process  of  distillation. 

The  ebullition  in  the  retort  was  at  first  great,  but  it  gradually 
lessened  as  the  oil  became  of  greater  substance.  The  heat  is  required 
to  be  increased  to  keep  up  the  vapour  producing  the  distilled  oil. 
As  the  process  continued,  this  vapour  became  more  abundant,  and 
a  quantity  of  gas  was  liberated,  to  allow  of  the  escape  of  which  the 
stopper  in  the  receiver  must  be  greased  and  loosely  dropped  into 
its  place;  care  should  be  taken  to  visit  this  often,  in  orderto  guard 
against  explosion.  It  appears  to  me  during  this  process  that  oil 
will  not  spontaneously  take  fire  at  a  great  heat;  it  requires  contact 
with  flame  or  a  red  heat  in  order  to  do  so. 

Carbonic  acid  and  carburetted  hydrogen  gas  are  the  principal 
gases  produced.  This  mixture  of  gases,  probably  owing  to  the 
great  excess  of  carburetted  hydrogen,  is  highly  inflammable  :  it  is 
the  production  of  this,  not  of  a  highly  inflammable  volatile  oil, 
which  causes  oil,  raised  to  a  very  high  temperature,  to  take  fire 
when  in  contact  with  flame,  or  highly  heated  bodies,  such  as  red- 
hot  iron,  &c, 

Volatile  oils  of  two  specific  gravities  were  produced ;  the  first 
(before  an  increased  temperature  was  given  to  the  retort)  was  of  a 


PREFACE.  XXXV 

The  earliest  mention  I  find  of  distilled  linseed  oil  is 
in  conjunction  with  amber  varnish ;  it  is  to  be  used  as 
a  varnish,  or  glaze,  upon  painted  subjects,  and  it  is  con- 
tained  in  a  collection  of  recipes  relative  to  the  Arts, 

less  specific  gravity,  and  also  of  a  lighter  colour  than  that  which 
follows,  and  it  forms  a  stratum  upon  the  darker  and  denser  vola- 
tile  oil.  The  daiker  volatile  oil  is  of  the  colour  of  pale  amher, 
the  lighter  a  very  pale  straw  colour,  almost  colourless.  They 
unite  by  agitation,  as  also  will  the  small  quantity  of  water,  if  the  oil 
is  not  carefully  decanted  from  it. 

Memorandum,  October  28,  1815. 

This  distilled  or  empyreumatic  oil  should  be  kept  in  a  jar  covered 
with  muslin  so  as  merely  to  keep  out  dust  and  dirt,  but  to  allow  the 
entrance  of  air  and  the  escape  of  the  empyreuma.  In  a  short  time 
this  oil,  which  is  at  first  so  pungent  and  ofFensive,  becomes  gradu- 
ally  of  less  powerful  odour,  and  in  a  few  weeks  is  not  of  more  un- 
pleasant  smell  than  boiled  linseed  oil.  It  appears  to  absorb  oxy- 
gen  by  contact  with  air,  and  at  a  temperature  of  40°,  F.  becomes 
flocculent  in  appearance,  while  at  70°,  F.  it  remains  transparent. 
This  is  not  a  deposition  of  stearine,  but  the  effect  of  a  diminution 
of  temperature,  the  absence  of  heat  causing  it  to  become  solid,  as  is 
the  case  with  many  distilled  oils,  at  that  temperature. 

Amber  varnish,  (and  probably  other  thick  oil  varnishes,)  would 
be  equally  benefited  thinned  with  this  distilled  oil ;  it  dries  with- 
out  a  pellicle  when  mixed  with  colours.  Colours  used  for  finish- 
ing  a  picture,  such  as  in  the  light  for  solid  painting,  or  glazing  for 
colour  and  shadows,  are  rendered  very  pure,  and  without  the 
slightest  appearance  of  a  skin,  although  it  may  be  plentifully  used. 
It  dries  much  more  slowly  than  any  other  distilled  oil,  and  hence 
its  great  value,  as  it  allows  the  artist  as  much  time  as  he  requires 
in  order  to  blend  his  colours  and  finish  his  work.  In  conjunction 
with  amber  varnish  it  forms  a  vehicle  which  leaves  nothing  to  be 
desired,  and  which  doubtless  was  the  vehicle  of  Van  Eyck,  and 
in  many  instances  of  the  Venetian  masters,  and  of  Correggio,  the 
different  modes  of  painting  necessarily  producing  the  varied  appear- 
ances  of  the  difFerent  schools  and  masters. 

c  2 


XXXVI  PREFACE. 

made  by  a~monk  of  the  order  of  Jesus,  contained  in 
the  LuccaEd.   1577'. 

"  A  far  un  liquore  et  vi  usa  da  dove  p.  vernice  sopra 
le  figure.  Piglia  olio  di  seme  di  lino,  fatto  distillare  a 
lambico  di  vetro,  poi  piglia  vernice  d'ambra,  che  sia  bella, 
oncie  3,  et  deW  dJto  oglio  oncia  1,  e  incorporali  bene  in- 
sieme  con  lento  fuoco  poi  adoperarlo  calo  a  modo  di  ver- 
nice,  et  si  riusceva  bene  in  legno,  in  tela,  in  quazzo,  e  in 
ogni  opera  e  lavora  con  destrempa? 

In  Chapter  XV.  L.  2,  is  the  recipe  for  the  manufacture 
of  the  Greek  glass  which  forms  the  ground  of  the 
Mosaicjpictures  in  St.  Marc's  church  at  Venice,  and 
which  were  commenced  at  a  period  subsequent  to  the 
labours  of  %  Theophilus,  by  Doge  Dominico  Silvio  in 
1071 ;  these  were  all  executed  by  Greek  artists.  St. 
Sophia  was  covered  with  this  kind  of  rich  decoration, 
called  yjrricfxocns  by  the  Greeks2. 

1  "  Secreti  di  Don  Alessio  Reverendiss0.  Piemontese,  con  una 
bellissima  aggiunta  de  secreti  da  uno  reverendo  Padre  Jesuato, 
pratica  et  eccellenta."  4to.  Lucca.  1557.  Wecker,  "  de  se- 
cretis,"  Basle,  publishes  this  as  from  Alexius,  p.  643.  "  Ad  pictu- 
ras  illustrandas.  Rec.  olei  lini  quantum  volueris,  destilletur  in 
cucurbita  vitrea  donec  omne  exierit  oleum,  de  quo  sumito  unc.  j. 
Vernicis  ambrae  unc.  iij.  misceantur  ad  ignem  lentum  probe,  et 
fiatmistura,  qua  calida  utere  ad  omnis  generis  picturas,  sive  in 
ligno,  sive  in  tela  fuerint.  Verum  industria,  ac  dexteritate  opus 
est  utendo." 

2  This  word  "  fsefosis"  which  signifies  an  arrangement  of  small 
stones,  is  called  "fsefysa,"  by  the  Arabs,  from  the  Greek  word, 
which  is  the  appellation  they  give  to  Mosaic  work,  the  "  Litho- 
stratum  "  of  St.  Isidore  of  Seville.  From  the  chronicle  of  the 
patriarch  Eutichius,  it  appears  that  when  the  Mussulmans  invaded 
Palestine,  for  the  first  time,  they  found  the  church  of  Bethlehem, 
built  by  St.  Helena,  ornamented  with  fsefosis.    According  to  Ebn- 


PREFACE.  XXXVll 

But  "  de  pictura  satis  superque,"  aud  my  labours  are 
drawing  to  a  close.  In  my  notes  I  have  offered  such 
explanations  of  the  terms  used  by  Theophilus  as  the 
limits  afforded  me  will  allow;  I  hope  that  the  reader  will 
not  find  them  misplaced. 

An  increasing  taste  is  obtaining  for  the  beautiful  and 
spirited  works  of  art  belonging  to  the  middle  ages,  for 
things  which  the  last  century  abandoned  to  contempt 
and  neglect :  the  important  works  which  have  lately 
been  undertaken  in  this  country,  and  which  are  pro- 
bably  destined  to  increase,  render  an  apology  for  the  in- 
troduction  of  this  book  needless;  information  upon 
these  subjects  is  every  where  sought,  and  an  opportu- 
nity  is  affordedj  for  the  instruction  of  the  artist  and 
artizan,  as  much  needed  in  our  time  as  in  that  of  our 
author.  The  prospect  of  the  general  diffusion  and  em- 
ployment  of  art  in  our  English  Protestant  cathedrals 

Sayd,  one  of  the  conditions  of  the  peace,  concluded  at  the  com- 
mencement  of  the  eighth  century  between  the  Caliph  Valid  and 
the  Greek  Emperor,  was,  that  the  latter  should  furnish  a  certain 
quantity  of  "  fsefysa  "  for  the  decoration  of  the  Mosque  of  Damas- 
cus,  which  the  caliph  vvas  then  constructing.  (Notice  upon  the  Works 
qf  M.  de  Prangey,  Journal  Asialique,  An.  1842,^.  9,  10.)  The  same 
word,  "  -^yQrA,"  is  found  in  the  Athos  MS.  (loc.  cit.)  to  designate 
mosaics.  "  But,"  writes  M.  Didron,  "  these  are  mosaics  in  glass, 
transparent,  with  golden  grounds,  as  the  words  '  ^vQok;  xgvaton; ' 
indicate :  these  are  the  mosaics  which  cover  the  vaults,  cupolas, 
and  a  part  of  the  walls  of  St.  Sophia  of  Constantinople,  of  St. 
Sophia  of  Salonica,  of  Vatopedi  and  of  St.  Laura  of  Mount  Athos, 
of  Daphne  near  Athens,  of  St.  Luke  in  Livadia,  of  the  round 
temples  of  Salonica  and  of  Ravenna.  Mosaic  is  Byzantine  and 
Christian,  and  the  Arabs,  whouhave  merely  a  borrowed  architec- 
ture,  have  even  borrowed  a  great  portion  of  their  embellishment." 
The  word  "mosaic"  was  most  probably  derived  from  the  word 
"mosque,"  for  the  adornment  of  which  the  Byzantine  Greeks  were 
much  employed  in  producing  these  cubic  glass  stones. 


XXXVUl  PREFACE. 

and  churches  and  chapels  of  all  sects  is  becoming  every 
day  stronger;  we  appear  anxious  at  last  to  throw  off 
the  title  acquired  by  us,  in  common  with  the  Turks,  of 
"  lovers  of  whitewash,"  as  if  in  that  practice  simplicity 
was  ensured. 

There  are  sterile  periods  in  history,  as  in  years,  which 
are  succeeded  by  those  of  fertility ;  from  the  seed  which 
is  being  scattered  to-day  we  may  reap  a  rich  harvest 
which  may  help  to  nourish  industry,  commerce  and  art, 
and,  by  tending  to  impress  new  directions  and  tastes, 
may  aid  in  dispelling  a  portion,  at  least,  of  the  darkness 
which  opposes  the  progress  of  the  mass  of  human  intel- 
ligence. 

In  concluding  my  labours,  the  kindness  of  the  several 
gentlemen  to  whom  I  have  had  occasion  to  apply, 
during  the  progress  of  this  work,  demands  my  liveliest 
recognition. 

At  Vienna,  Dr.  Ferdinand  Wolf;  at  Paris,  MM. 
Libri,  Champollion,  and  the  Count  de  1'Escalopier 
united  to  forward  the  views  of  a  stranger  with  a  promp- 
titude  honourable  to  them  in  the  service  of  literature. 

At  home,  Sir  Frederick  Madden,  Signor  Panizzi  and 
Mr.  Eastlake,  have  likewise  aided  my  exertions,  by  at- 
tentions  and  kindness,  which  have  often,  in  the  midst 
of  difficulties,  encouraged  and  cheered  labours  which 
by  the  concurrent  sympathy  of  so  many  enlightened 
men,  I  have  felt  were  not  pursued  without  a  prospect 
of  advantage  to  the  public. 

ROBERT  HENDRIE. 

Note. — The  characters  in  the  title,  printed  with  the  specirnens  of 
different  MSS.  of  Theophilus,  are  taken  from  a  Manuscript  now  in 
the  British  Museum,  executed  by  Greek  artists  for  Melissenda 
(daughter  of  Baldwin  II.),  who  married  Fulco,  king  of  Jerusalem, 
in  1131. 


LIBER    PRIMIJS    THEOPHILI, 


QtJI    KT 

RUGEEUS. 


BOOK  THE  FIRST  OF  THEOPHILUS, 

CALLED  ALSO 

RUGEKUS. 


INCIPIUNT       CAPITULA. 


I.    DE  TEMPEBAMENTO    COLOBUM  IN 
NUDIS  COEPOEIBUS. 
II.    DE  COLORE  PEASINO. 

III.  DE  POSC  PBIMO. 

IV.  DE  BOSA  PRIMA. 
V.    DE  LUMINA  PBIMA. 

VI.    DE  VENEDA  IN  OCULIS  PONENDA. 
VII.    DE  POSC  SECUNDO. 
VIII.    DI3  ROSA  SECUNDA. 
IX.    1>E  LUMINA  SECUNDA. 
X.    DE  CAPILLIS  PUERORUM,  ADOLES- 

CENTUM,  ET  JUVENUM. 
XI.    DE  BARBIS  ADOLESCENTUM. 
XII.    DE  CAPILLIS  ET  BARBIS  DECREP- 
ITORUM  ET  SENUM. 

XIII.  DE  EXUDRA  ET    CETERIS  COLORI- 

BUS  VULTUUM. 

XIV.  DE  MIXTURA  VESTIMENTORUM  IN 

LAQUEAEI. 
XV.    DE  MIXTUEA  VESTIMENTOEUM  IN 

MUEO. 
XVI.    DE      TEACTATU     QUI     IMITATUR 
SPECIEM  PLUVIALIS  AECUS. 
XVII.    DE  TABULIS   ALTABIUM    ET  OSTI- 

OEUM,  ET  GLUTINE  CASEI. 
XVIII.    DE  GLUTINE    COBII    ET   COENUUM 
CEBVI. 
XIX.     DE  ALBATUBI  GTPSI. 
XX.    DE  EUBBICANDIS  OSTIIS  ET  OLEO 
LINI. 


XXI.    DE  GLUTINK  VEENITION. 
XXII.    DE  EODEM. 
XXIII.    DE  SELLIS   EQUESTBIBUS  ET    OC- 
TOFOBIS. 
XXIV.    DE  PETULA  AUBI. 

XXV.    DE  IMPONENDO  AUEO. 
XXVI.    DE  PETULA  STAGNI. 
XXVII.    DE  COLOEIBUS  OLEO  ET    GUMMI 
TEEENDIS. 
XXVIII.    QUOTIENS     IIDEM     COLOBES    PO- 
NENDI  SINT. 
XXIX.    DE  PICTUBA  TEANSLUCIDA. 
XXX.    DE    MOLENDO   AUKO    IN    LIBBIS 
ET     DE     FUNDENDO      MOLEN- 
DINO. 
XXXI.    QUOMODO  AUEUM  ET  ABGENTUM 

IN  LIBEIS  PONATUB. 
XXXII.    QUOMODO    DECOEETUB   PICTUBA 
LIBEOBUM  STAGNO  ET  CROCO. 

XXXIII.  DE  OMNI  GENERE    GLUTINIS    IN 

PICTUBA  AURI. 

XXXIV.  QUOMODO     COLORES    IN     LIBBIS 

TEMPERENTUR. 
XXXV.    DE     GENERIBUS     ET     TEMPERA- 

MENTIS  FOLII. 
XXXVI.    DE  CENOBEIO. 
XXXVII.    DE  VIEIDI  SALSO. 
XXXVIII.    DE  VIBIDI  HISPANICO. 
XXXIX.    DE  CEBOSA  ET  MINIO. 
XL.    DE  INCAUSTO. 


CHAPTERS. 


I.    OP    THE    MIXTURE    OP    COLOUKS 

FOK  THE  NUDE. 
II.    OF  THE  COLOUR  PRASINUS. 
III.    OP    THE    FIRST     POSC,    OR    HALF 

SHADOW. 
IV.    OF  THE  FIRST  ROSE  COLOUR. 
V.    OF  THE  FIRST  RELIEP. 
VI.    OP  VENEDA  TO  BE  LAID    IN    THE 
EYES. 
VII.    OF    THE    SECOND     POSC,  OR    SHA- 
DOW  COLOUR. 
VIII.    OF  THE  SECOND  ROSE  COLOUR. 
IX.    OF  THE  SECOND  RELIEF. 
X.    OF    THE  HAIR  OF  BOYS,  YOUTHS, 
AND  YOUNG  MEN. 
XI.    OF  THE  BEARDS  OF  YOUTHS. 
XII.    OF    THE    HAIR    AND    BEARDS    OP 
OLD  AND  DECKEPIT  MEN. 

XIII.  OF  EXUDRA  AND  OTHER  COLOURS 

OF  FACES. 

XIV.  OF  THE  MIXTURE    FOR  DRAPERY 

ON  PLASTER. 

XV.  OF  THE  MIXTURE  FOR  DRAPERY 

ON  A  WALL. 

XVI.    OF  THE  DRAWING  IMITATING  THE 

APPEARANCE  OF  THE  RAINBOW. 

XVII.    OF  THE  TABLETS  OF  ALTARS  AND 

DOORS,  AND   OF    THE  GLUE    OP 

SVIII.    OF     GLUE    OF    SKINS    AND    STAG- 
HORNS. 
XIX.    OF  THE  WHITE  GROUND    OF  GYP- 
SUM. 


XXI. 

XXII. 

XXIII. 

XXIV. 

XXV. 

XXVI. 

XXVII. 


XXIX. 
XXX. 


XXXVI. 

XXXVII. 

XXXVIII. 

XXXIX. 

XL. 


OP  REDDENING  DOOR8,  AND    OV 

LINSEED  OIL. 
OF  THE  VARNISH  GLUTEN. 
OF  THE  SAME. 
OF  SADDLES  AND  LITTER8. 
OF  GOLD  LEAF. 
OF  LAYING  ON  THE  GOLD. 
OF  TIN  LEAF. 
OF    COLOURS     TO      BE     GROUND 

WITH  OIL  AND  GUM. 
HOW  OFTEN  THE  SAME  COLOURS 

ARE  TO  BE  LAID  ON. 
OF  A  TRANSPARENT  PICTURE. 
OF  GRINDING   GOLD  FOR  BOOKS, 

AND  OF  CASTING  THE  MILL. 
HOW    GOLD    AND     SIL7ER    ARE 

LAID  ON  BOOKS. 
HOW  A  PICTURE  IS  ORNAMENTED 
IN     BOOKS    WITH     TIN      AND 
SAFFRON. 
OP    EVERY    SORT    OP    GLUE    FOR 

GOLD  ORNAMENT. 
HOW    COLOURS   ARE    TEMPERED 

FOR  BOOKS. 
OF   THE  KINDS    AND    THE    TEM- 

PERING  OF  FOLIUM. 
OF  CINNABAR. 
OF  SALT  GREEN. 
OF  SPANISH  GREEN. 
OP  CERUSE  AND  MlNIUM. 
OF  INK. 


E  R  R  A  T  A. 


Page    97,  line  30,  for  painting  oil,  read  preparing  oil. 
101,  for  Pauselinos,  read  Panselinos. 


PROLOGUS  LIBRI   PRIMI. 


PROLOGUS    THEOPHILI'. 


SENSIM  per  partes  discuntur  quaelibet  artes. 
Artis  pictorum  prior  est  factura  colorum. 
Post  acl  mixturas  commitat  mens  tua  curas. 
Hoc  opus  exerce,  sed  ad  unguem  cunta  coherce, 
Ut  sit  adornatum  quod  pinxeris  et  quasi  natum. 
Postea  multorum  documentis  ingeniorum 
Ars  opus  augebit,  sicut  liber  iste  docebit. 


Theophilus,  humilis  presbyter,  servus  servorum  Dei, 
indignus  nomine  et  professione  monachi,  omnibus  men- 
tis  desidiam  animique  vagationem  utili  manuum  occu- 
patione,  et  delectabili  novitatum  meditatione  declinare 
et  calcare  volentibus,  retributionem  coelestis  prsemii ! 

Legimus  in  exordio  mundanse  creationis  hominem,  ad 
imaginem  et  similitudinem  Dei  conditum  et  inspira- 
tione  divini  spiraculi  animatum,  tantseque  dignitatis  ex- 
cellentia  caeteris  anjmantibus  prserogatum  ;  ut  rationis 
capax  divinse  prudentise,  consilii  ingeniique  mereretur 
participium,  arbitriique  libertate  donatus  solius  condi- 
toris  sui  suspiceret  voluntatem  et  revereretur  imperium. 
Qui  astu  diabolico  misere  deceptus,  licet  propter  in- 
obedientise  culpam  privilegium  immortalitatis  amiserit, 
tamen  scientiae  et  intelligentiae  dignitatem  adeo  in  pos- 

1  Prefatio  libri  primi  non  extat  in  Manuscripto  Harleio  :  sup- 
plevimus  ex  Cod.  Guelpherbytano. 


PREFACE    OF   THEOPHILUS. 


ALL  arts  are  taught  by  degrees.  The  first  process 
in  art  of  the  painter  is  the  composition  of  colours. 
Let  your  mind  be  afterwards  applied  to  the  study  of 
the  mixtures.  Practise  this  labour,  but  restrain  all 
things  with  precision,  that  your  painting  may  be  beau- 
tiful  and  natural.  Your  artistic  skill  will  afterwards 
be  increased  by  the  descriptions  of  many  inventions,  as 
this  book  will  teach  you. 


I,  Theophilus,  an  humble  priest,  servant  of  the  ser- 
vants  of  God,  unworthy  of  the  name  and  profession  of 
a  monk,  to  all  wishing  to  overcome  or  avoid  sloth  of 
the  mind  or  wandering  of  the  soul,  by  useful  manual 
occupation  and  the  delightful  contemplation  of  novel- 
ties,  send  a  recompense  of  heavenly  price. 

We  read  in  the  exordium  of  mundane  creation  that 
man,  made  after  the  image  and  likeness  of  God  and 
animated  by  the  inspiration  of  the  Divine  breath,  was 
also,  by  the  excellence  of  so  much  dignity,  raised  above 
other  living  creatures ;  as  capable  of  reason,  he  merited 
to  participate  in  the  counsel  and  genius  of  I  'ivine  pro- 
vidence,  and,  gifted  with  free-will,  he  beheld  superior 
to  himself  but  the  will  of  his  Maker  and  the  obliga- 
tion  to  reverence  his  decree.  Wherefore,  miserably 
deceived  by  diabolical  astuteness,  he  lost  the  privilege 
of  immortality  through  the  fault  of  disobedience,  yet 
so  transmitted  his  power  of  wisdom  and  intelligence  to 


xlvi  PREFATIO. 


teritatis  propaginem  transtulit,  ut  quicunque  curam  sol 
licitudinemque  addiderit,  totius  artis  ingeniique  capa 
citatem  quasi  hgereditario  jure  adipisci  possit. 


Hujusmodi  intentionem  humana  suscipiens  sollertia, 
et  in  diversis  actibus  suis  insistens  lucris  et  voluptatibus, 
per  temporum  incrementa,  tandem  ad  preedestinata 
Christianae  religionis  perduxit  tempora,  factumque  est, 
ut  quod  ad  laudem  et  gloriam  nominis  sui  condidit  dis- 
positio  divina,  in  ejus  obsequium  converteret  plebs  Deo 
devota.  Quapropter  quod  ad  nostram  usque  setatem 
sollers  prsedecessorum  transtulit  provisio,  pia  fidelium 
non  negligat  devotio ;  quodque  haereditarium  Deus  con- 
tulit  homini,  hoc  homo  omni  aviditate  amplectatur  et 
laboret  adipisci. 


Quo  adepto,  nemo  apud  se,  quasi  ex  se  et  non  aliunde 
accepto,  glorietur ;  sed  in  Domino,  a  quo  et  per  quem 
omnia,  et  sine  quo  nihil,  humiliter  gratuletur,  nec  con- 
cessa  invidise  sacculo  recondat,  aut  tenacis  armariolo 
cordis  occultet,  sed  omni  jactantia  repulsa,  hilari  mente 
simpliciter  quserentibus  eroget,  metuatque  evangelicam 
illius  negotiatoris  sententiam,  qui  domino  suo  reconsig- 
nare  dissimulans  mnam  foeneratam,  omni  beneficio  pri- 
vatus,  oris  sui  judicio  nequam  servi  promeruit  notam. 


Quam  sententiam  incurrere  formidans,  ego,  indignus 
et  pene  nullius  nominis  homuncio,  quod  mihi  gratis  con- 
cessit,  quse  dat  omnibus  affluenter  et  non  improperat, 


PREFACE.  Xhii 

his  posterity,  that  whoever  would  supply  care  and  ap- 
plication  might  be  able  to  acquire  a  capability  of  every 
art  and  science,  as  by  an  hereditary  right. 

In  this  manner,  human  industry,  seizing  upon  this 
faculty  and  applying  itself  in  its  divers  acts  to  gain  and 
to  pleasure,  transmitted  it,  through  the  development 
of  time,  to  the  predestined  epoch  of  the  Christian  reli- 
gion,  and  it  came  to  pass  that  a  people  devoted  to 
God  converted  to  his  worship  that  which  Divine  ordi- 
nance  had,  to  the  praise  and  glory  of  His  name,  created. 
On  this  account,  the  pious  devotion  of  the  faithful 
may  not  neglect  that  which  the  careful  prevision  of 
our  predecessors  transmitted  to  our  age;  and  may 
man  embrace  with  all  avidity  that  which  God  has 
conferred  upon  man,  as  an  inheritance,  and  labour  to 
acquire  it. 

Skilful  in  which  let  no  one  glorify  himself  inwardly, 
as  if  received  from  himself  and  not  from  elsewhere,  but 
let  him  be  thankful  humbly  in  the  Lord,  from  whom 
and  through  whom  all  things  are  received,  and  without 
whom,  nothing ;  nor  let  him  wrap  his  gifts  in  the  fulds 
of  envy,  nor  hide  them  in  the  closet  of  an  avaricious 
heart,  but,  all  jealous  feeling  repelled,  let  him  with 
cheerful  mind  answer  with  simplicity  to  those  seeking 
him,  and  let  him  fear  the  judgment  of  the  Gospel 
upon  that  merchant,  who,  failing  to  return  to  his  lord  a 
talent  with  accumulated  interest,  deprived  of  all  re- 
ward,  merited  the  censure  from  the  mouth  of  his  judge 
of  "wicked  servant." 

Fearing  to  incur  which  sentence,  I,  frail  and  un- 
worthy  and  almost  without  name,  offer  gratuitously  to 
all  desirous  with  humility  to  learn,  that,  which  Divine 
authority,  which  affluently  and  not  precipitately  gives  to 
all,  gratuitously  conceded  to  me,  and  I  admonish  them 


xlviii  PREFATIO. 

divina  dignatio,  cunctis  humiliter  discere  desiderantibus 
gratis  offero,  et  ut  in  me  benignitatem  Dei  recognos- 
cant  largitatemque  mirentur,  admoneo,  et  ut  idem,  si 
opera  addiderint,  sibi  prsesto  esse,  procul  dubio  credant 
insinuo. 

Sicut  enim  homini  quodcunque  vetitum  aut  inde- 
bitum  cujuscunque  modi  ambitione  attemptare,  sive 
rapina  usurpare,  iniquum  est  et  detestabile ;  sic  jure 
debitum  et  ex  patre  Deo  haereditarium  intemptatum 
negligere  aut  contemptui  ducere,  ignavise  adscribitur 
ac  stultitiae.  Tu  ergo  quicunque  es,  fili  carissime,  cui 
Deus  misit  in  cor  campum  latissimum  diversarum  ar- 
tium  perscrutari,  et  ut  exinde,  quod  libuerit,  colligas, 
intellectum  curamque  apponere,  non  vilipendas  pre- 
tiosa  et  utilia  quseque,  quasi  ea  tibi  sponte  aut  insperato 
domestica  terra  produxerit ;  quia  stultus  negotiator  est, 
qui  thesaurum  subito  fossa  humo  repererit,  si  illum 
colligere  et  servare  neglexerit.  Quod  si  tibi  arbusta 
vilia  myrrham,  thus  et  balsama  producerent,  seu  fontes 
domestici  oleum,  lac  et  mella  profunderent,  sive  pro 
urtica  et  carduo  cseterisque  horti  graminibus  nardus  et 
fistula  diversorumque  generum  aromata  crescerent, 
numquid  his  contemptis  tanquam  vilibus  et  domesticis 
ad  extranea,  nec  meliora,  sed  fortassis  viliora  compa- 
randa  circuires  terras  et  mares?  et  hoc  te  judice  gran- 
dis  foret  stultitia.  Quamvis  enim  soleant  homines 
quseque  pretiosa  multo  sudore  quaesita,  sumptuumque 
numerositate  comparata,  primo  loco  reponere,  summa- 
que  tueri  cautela :  tamen  si  forte  interdum  gratis  occur- 
rerint  aut  inveniantur  paria  seu  meliora,  non  dissimili, 
imo  majori  servantur  custodia. 


PREFACE.  xlix 

that  in  me  they  may  recognise  the  goodness  and  ad- 
mire  the  generosity  of  God,  and  I  advise  them  likewise 
that  if  to  this  their  labours  are  added,  they  may  believe 
beyond  a  doubt  that  excellence  awaits  them. 

And  as  it  is  iniquitous  and  detestable  to  a  man  to 
appropriate  through  covetousness,  in  any  manner,  that 
which  is  unlawful,  or  undue,  or  to  seize  it  with  theft,  so 
also  to  neglect  untried,  or  contemptuously  to  turn  from 
an  heritage  given  as  a  right  by  God  the  Father,  is  to 
be  ascribed  to  cowardice,  and  folly.  Whoever  thou 
art,  therefore,  dearest  son,  in  whose  heart  God  has 
placed  the  desire  to  explore  the  vast  field  of  the  divers 
arts,  and  to  bring  thereto  intellect  and  care,  that  thou 
mayest  afterwards  collect  therefrom  that  which  may 
please  thee,  think  not  thou  cheaply  of  any  precious  and 
useful  things ;  as  if  the  domestic  soil  produced  them 
for  thee  spontaneously,  or  unsought  for ;  he  would  be  a 
foolish  calculator  who  suddenly  finding  a  treasure  in  a 
hole  in  the  ground,  should  neglect  to  gather  and  keep  it. 
But  if  for  thee  the  common  shrubs  produced  myrrh, 
thus  and  balsam,  or  the  domestic  springs  poured  forth 
oil,  milk  and  honey,  or,  for  the  nettle  and  thistle  and 
other  weeds  of  the  garden,  grew  spikenard  and  cin- 
namon  and  aromatics  of  various  kinds,  wouldst  thou, 
these  being  despised  as  common  and  domestic,  travel 
over  lands  and  seas  after  foreign  things  not  better,  but 
perhaps  more  vile  in  comparison?  this,  in  thine  own 
judgment,  would  be  a  great  folly.  For  however  men 
are  accustomed  to  place  in  the  first  rank  and  to  keep 
with  the  greatest  care  some  precious  things  sought 
with  much  labour  and  acquired  with  great  expense, 
yet,  if  by  chance  they  are  sometimes  met  with  cheaply, 
or  like,  or  better  things,  are  found,  they  are  preserved 
with  a  similar,  yes,  with  a  greater  care. 

d 


PREFATIO. 


Quapropter,  fili  dulcissime,  quem  Deus  omnino  beatum 
fecit  in  hac  parte,  qua  tibi  gratis  offeruntur,  quae  multi 
marinos  secantes  fluctus  cum  summo  periculo  vitse,  famis 
ac  frigoris  artati  necessitate,  aut  diuturna  doctorum 
fessi  servitute,  omni  modoque  fatigati  discendi  desiderio, 
intolerabili  tamen  acquirunt  labore  ;  hanc  Diversarum 
artium  schedulam  avidis  obtutibus  concupisce,  tenaci 
memoria  perlege,  ardenti  amore  complectere. 


Quam  si  diligentius  perscruteris,  illic  invenies  quic- 
quid  in  diversorum  colorum  generibus  et  mixturis  habet 
Graecia;  quicquid  in  electorum  operositate,  seu  nigelli 
varietate  novit  Tuscia ;  quicquid  ductili  vel  fusili,  seu 
interrasili  opere  distinguit  Arabia ;  quicquid  in  vasorum 
diversitate,  seu  gemmarum  ossiumve  sculptura  auro 
decorat  Italia ;  quicquid  in  fenestrarum  pretiosa  varie- 
tate  diligit  Francia ;  quicquid  in  auri,  argenti,  cupri  et 
ferri,  lignorum  lapidumque  subtilitate  sollers  laudat 
Germania. 

Quse  cum  ssepe  relegeris  et  tenaci  memorise  com- 
mendaveris,  hac  vicissitudine  instructionis  me  recom- 
pensabis,  ut,  quoties  labore  meo  bene  usus  fueris,  ores 
pro  me  apud  misericordiam  Dei  omnipotentis,  qui  scit, 
me  nec  humanse  laudis  amore,  nec  temporalis  praemii 
cupiditate,  quae  digesta  sunt,  conscripsisse,  aut  invidiae 
livore  pretiosum  quid  aut  rarum  subtraxisse,  seu  mihi 
peculiariter  reservatum  conticuisse,  sed  in  augmentum 
honoris  et  gloriae  nominis  ejus  multorum  necessitatibus 
succurrisse  et  profectibus  consuluisse. 


PBEFACE. 


Wherefore,  gentle  son,  whom  God  has  rendered  per- 
fectly  happy  in  this  respect,  that  those  things  are  of- 
fered  to  thee  gratis  which  many,  ploughing  the  sea- 
waves  with  the  greatest  danger  to  life,  consumed  by 
the  hardship  of  hunger  and  cold,  or  subjected  to  the 
weary  servitude  of  teachers,  and  altogether  worn  out 
by  the  desire  of  learning,  yet  acquire  with  intolerable 
labour,  covet  with  greedy  looks  this  "  book  of  Various 
arts,"  read  it  through  with  a  tenacious  memory,  em- 
brace  it  with  an  ardent  love. 

Should  you  carefully  peruse  this,  you  will  there  find 
out  whatever  Greece  possesses  in  kinds  and  mixtures  of 
various  colours ;  whatever  Tuscany  knows  of  in  mosaic 
work,  or  in  variety  of  enamel ;  whatever  Arabia  shows 
forth  in  work  of  fusion,  ductility,  or  chasing ;  whatever 
Italy  ornaments  with  gold,  in  diversity  of  vases  and 
sculpture  of  gems  or  ivory ;  whatever  France  loves  in 
a  costly  variety  of  windows;  whatever  industrious 
Germany  approves  in  work  of  gold,  silver,  copper  and 
iron,  of  woods  and  of  stones. 

When  you  shall  have  re-read  this  often,  and  have 
committed  it  to  your  tenacious  memory,  you  shall  thus 
recompense  me  for  this  care  of  instruction,  that  as  often 
as  you  shall  successfully  have  made  use  of  my  work, 
you  pray  for  me  for  the  pity  of  Omnipotent  God,  who 
knows  that  I  have  written  these  things,  which  are  here 
arranged,  neither  through  love  of  human  approbation, 
nor  through  desire  of  temporal  reward,  nor  have  I 
stolen  anything  precious  or  rare  through  envious  jea- 
lousy,  nor  have  I  kept  back  anything  reserved  for 
myself  alone ;  but  in  augmentation  of  the  honour  and 
glory  of  His  name,  I  have  consulted  the  progress  and 
hastened  to  aid  the  necessities  of  many  men. 


T  H  E  0  P  H  ILI 

LIBER  PRIMUS. 


BOOK  I.  OF  THEOPHILUS. 


INCIPIT    LIBER    PRIMUS 
THEOPHILI      M  0  N  A  C  H  I, 

DE     DIVERSIS    ARTIBUS. 


CAPUT  I. 

DE   TEMPERAMENTO    COLORUM    IN    NUDIS    CORPORIBUS. 

COLOR  qui  dicitur  membrina,  quo  pinguntur  facies  et 
nuda  corpora,  sic  componitur.  Tolle  cerosam,  id  est 
album,  quod  fit  ex  plumbo,  et  mitte  eam  non  tritam,  sed  ita 
ut  est  siccam,  in  vas  cupreum  vel  ferreum,  et  pone  super 
prunas  ardentes,  et  combure  donec  convertatur  in  flavum 
colorem.  Deinde  tere  eum,  et  admisce  ei  albam  cerosam  et 
cenobrium1,  donec  carni  similis  fiat.  Quorum  colorum  mix- 
tura  in  tuo  sit  arbitrio  ;  ut  si,  verbi  gratia,  rubeas  facies  habere 
vis,  plus  adde  cenobrii;  si  vero  candidas,  plus  appone  albi; 
si  autem  pallidas,  pro  cenobrio  modicum  prasini. 


CAPUT  II. 

DE   COLORE    PRASINO. 


QUI  prasinus,  est  confectio  quaedam  habens  similitudinem 
viridi  coloris  et  nigri,  cujus  natura  talis  est,  quod  non 
teritur  super  lapidem,  sed  missus  in  aquam  resolvitur  et  per 
pannum  diligenter  colatur,  cujus  usus  in  recenti  muro  pro 
viridi  colore  satis  utilis  est. 

1  Vel  sinopidem,  ex  C.  R. 


THE  BEGINNING 

OF 

THE    FIKST    BOOK 

OF 

THEOPHILUS    THE    MONK, 

UPON    VARIOUS    ARTS. 


CHAPTER  I. 

OF   THE    MIXTURE   OF   COLOURS    FOR    THE    NUDE. 

The  colour  which  is  called  flesh  colour,  with  which  the  face 
and  the  nude  are  painted,  is  thus  composed.  Take  ceruse, 
that  is  white  which  is  made  from  lead,  and  put  it,  not  ground, 
but  dry  as  it  is,  into  a  copper  or  iron  vessel,  and  place  it  upon 
glowing  coals,  and  burn  it  until  it  is  converted  into  a  yellow 
colour.  Then  grind  it,  and  mix  with  it  white  ceruse,  and 
cinnabar,  until  it  is  made  like  flesh.  The  mixture  of  these 
colours  may  be  made  according  to  your  will ;  so  that  if  you 
wish  to  have  red  coloured  faces,  add  more  cinnabar ;  but  if 
clear  complexions,  put  more  white;  if  pallid  however,  add, 
for  cinnabar,  a  little  green. 


CHAPTER  II. 

OF    THE    COLOUR   CALLED    PRASINUS. 

Which  prasinus  is  a  preparation  having  the  appearance  of  a 
green  colour  with  black ;  such  is  the  nature  of  which,  that  it  is 
not  ground  upon  the  stone,  but,  placed  in  water  it  is  dis- 
solved,  and  is  carefully  strained  through  a  cloth ;  its  use  is 
rather  advantageous  upon  a  new  wall  for  a  green  colour. 

b  2 


4  THEOPHILI    LIBER    I. 

CAPUT   III. 

DE    POSC    PRIMO. 

CUM  vero  membrinam  miscueris  inde  facies  et  nuda  cor- 
pora  impleveris,  admisce  ei  prasinum  et  rubeum,  qui 
comburitur  ex  ogra,  et  modicum  cenobrii,  et  confice  posc,  ex 
quo  designabis  supercilia  et  oculos,  nares,  et  os,  mentum,  et 
fossulas  circa  nares,  et  tempora,  rugas  in  fronte  et  collo,  et 
rotunditatem  faciei,  barbas  juvenum  et  articulos  manuum  et 
pedum,  et  omnia  membra,  quae  distinguuntur  in  nudo  corpore. 


CAPUT   IV. 

DE    ROSA    PRIMA. 

DEINDE  misce  cum  simplici  membrina  modicum  cenobrii 
et  parum  minii,  et  confice  colorem,  qui  dicitur  rosa,  unde 
rubricabis  maxillam  utramque,  os  et  menturn  inferius,  collum 
et  rugas  frontis  modice,  ipsam  frontem  super  tempora  ex 
utraque  parte,  nasum  in  longitudine  et  supernares  ex  utraque 
parte,  articulos  et  csetera  membra  in  nudo  corpore. 


CAPUT    V. 


DE    LUMINA    PRIMA. 


POST  hsec  misce  cum  simplici  membrina  cerosam  tritam, 
et  compone  colorem,  qui  dicitur  lumina,  unde  illuminabis 
supercilia,  nasum  in  longitudine  et  super  foramina  narium  ex 
utraque  parte,  subtiles  tractus  circa  oculos  et  tempora  inferius, 
et  mentum  superius,  juxta  nares  et  os  ex  utraque  parte,  fron- 
tem  superius,  inter  rugas  frontis  modice,  et  collum  in  medio, 
et  circa  aures,  ac  articulos  manuum  et  pedum  exterius  et 
omnem  rotunditatem  manuum,  pedum  et  brachiorum  in  medio. 


TRANSLATION.  O 

CHAPTER  III. 

OF   THE    FIRST    POSC,    OR    HALF    SHADOW. 

When  you  have  mixed  the  flesh  colour,  and  have  filled  in  the 
faces  and  the  nude  with  it,  mix  with  it  some  deep  green  and 
the  red  which  is  burnt  from  ochre,  and  a  little  cinnabar ;  and 
prepare  the  half  shadow,  with  which  you  will  mark  the  eye- 
brows  and  eyes,  the  nostrils  and  mouth,  the  chin  and  the 
hollows  round  the  nostrils,  and  the  temples;  the  wrinkles  in 
the  forehead  and  neck,  and  the  rounding  of  the  face ;  the 
beards  of  young  men,  and  the  articulations  of  the  hands  and 
feet,  and  all  members  which  are  made  apparent  in  the  nude. 


CHAPTER  IV. 

OF   THE    FIRST    ROSE   COLOUR. 


Then  mix  with  the  simple  flesh  colour  a  little  cinnabar  and  a 
little  minium,  and  prepare  the  colour  which  is  called  rose, 
with  which  you  will  redden  both  cheeks,  the  mouth  and  lower 
part  of  the  chin,  the  neck,  and  wrinkles  of  the  forehead 
slightly,  the  forehead  itself  above  the  temples  on  either  side, 
the  nose  in  its  length  and  over  the  nostrils  on  either  side,  the 
articulations  and  other  members  in  the  nude. 


CHAPTER  V. 

OF  THE  first  relief. 


After  this  mix,  with  simple  flesh  colour,  ceruse,  ground,  and 
compose  a  colour  which  is  called  relief,  with  which  you  will 
lighten  the  eyebrows,  the  nose  in  its  length,  and  aboye  the 
openings  of  the  nostrils  on  either  side,  fine  lines  around  the 
eyes,  the  lower  part  of  the  temples  and  upper  part  of  the  chin, 
about  the  nostrils  and  the  mouth  on  either  side,  the  upper 
part  of  the  forehead,  slightly  between  the  wrinkles  of  the 
forehead,  and  in  the  middle  of  the  neck  and  round  the  ears, 
also  the  articulations  of  the  hands  and  feet  outside,  and  all 
1  oundness  in  the  centre  of  the  hands,  feet  and  arms. 


THEOPHILl    LIBER    I. 


CAPUT    VI. 

DE  VENEDA  IN  OCULIS  PONENDA. 

DEINDE  commisce  nigrum  cum  modico  albo,  qui  color 
vocatur  veneda,  et  imple  pupillas  oculorum.  Adde  ei 
etiam  de  albo  amplius,  et  imple  oculos  ex  utraque  parte,  et 
album  simplex  linies  inter  pupillam  et  ipsum  colorem,  et  cum 
aqua  lavabis. 


CAPUT    VII. 

DE   POSC   SECUNDO. 

POSTEA  accipe  posc,  de  quo  supra  dictum  est,  et  ad- 
misce  ei  amplius  de  prasino  et  rubeo,  ita  ut  umbra  sit 
anterioris  coloris,  et  imple  medium  spatium  inter  supercilia  et 
oculos,  et  sub  oculis  medium,  et  juxta  nasum,  et  inter  os  et 
mentum,  granos  seu  barbulas  adolescentum,  et  palmas  dimi- 
dias  versus  pollicem,  et  pedes  supra  minores  articulos,  et  facies 
puerorum  et  mulierum  a  mento  usque  ad  tempora. 


CAPUT    VIII. 

DE    ROSA    SECUNDA. 

DEINDE  misce  cum  rosa  cenobrium,  et  linies  inde  in 
medio  oris,  ita  ut  anterior  superius  inferiusque  pareat, 
et  fac  subtiles  tractus  super  rosam  in  facie,  in  collo  et  in  fronte, 
et  designabis  inde  articulos  in  palmis,  et  juncturas  omnium 
membrorum  et  ungula. 


TRANSLATION.  7 

CHAPTER  VI. 

OF  THE  VENEDA  FOR  PLACING  UPON  THE  EYE8. 

Then  mix  black  with  a  little  white,  which  colour  is  called 
veneda,  and  fill  up  the  pupils  of  the  eyes.  Add  to  it  yet 
more  white,  and  fill  in  the  eyes  on  both  sides,  and  lay  white 
only  between  the  pupil  and  this  colour,  and  you  will  wash  it 
with  water. 


CHAPTER  VII. 

OF    THE    SECOND    POSC,    OR    SHADOW   COLOUR. 

Afterwards  take  the  posc,  which  has  been  mentioned  before, 
and  mix  with  it  more  prasinus  and  red,  so  that  it  may  become 
a  shadow  to  the  former  colour,  and  fill  up  the  middle  space 
between  the  eyebrow  and  the  eyes,  and  in  the  middle  under 
the  eyes,  and  about  the  nose,  and  between  the  mouth  and  the 
chin,  the  down  or  slight  beards  of  youths,  and  the  half-palms 
towards  the  thumb,  and  the  feet  over  the  smaller  articulations, 
and  faces  of  boys  and  women,  from  the  chin  to  the  temples. 


CHAPTER  VIII. 

OF    THE    SECOND    ROSE    COLOUR. 

Then  mix  cinnabar  with  rose  colour,  and  paint  with  it  in  the 
middle  of  the  mouth,  so  that  the  former  colour  may  appear 
above  and  below  it ;  and  make  fine  touches  upon  the  rose 
colour  in  the  face,  in  the  neck,  and  on  the  forehead,  and  mark 
the  articulations  with  it  in  the  palms,  and  the  joints  of  allthe 
members,  and  the  nails. 


THEOPHILI    LIBER    I 


CAPUT    IX. 


DE    LUMINA    SECUNDA. 


ET  si  facies  tenebrosa  fuerit  ut  ei  non  sufficiat  una  lumina, 
adde  ei  amplius  de  albo  et  super  priorem  linies  subtiles 
tractus  per  omnia. 


CAPUT    X. 

DE    CAPILLIS    PUERORUM,    ADOLESCENTUM    ET   JUVENUM. 

POST  hsec  misce  modicum  nigrum  cum  ogra  et  imple 
capillos  puerorum,  et  discerne  eos  cum  nigro.  Adde 
amplius  nigri  cum  ogra  et  imple  capillos  adolescentum,  et 
illumina  cum  prima.  Adde  amplius  adhuc  nigri  et  imple  ca- 
pillos  juvenum,  et  illumina  cum  secundo. 


CAPUT    XI. 

DE    BARBIS   ADOLESCENTUM. 


MISCE  prasin  et  rubeum  et  si  vis  rosae  modicum,  et 
imple  barbas  adolescentum.  Misce  ogram  et  nigrum 
et  rubeum,  et  imple  capillos  et  illumina  ogra  modico  nigro 
mixta,  et  ex  eadem  mixtura  fac  nigros  tractus  in  barba. 


CAPUT    XII. 

DE  CAPILLIS   ET    BARBA    DECREPITORUM   ET    SENUM. 

MISCE  modicum  nigri  cum  cerosa,  et  imple  capillos  et 
barbas  decrepitorum.  Adde  eidem  colori  amplius  nigri 
et  modicum  rubei,  et  fac  inde  tractus,  et  illuminabis  simplici 
cerosa.     Commisce  rursum  cerosai  amplius  nigri,  et  imple  ca- 


TRANSLATION.  V 

CHAPTER  IX. 

OF   THE    SECOND    RELIEF. 

And  if  a  face  be  dark  so  that  one  relief  does  not  suffice  for  it, 
add  more  white  to  it,  and  paint  fine  touches  over  the  first 
everywhere. 


CHAPTER  X. 

OF  THE  HAIR  OF  BOYS,  YOUTHS,  AND  YOUNG  MEN. 

After  this,  mix  a  little  black  with  ochre,  and  fill  in  the  hair 
of  boys,  and  mark  them  out  with  black.  Add  more  black 
with  ochre,  and  fill  in  the  hair  of  youths,  and  lighten  with  the 
first.  Add  yet  more  black,  and  fill  in  the  hair  of  young  men, 
and  lijditen  it  with  the  second. 


CHAPTER  XI. 

OF    THE    BEARDS    OF    YOUTHS. 


Mix  deep  green  and  red,  and,  if  you  like,  a  little  rose  colour, 
and  fill  in  the  beards  of  youths ;  mix  ochre  and  black  and 
red,  and  fill  in  the  hair,  and  lighten  with  ochre  mixed  with  a 
little  black,  and  from  the  same  mixture  make  the  dark  strokes 
in  the  beard. 


CHAPTER  XII. 

OF  THE  HAIR  AND  BEARDS  OF  OLD  AND  DECREPIT  MEN. 

Mix  a  little  black  with  ceruse,  and  fill  in  the  hair  and  beards 
of  decrepit  men.  Add  more  black  and  a  little  red  to  the 
same  colour,  and  make  the  drawing  with  it,  and  lighten  simply 
with  ceruse.     Mix  again  with  ceruse  some  more  black,  and 


10  THEOPHILI    LIBER    I. 

pillos  et  barbas  senum,  et  fac  tractatos  ex  eodem  colore,  ad- 
mixto  ei  nigro  amplius  et  modico  rubeo,  et  illumina  eo  unde 
decrepitos  impleveras.  Eo  ordine,  si  vis,  adhuc  nigriores 
capillos  et  barbas  compone. 


CAPUT    XIII. 

DE    EXUDRA    ET    CETERIS    COLORIBUS    VULTUUM. 

DEINDE  admisce  rubeo  modicum  nigri,  qui  color  dicitur 
exudra,  et  fac  inde  tractus  circa  vultuum,  pupillas  ocu- 
lorum,  et  in  medio  oris,  et  subtiles  tractusinter  os  et  mentum. 
Post  haec  cum  simplici  rubeo  fac  supercilia,  et  subtiles  tractus 
inter  oculos  et  supercilia  et  oculos  inferius,  in  plena  facie 
nasum  in  dextera  parte1,  supernares  ex  utraque  parte,  et  os 
inferius,  et  circa  frontem  et  maxillas  senum  interius,  et  circa 
digitos  manuum  et  articulos  pedum  interius,  et  in  conversa 
facie  circa  nares  in  anteriori  parte.  Supercilia  vero  senum 
sive  decrepitorum  facies  cum  veneda,  unde  pupillas  implesti. 
Deinde  cum  simplici  nigro  juvenum  supercilia  facies,  ita  ut 
superius  aliquantulum  rubei  appareat,  et  oculos  superius  et 
foramina  narium,  et  os  ex  utraque  parte,  et  circa  auriculas, 
manus  et  digitos*  exterius,  et  articulos  et  cseteros  corporis 
tractus.  Omnes  vero  tractus  circa  nuda  corpora  fac  cum 
rubeo,  et  ungues  designabis  cum  exteriori  rosa. 


CAPUT    XIV. 

DE    MIXTURA   VESTIMENTORUM    IN    LAQUEARI. 

MISCE  manisc  cum  folio  sive  cum  nigro,  et  modico  rubeo, 
et  imple  vestimentum.     Admisce  etiam  modicum  nigri 
et  fac  tractus.     Deinde  misce  lazur  cum  modico  manisc,  sive 

1  Si  ad  dexteram  partem  respiciens  pertracta  vei  figurata  sit  facies ;  aut  in  sinistra, 
si  ad  sinistram  vertatur  :   Ex  Cod.  JReg. 


TRANSLATION.  11 

fill  in  the  hair  and  beards  of  old  men,  and  make  the  drawings 
from  the  same  colour  with  more  black  and  a  little  red  added, 
and  lighten  it  with  that  with  which  you  filled  in  the  hair  of 
decrepit  men.  In  this  order,  if  you  wish,  compose  hair  and 
beards  still  darker. 


CHAPTER  XIII. 

OF  EXUDRA  AND  OTHER  COLOURS  OF  COUNTENANCES. 

Then  mix  a  little  black  with  red,  which  colour  is  called 
exudra,  and  make  drawings  with  it  round  the  faces,  the  pupils 
of  the  eyes,  and  in  the  middle  of  the  mouth,  and  fine  touches 
between  the  mouth  and  the  chin.  After  this,  with  simple  red, 
make  the  eyebrows  and  fine  lines  between  the  eyes  and  eye- 
brows  and  below  the  eyes,  the  nose  on  the  right  side  in  full 
face,  upon  the  nostrils  on  either  side,  and  below  the  mouth, 
and  about  the  forehead,  and  between  the  jaws  of  old  men ; 
and  about  the  fingers  of  the  hands,  and  within  the  articula- 
tions  of  the  feet,  and  about  the  nostrils  in  the  prominent  part 
in  a  profile.  But  make  the  eyebrows  of  old  or  decrepit  men 
with  veneda,  with  which  you  filled  in  the  eyes.  Then  make 
the  eyebrows  of  young  men  with  black  simply,  so  that  some 
red  may  show  through  above  it,  and  the  eyes  in  the  upper 
part,  and  the  openings  of  the  nostrils,  and  in  the  mouth  on 
both  sides,  and  about  the  ears,  hands  and  fingers  outside,  and 
the  articulations  and  other  drawings  of  the  body.  Make  all 
touches  round  nude  bodies  with  red,  and  mark  the  nails  with 
an  outside  rose  tint. 


CHAPTER  XIV. 

OF    THE    MIXTURE    FOR    DRAPERY    ON    PLASTER. 

Mix  manisc  with  folium,  or  with  black  and  a  little  red,  and 
fill  in  a  drapery ;  mix  again  a  little  black  with  it  and  make 
the  drawing.     Then   mix  lazur  with  a  little  manisc,  or  with 


12  THEOPHILI    LIBER    I. 

cum  folio,  sive  cum  eodem  colore  unde  implesti,  et  illumina 
primum,  cum  puro  lazur  illumina  superius.  Post  haec  misce 
parum  albi  cum  lazur  et  fac  subtiles  et  raros  tractus.  Imple 
vestimentum  cum  rubeo,1  rubeum  pallidum  sit,  adde  modicum 
nigri.  Inde  misce  amplius  nigri  cum  eodem,  et  fac  tractus. 
Deinde  misce  modicum  rubei  cum  cenobrio  et  illumina 
primum.  Post  haec  adde  modicum  minii  cum  cenobrio,  et 
illumina  superius.  Imple  vestimentum  cum  cenobrio,  et  misce 
cum  eodem  modicum  rubei,  et  fac  tractus.  Deinde  misce 
modicum  minii  cum  cenobrio,  et  illumina  primum.  Post  hsec 
illumina  cum  simplici  minio.  Ad  extremum  misce  modicum 
nigri  cum  rubeo,  et  fac  exteriorem  umbram.  Misce  purum 
viride  cum  ogra,  ita  ut  de  ogra  plus  sit,  et  imple  vestimentum. 
Adde  eidem  colori  modicum  de  suco  et  parum  rubei,  et  fac 
tractus.  Misce  eidem  colori  unde  implesti  album,  et  illumina 
primum.  Adde  plus  albi,  et  illumina  exterius.  Misce  etiam 
cum  superiori  umbra  plus  suci  et  rubei  et  parum  viridis,  et 
exteriorem  umbram  fac.  Misce  succum  foHi  cum  cerosa,  et 
imple  vestimentum.  Adde  folii  plus,  et  fac  tractus.  Adde 
plus  cerosae,  et  illumina.  Post  haec  cum  simplici  cerosa.  Ad 
extremum  modicum  folii  triti  et  modicum  cenobrii  misce  cum 
priore  umbra,  et  fac  exteriorem.  Et  eodem  colore  imple 
aliud  vestimentum.  Adde  eidem  unde  implesti,  cerosam  et 
modicum  cenobrii,  et  illumina  primum.  Adde  plus  cerosae, 
et  illumina  superius.  Ad  extremum  misce  modicum  rubei 
cum  priore  umbra,  et  fac  exteriorem.    Ex  hac  mixtura  facies 

TRIA     GENERA    VESTIMENTORUM,    UNUM    PURPUREUM,    ALIUD 

violaticum,  tertium  candidum.  Misce  modicum  cenobrii 
cum  auripigmento,  et  imple  vestimentum.  Adde  parum  rubei, 
et  fac  tractus.  Cum  simplici  rubeo  umbram  exteriorem. 
Adde  cum  impletione  plus  auripigmenti,  et  illumina  primum. 
Cum  simplici  auripigmento  illumina  superius. 

1  "  et  si."     Ms.  Gueljph. 


TRANSLATION.  13 

foliuni,  or  with  the  same  colour  with  which  you  filled  in,  and 
lighten  it  the  first  time ;  with  pure  lazur  lighten  above  this. 
After  this,  mix  a  little  white  with  lazur,  and  make  some  few 
and  fine  touches. 

Fill  in  a  drapery  with  red,  if  the  red  be  pale  add  a  little 
black.  Then  mix  more  black  with  the  same,  and  make  the 
drawing.  Afterwards  mix  a  little  red  with  cinnabar,  and 
lighten  the  first  time.  After  this,  add  a  little  minium  with 
cinnabar,  and  relieve  above  it. 

Fill  in  a  drapery  with  cinnabar,  and  mix  a  little  red  with  it, 
and  make  the  drawing.  Then  mix  a  little  minium  with  cin- 
nabar,  and  lighten  the  first  time.  Afterwards  relieve  with 
simple  minium.  At  last  mix  a  little  black  with  red,  and  make 
the  outer  shadow. 

Mix  pure  green  with  ochre  so  that  the  ochre  may  predo- 
minate,  and  fill  in  a  drapery.  Add  a  little  succus  and  a  little 
red  to  the  same  colour,  and  make  the  drawing.  Mix  white 
with  the  same  colour  with  which  you  filled  in,  and  relieve  a 
first  time.  Add  more  white,  and  lighten  above  it.  Mix  also 
vvith  the  above  shadow  colour  more  succus  and  red  and  a 
little  green,  and  make  the  exterior  shadow. 

Mix  juice  of  folium  with  ceruse,  and  fill  in  a  drapery.  Add 
more  folium,  and  make  the  drawing.  Add  more  ceruse,  and 
lighten  it ;  after  this,  with  ceruse  simply.  At  the  last  mix  a 
little  folium,  ground,  and  a  little  cinnabar  with  the  above 
shadow,  and  make  the  outside  shadow. 

Also  with  the  same  colour  fill  in  another  drapery.  Add 
to  the  same,  with  which  you  filled  in,  ceruse  and  a  little  cin- 
nabar,  and  lighten  the  first  time  ;  add  more  ceruse,  and  relieve 
above  it.  At  last,  mix  a  little  red  with  the  former  shadow, 
and  make  the  outer  shade. 

From  this  mixtube  make  three  kinds  of  drapery  : 
onte  purple,  another  violet,  the  third  white. 

Mix  a  little  cinnabar  with  orpiment,  and  fill  in  a  drapery ; 
add  a  little  red,  and  make  the  drawing;  make  the  outer 
shadow  with  simple  red.  Add  more  orpiment  to  that  with 
which  you  filled  in,  and  lighten  the  first  time.  Illumine 
above  it  with  simple  orpiment. 


14  THEOPHILI    LIBER    I. 

Misce  viride  cum  succo,  et  adde  modicum  ograe,  et  imple 
vestimentum.  Adde  etiam  modicum  nigri,  et  fac  exteriorem 
umbram.  Adde  cum  impletione  plus  viridis  et  illumina  pri- 
mum.  Cum  puro  viridi  illumina  exterius,  et  si  opus  sit,  adde 
ei  modicum  albi.  Usus  hujus  vestimenti  non  est  in  muro. 
Misce  auripigmentum  cum  indico,  sive  cum  manisc,  sive  cum 
succo  sambuci,  et  imple  vestimentum.  Adde  amplius  de  succo, 
sive  manisc,'  de  indico,  et  fac  tractus.  Adde  modicum  nigri, 
et  fac  umbram  exteriorem.  Deinde  plus  auripigmenti  cum 
impletione,  et  illumina  primum.  Cum  simplici  auripigmento 
illumina  superius.  Auripigmentum  et  quicquid  ex  eo  tempe- 
ratur,  nullam  vim  habet  in  muro.  Misce  manisc  cum  folio,  et 
imple  vestimentum.  Adde  etiam  parum  nigri,  et  fac  exte- 
riorem  umbram.  Cum  simplici  manisc  illumina  primum. 
Adde  parum  albi,  et  illumina  superius.  Misce  ogram  cum 
nigro,  et  imple  vestimentum.  Adde  nigri  plus,  et  fac  tractus. 
Adde  etiam  plus,  et  fac  umbram  exteriorem.  Adde  ograe  plus 
cum  impletio.ne,  et  illumina  primum.  Cum  ogra  et  rubeo  fac 
similiter.  Misce  album  et  viride,  et  imple  vestimentum.  Cum 
simplici  viridi  fac  tractus.  Adde  parum  succi,  et  fac  urabram 
exteriorem.  Adde  plus  albi  cum  impletione,  et  illumina  pri- 
mum.  Cum  simplici  albo  illumina  superius.  Misce  modi- 
cum  nigri  et  parum  rubei  cum  albo,  et  imple  vestimentum. 
Adde  plus  rubei  et  parum  nigri,  et  fac  tractus.  Adde  etiam 
amplius  nigri  et  rubei,  et  fac  umbram  exteriorem.  Adde  cum 
impletione  plus  albi,  et  illumina  primum.  Cum  simplici  albo, 
illumina  exterius.  Misce  similiter  nigrum  cum  albo.  Eodem 
modo  misce  ogram  cum  albo,  et  in  umbra  eidem  adde  modi- 
cum  rubei. 

1  "sive."     Ms.  Quelph. 


TRANSLATION.  15 

Mix  green  with  succus,  and  add  a  little  ochre,  and  fill  in  a 
drapery.  Add  also  a  little  black,  and  make  the  outer  sha- 
dow ;  add  more  green  to  that  with  which  you  filled  in,  and 
relieve  the  first  time  ;  with  pure  green  lighten  above  it,  and, 
if  it  is  needed,  add  to  it  a  little  white.     This  drapery  is 

NOT    USED    UPON   A   WALL. 

Mix  orpiment  with  indigo  or  with  manisc,  or  with  juice  of 
the  elder,  and  fill  in  a  drapery ;  add  more  succus,  or  manisc, 
and  indigo,  and  make  the  drawing.  Add  a  little  black,  and 
make  the  outer  shadow,  then  more  orpiment  with  the  ground 
colour,  and  lighten  the  first  time ;  relieve  above  it  with  sim- 
ple  orpiment.  Orpiment,  and  whatever  is  compounded  from 
it,  have  no  duration  upon  a  wall. 

Mix  manisc  with  folium,  and  fill  in  a  drapery ;  add  also  a 
little  black,  and  make  the  outer  shadow ;  with  simple  manisc 
lighten  the  first  time ;  add  a  little  white,  and  relieve  above  it. 

Mix  ochre  with  black,  and  fill  in  a  drapery ;  add  more 
black,  and  make  the  drawing ;  add  yet  more  and  make  the 
outer  shadow ;  add  more  ochre  to  the  ground  colour,  and 
lighten  the  first  time.  Act  in  the  same  manner  with  ochre 
and  red. 

Mix  white  and  green,  and  fill  in  a  drapery ;  make  the  draw- 
ing  with  green  alone ;  add  a  little  succus  and  make  the  outer 
shadow ;  add  more  white  to  the  ground  colour  and  lighten 
the  first  time ;  with  white  alone  relieve  above  it. 

Mix  some  black  and  a  little  red  with  white,  and  fill  in  a 
drapery;  add  more  red  and  a  little  black,  and  make  the 
drawing ;  add  yet  more  black  and  red,  and  make  the  outer 
shadow ;  add  more  white  to  the  ground  colour,  and  lighten 
the  first  time ;  with  simple  white  relieve  outside. 

Mix  similarly  black  with  white. 

In  the  same  manner  mix  ochre  with  white,  and  in  the  sha- 
dow  of  the  same  colour  add  a  little  red. 


16  TBEOPHILI    LIBER    I. 

CAPUT  XV. 

DE    MIXTURA    VESTIMENTORUM    IN    MURO. 

I~N  muro  vero  imple  vestimentum  cum  ogra,  addito  ei  mo- 
-■-  dico  calcis,  propter  fulgorem,  et  fac  umbras  ejus  sive  cum 
simplici  rubro,  sive  cum  prasino,  sive  ex  posc,  qui  fiat  ex  ipsa 
ogra  et  viridi.  Membrina  in  muro  miscetur  ex  ogra  et  ceno- 
brio  et  calce,  et  posc  ejus  et  rosa  et  lumina  fiant  ut  supra. 
Cum  imagines  vel  aliarum  rerum  efngies  pertrahuntur  in  mu- 
ro  sicco,  statim  aspergatur  aqua,  tam  diu  donec  omnino  madi- 
dus  sit.  Et  in  eodem  humore  liniantur  omnes  colores,  qui 
supponendi  sunt,  qui  omnes  calce  misceantur,  et  cum  ipso 
muro  siccentur  ut  haereant.  In  campo  sub  lazur  et  viridi, 
ponatur  color,  qui  dicitur  veneda,  mixtus  ex  nigro  et  calce, 
super  quem,  cum  siccus  fuerit,  ponatur  in  suo  loco  lazur  te- 
nuis  cum  ovi  mediolo  abundanter  aqua  mixto  temperatus,  et 
super  hunc  iterum  spissior  propter  decorem.  Viride  quoque 
misceatur  cum  succo  et  nigro. 


CAPUT  XVI. 

DE   TRACTU    QUI    IMITATUR   SPECIEM    PLUVIALIS    ARCUS. 

TRACTUS  qui  imitatur  speciem  pluvialis  arcus  conjung- 
itur  diversis  coloribus,  videlicet  cenobrio  et  viridi ;  item 
cenobrio  et  manisc ;  item  viridi  et  ogra ;  item  viridi  et  folio ; 
item  folio  et  ogra ;  item  manisc  et  ogra ;  item  cenobrio  et 
folio ;  qui  hoc  modo  componuntur.  Fiunt  duo  tractus  aequa 
latitudine ;  unus  ex  rubeo,  calce  mixto,  in  muro,  sub  ceno- 
brio,  ita  ut  vix  quarta  pars  sit  rubei ;  in  laqueari  vero  ipsum 
cenobrium  similiter  cum   creta   mixtum.     Alter  vero  viridis 


TRANSLATION.  \J* 

CHAPTER  XV. 

OF   THE    MIXTURE    FOR    DRAPERY    ON    A    WALL. 

But  on  a  wall,  fill  in  a  drapery  with  ochre,  a  little  lime  being 
added  to  it,  on  account  of  the  brilliancy,  and  make  its  sha- 
dows  either  with  red  simply,  or  with  prasinus,  or  from  posc, 
which  is  made  from  the  same  ochre  and  green.  Flesh  colour 
upon  a  wall  is  made  from  ochre  and  cinnabar  and  lime^  and 
its  posc  and  rose  colour  and  light  are  made  as  before.  j  When 
figures,  or  likeness  of  other  things,  are  portrayed  on  a  dry 
wall,  it  is  first  sprinkled  with  water  until  at  length  it  is  com- 
\  pletely  soaked.  And  in  this  humidity  all  colours,  which  are 
I  superposed,  are  painted,  all  which  are  mixed  with  lime,  and 
UeJLlhem  dry  with  the  wall  itself,  that  they  may  adhere.  A 
colour  is  laid  as  a  ground,  under  lazur  and  green,  which  is 
called  veneda,  mixed  from  black  and  lime,  upon  which,  when 
dry,  lazur  is  laid  in  its  place  thinly,  tempered  with  yoke  of 
egg  abundantly  tempered  with  water,  and  over  this  again, 
more  thickly  because  of  its  beauty.  Green  also  is  mixed  with 
succus  and  black. 


. 


CHAPTER  XVI. 

OF    THE    DRAWING    WHICH    IMITATES    THE    APPEARaNCE    OF 
THE    RAINBOW. 

A  drawing  which  imitates  the  appearance  of  the  rainbow  is 
combined  from  difFerent  colours,  namely  cinnabar  and  green ; 
likewise  cinnabar  and  manisc ;  also  green  and  ochre ;  and 
green  and  folium ;  also  folium  and  ochre ;  also  manisc  and 
ochre ;  likewise  cinnabar  and  folium ;  which  are  composed 
in  this  manner.  Two  traits  of  equal  breadth  are  made,  one 
from  red  ;  mixed  with  lime  upon  a  wall  under  cinnabar,  so 
that  scarcely  a  fourth  part  be  of  red,  but  on  plaster  the  same 
cinnabar  mixed  in  like  manner  with  chalk ;    the  other  trait 

c 


18 


THEOPHILI    LIBER    I. 


pari  modo  mixtus  absque  suco,  et  inter  eos  fiat  albus  tractus. 
Deinde  misce  ex  cenobrio  et  albo  quot  colores  volueris,  ita 
ut  primus  sit  modicum  cenobrii,  secundus  plus,  tertius  am- 
plius,  quartus  adhuc  plus,  donec  pervenias  ad  simplex  ceno- 
brium.     Deinde  admisce  eidem  modicum  rubeum.     Deinde 
simplex  rubeum.     Post  haec  rubeum  nigro  admisce ;  ad  ulti- 
mum  nigrum.     Simili   modo    commisce  colores  ex  viridi  et 
albo,  donec  pervenias  ad  simplex  viride.     Deinde  admisce  ei 
modicum    sucum.       Commisce    iterum,    et   adde   plus    suci. 
Post  haec  misce  modicum  nigri ;  deinde  plus  ;  ad  ultimum  sim- 
plex  nigrum.    Umbras  vero  in  ogra  facies  cum  rubeo ;  ad  ulti- 
mum  addito  nigro.   Umbras  manisc  cum  folio ;  ad  ultimum  ad- 
dito  nigro.    Umbras  folii  cum  rubeo,  addito  nigro  ad  ultimum. 
Qui  colores  ita  ponendi  sunt,  ut  ex  medio  pallidiores  tractus 
procedant,  et  ita  ascendant  usque  ad  exterius  nigrum.     Ho- 
rum  tractuum  nunquam  plus  quam  duodecim  esse  possunt  in 
utroque  colore.     Et  si  volueris  tot,  sic  tempera  mixturas,  ut 
simplex  in  septimo  loco  ponas.     Si  volueris  novem,  in  sexto 
loco  simplex  pone.     Si  volueris  octo  vel  septem,  in  quinto 
loco  simplex  pone.     Si  volueris  sex,  in  quarto.     Si  quinque, 
in  tertio.     Si  quatuor  vel  tres,  non  interponas  eis  simplex, 
sed  eum,  qui  ante  simplicem  poni  deberet  habeas  pro  sim- 
plici,    et   eidem   admisce  umbram   usque  ad  exterius  nigrum. 
Hoc  opere  fiunt  throni  rotundi  et  quadranguli,  et  tractus  circa 
lumbos,  et  arborum  stipites  cum  ramis,  et  columpnae,  et  tur- 
res  rotundae,  et  sedilia  et  quicquid  rotundum  apparere  velis. 
Fiunt  etiam  arcus  super  columnas  in  domibus  eodem  opere  ; 
sed  uno  colore,  ita  ut  interius  album  sit  et  exterius  nigrum. 
Turres  rotundse  fiunt  de  o°;ra,  ita  ut  in  medio  sit  tractus  al- 
bus,  et  ex  utraque  parte  procedat  ogra  omnino  pallida  et  pau- 
latim  trahens  croceum  colorem  usque  antepenultimum  trac- 
tum,  cum  quo  misceatur  modicum  rubeum;    deinde  amplius, 
sic  tamen  ut  nec  simplex  ogra  nec  simplex  rubeum  appareat. 
Eodem  modo  et  eadem  mixtura  fiunt  turres  rotundae  ex  nigro 
et  albo.     Stipites  arborum  commiscentur  ex  viridi  et  ogra, 


TRANSLATION.  19 

green,  mixed  in  the  same  manner,  without  succus,  and  be- 
tween  them  let  a  white  trait  be  made.  Then  mix,  from  cin- 
nabar  and  white,  what  tints  you  wish,  so  that  the  first  may 
possess  little  cinnabar,  the  second  more,  the  third  more 
still,  the  fourth  yet  more,  until  you  arrive  at  pure  cinnabar. 
Then  mix  a  little  red  with  the  last ;  then  use  pure  red.  After 
this  mix  red  with  black ;  at  the  last  use  black.  In  a  similar 
manner  mingle  together  colours  from  green  and  white,  until 
you  arrive  at  pure  green.  Then  add  to  it  a  little  succus,  mix 
again,  and  add  more  succus,  after  this  admix  a  little  black, 
then  more,  at  last  pure  black.  But  you  make  shadows  on 
ochre  with  red  ;  black  being  added  at  the  last.  Shadow  ma- 
nisc  with  folium,  black  being  added  at  the  last.  Shadow  fo- 
lium  with  red,  black  being  added  at  the  last.  These  colours  are 
so  applied,  that  the  paler  tints  may  issue  from  the  centre  and 
so  increase  until  they  arrive  at  the  black,  outside.  More  than 
twelve  of  these  traits  may  never  exist  in  each  colour;  and,  if 
you  wish  as  many,  so  temper  the  mixtures,  that  you  place  the 
pure  colour  in  the  seventh  row.  If  you  wish  nine,  place  the  pure 
colour  in  the  sixth  row.  If  you  wish  eight  or  seven,  place  the 
pure  colour  in  the  fifth.  If  you  wish  six,  in  the  fourth.  If  five, 
in  the  third.  If  four  or  three,  do  not  interpose  any  pure  co- 
lour,  but  leave  that  one  for  a  pure  colour  which  should  have 
been  placed  before  the  pure  colour,  and  mingle  its  shadow  co- 
lour  towards  the  outer  black.  In  this  manner  circular  and 
quadrangular  thrones  are  made,  and  drawings  round  borders, 
and  branches  of  trees  with  their  boughs,  and  columns  and 
round  towers  and  seats,  and  whatever  you  wish  should  ap- 
pear  round.  Arches  are  also  made  upon  columns  in  houses 
by  the  same  means,  but  in  one  colour,  so  that  the  inner  part 
is  white  and  the  outer  black.  Round  towers  are  made  of  ochre, 
and  so  that  the  white  stroke  may  be  in  the  middle,  and  on 
either  side  may  spread  quite  a  pale  ochre  and  a  little  inclining 
to  saffron  colour  until  the  last  plan  but  one ;  with  which  a  little 
red  is  mixed ;  then  more,  so  however,  that  neither  pure  ochre 
nor  pure  red  may  appear.  In  the  same  way  and  with  the 
same  mixture  round  towers  are  made  with  black  and  white 
Branches  of  trees  are  mixed  from  green  and  ochre,  a  little 

c  2 


20  THEOPHILI    LIBER    I. 

addito  modico  nigro  et  succo.  Quo  colore  pinguntur  etiam 
terra  et  montes.  Fiunt  etiam  terra  et  montes  ex  viridi  et  albo 
sine  succo,  ita  ut  interius  sit  pallidum,  exterius  trahat  umbras 
mixtas  cum  modico  nigro.  Omnes  colores,  qui  aliis  suppo- 
nuntur  in  muro,  calce  misceantur  propter  firmitatem.  Sub 
lazur  et  manisc  et  sub  viridi  ponatur  veneda;  sub  cenobrio 
rubeum  ;  sub  ogra  et  folio  iidem  colores  calce  mixti. 


CAPUT    XVII. 

DE   TABULIS    ALTARIUM    ET   OSTIORUM,    ET    GLUTINE    CASEI. 

1"^ABULiE  altarium  sive  ostiorum  prirnum  particulatim 
-  conjungantur  junctorio  instrumento,  quo  utuntur  doliarii 
sive  tornarii.  Deinde  componantur  glutine  casei,  quod  hoc 
modo  fit.  Caseus  mollis  minutatim  incidatur  et  aqua  calida 
in  mortariolo  cum  pila  tamdiu  lavetur,  donec '  multotiens  in- 
fusa  pura  inde  exeat.  Deinde  idem  caseus  attenuatus  manu 
mittatur  in  frigidam  aquam  donec  indurescat.  Post  hsec 
teratur  minutissime  super  ligneam  tabulam  aequalem  cum 
altero  ligno,  sicque  rursum  mittatur  in  mortarium  et  cum 
pila  diligenter  tundatur  addita  aqua  cum  viva  calce  mixta, 
donec  sic  spissum  fiat,  ut  sunt  feces.  Hoc  glutine  tabulae 
altarum  conpaginatae,  postquam  siccantur,  ita  sibi  adhserent,  ut 
nec  humore  nec  calore  disjungi  possint.  Postmodum  aequari 
debent  planatorio  ferro,  quod  curvum  et  interius  acutum 
habet  duo  manubria,  ut  ex  utraque  manu  trahatur,  unde 
raduntur  ostia,  et  scuta,  donec  omnino  fiant  plana.  Inde 
cooperiantur  crudo  corio  equi,  vel  asini,  quod  aqua  madefac- 
tum,  statim  ut  pili  fuerint  erasi,  aqua  aliquantum  extor- 
queatur,  et  ita  humidum  cum  glutine  casei  superponatur. 

1  aqua,  in  cceteris  omnibns  MSS.  additur. 


TRANSLATION.  21 

black  and  succus  added ;  with  which  colour  also  the  earth 
and  mountains  are  painted.  The  earth  and  mountains  are 
also  made  with  green  and  white,  without  succus,  the  interior 
being  made  pale,  the  exterior  showing  shadows  mixed  with  a 
little  black.  All  colours  which  are  placed  under  others  on  a 
wall  are  mixed  with  lime  for  solidity.  Veneda  is  laid  under 
lazur  and  manisc,  and  under  green ;  red  under  cinnabar ; 
under  ochre  and  folium,  the  same  colours,  mixed  with  lime. 


CHAPTER  XVII. 


OF    THE    TABLETS    OF    ALTARS    AND    DOORS,    AND    OF    THE 
GLUE    OF    CHEESE. 

The  tablets  of  altars,  or  of  doors,  are  first  carefully  fitted 
together  with  the  joining  instrument  which  carpenters  or  vat 
makers  use;  they  are  then  joined  with  the  glue  of  cheese, 
which  is  made  in  this  manner.  Soft  cheese  is  cut  very  small, 
and  is  washed  with  warm  water  in  a  small  mortar  with  a 
pestle,  until,  being  frequently  poured  in,  the  water  comes 
away  pure.  Then  this  cheese,  compressed  by  the  hand,  is 
put  into  cold  water  until  it  hardens.  After  this  it  is  very 
finely  ground,  with  another  piece  of  wood,  upon  a  smooth 
wooden  table,  and  in  this  state  it  is  again  placed  in  the 
mortar,  and  is  carefully  ground  with  the  pestle,  water  mixed 
with  quick  lime  being  added,  until  it  is  made  as  thick  as  lees. 
The  tablets  of  altars  fastened  together  with  this  glue,  after 
they  are  dry,  so  adhere  together,  that  neither  heat  nor  hu- 
midity  are  able  to  disjoin  them.  They  should  afterwards  be 
smoothed  with  a  planing  iron,  which,  curved  and  sharp  in- 
side,  has  two  handles,  so  that  it  may  be  drawn  by  both 
hands,  (with  which  doors  and  shields  are  shaved,)  until  they 
are  made  perfectly  smooth.  They  are  then  covered  with  the 
untanned  skin  of  a  horse,  or  ass,  which  is  soaked  in  water ; 
as  soon  as  the  hairs  have  been  scraped  off,  some  water  is 
squeezed  from  it,  and  thus  moist,  it  is  superposed  with  the 
curd  glue. 


22 


THEOPHILI    LIBER    I. 


CAPUT     XVIII. 

DE    GLUTINE    CORII    ET    CORNUUM    CERVI. 

QUO  diligenter  exsiccato,  tolle  incisuras  ejusdem  corii 
similiter  exsiccatas  et  diligenter  incide  particulatim,  et 
accipiens  cornua  cervi  minutatim  confracta  malleo  ferrarii, 
super  incudem,  compone  in  ollam  novam,  donec  sit  dimidia, 
et  imple  eam  aqua,  sicque  adhibe  tgnem  donec  excoquatur 
tertia  pars  ejusdem  aquae,  sic  tamen  ut  non  bulliat;  et  ita 
probabis :  fac  digitos  tuos  humidos  eadem  aqua,  et  cum  re- 
frigerati  fuerint,  si  sibi  adhaerent,  bonum  est  gluten ;  sin 
autem,  tamdiu  coque  donec  sibi  adhaereant.  Deinde  effunde 
ipsum  gluten  in  vas  mundum,  et  rursum  imple  ollam  aqua, 
et  coque  sicut  prius,  sicque  facias  usque  quater. 


CAPUT    XIX. 

DE    ALBATURA   GYPSI. 


POSTHiEC  tolle  gypsum  more  calcis  combustum,  sive 
cretam,  qua  pelles  dealbantur,  et  tere  diligenter  super 
lapidem  cum  aqua :  deinde  mitte  in  vas  testeum,  et  infundens 
gluten  corii,  pone  super  carbones,  ut  gluten  liquefiat,  sicque 
linies  cum  pincello  super  ipsum  corium  tenuissime;  ac  deinde, 
cum  siccum  fuerit,  linies  aliquantulum  spissius;  et  si  opus 
fuerit,  linies  tertio.  Cumque  omnino  siccum  fuerit,  tolle 
herbam,  quae  vocatur  asperella,  quae  crescit  in  similitudinem 
junci  et  est  nodosa ;  quam  cum  in  aestate  collegeris,  siccabis 
in  sole,  et  ex  ea  fricabis  ipsam  dealbaturam,  donec  omnino 
plana  et  lucida  fiat '. 

1  Si  vero  defuerit  corium  ad  cooperiendum  tabulas,  eodem  modo  et  eodem  glutine 
cooperiantur  cum  panno,  mediocriter  novo,  lini,  vel  canabi. — Ex  Cod.  Rey.  1'arisii. 


TRANSLATION.  23 

CHAPTER  XVIII. 

OF    GLUE    OF    SKINS    AND    STAG-HORNS. 

The  above  being  carefully  dried,  take  cuttings  of  the  sarae 
skins,  dried  in  like  manner,  and  carefully  cut  them  up  into 
small  pieces,  and  taking  the  stag-horns,  broken  very  small 
with  a  smith's  hammer  upon  an  anvil,  place  them  together  in 
a  new  pot,  until  it  is  half  full,  and  fill  it  up  with  water,  and 
so  apply  fire  until  a  third  part  of  this  water  be  evaporated, 
so,  however,  that  it  may  not  boil.  And  you  will  thus  try  it ; 
moisten  your  fingers  with  this  water,  and  if,  when  they  have 
become  cool,  they  adhere  together,  the  glue  is  good ;  but  if 
not,  cook  it  until  they  do  adhere  together.  Then  poiir  this 
glue  into  a  ciean  vessel  and  again  fill  the  pot  with  water,  and 
simmer  it  as  before ;  and  do  this  four  times. 


CHAPTER  XIX. 

OF    THE    WHITE    GROUND    OF    GYPSUM. 

After  this  take  gypsum,  burnt  like  lime,  or  chalk  with 
which  skins  are  whitened,  and  carefully  grind  it  with  water 
upon  a  stone,  then  place  it  in  a  baked  earthen  vessel,  and, 
pouring  in  some  glue  made  from  skins,  place  it  over  the 
coals,  that  the  glue  may  liquefy,  and  in  this  manner  paint 
over  the  skin  very  thinly  with  a  pencil,  and  when  it  is  dry,  paint 
somewhat  thicker,  and,  if  needed,  paint  a  third  time.  When  it 
is  quite  dry,  take  the  herb  called  shave-grass  which  grows 
like  a  bulrush,  and  is  ragged ;  when  you  have  gathered  it  in 
summer  you  will  dry  it  in  the  sun,  and  will  rub  this  whiten- 
ing  with  it  until  it  is  made  everywhere  sraooth  and  polished  \ 

1  But  if  a  skin  is  wanting  for  covering  tablets,  they  are  covered  with  canva  not 
too  new,  with  the  same  glue  and  in  the  same  manner.  Cod.  Guelph.  et  Harlei.  in 
Jine,  cap.  21. 


24  THEOPHILI    LIBER    I. 


CAPUT    XX. 

DE    RUBRICANDIS    OSTIIS    ET    OLEO    LINI. 

SI  autem  volueris  ostia  rubricare  tolle  oleum  lini,  quod  hoc 
modo  compones.  Accipe  semen  lini,  et  exsicca  illud  in 
sartagine  super  ignem  sine  aqua.  Deinde  mitte  in  mortarium, 
et  contunde  illud  pila  donec  tenuissimus  pulvis  fiat,  rursum- 
que  mittens  illud  in  sartaginem,  et  infundens  modicum  aquae, 
sic  calefacies  fortiter.  Postea  involve  illud  in  pannum  novum, 
et  pone  in  pressatorium,  in  quo  solet  olivee,  vel  nucum,  vel 
papaveris  oleum  exprimi,  ut  eodem  modo  etiam  istud  expri- 
matur.  Cum  hoc  oleo  tere  minium  sive  cenobrium  super 
lapidem  sine  aqua,  et  cum  pincello  linies  super  ostia,  vel 
tabulas,  quas  rubricare  volueris,  et  ad  solem  siccabis.  Deinde 
iterum  linies,  et  rursum  siccabis.  Ad  ultimum  vero  super- 
linies  ei  gluten  quod  vernition  dicitur,  quodque  hoc  modo 
conficitur. 


CAPUT    XXI. 

DE    GLUTINE    VERNITION. 

PONE  oleum  lini  in  ollam  novam  parvulam,  et  adde 
gummi1  quod  vocatur  fornis,  minutissime  tritum,  quod 
habet  speciem  lucidissimi  thuris,  sed  cum  frangitur  fulgorem 
clariorem  reddit.  Quod  cum  super  carbones  posueris,  coque 
diligenter  sic  ut  non  bulliat,  donec  tertia  pars  consumatur,  et 
cave  a  flamma,  quia  periculosum  nimis  est,  et  difficile  exstin- 
guitur  si  accendatur.  Hoc  glutineomnis  pictura  superlinita2, 
fit  et  decora  ac  omnino  durabilis 3. 

1  In  C.  R.,  "  Arabici "  additur. — '  "  Lucida  fit  et  decora,"  legitur  in  MSS. 
Guelph.  et  Parisii. — s  "  Si  vero  defuerit  corium  ad  cooperiendas  tabulas,  eodem  modo 
et  eodem  glutine  cooperiantur  cum  panno  lini  mediocriter  novo." — Male  locata  est, 
vide  in  fine  cap.  xix.  non  legitur  in  C.  R.  Parisii. 


TRANSLATION.  25 

CHAPTER  XX. 

OF    REDDENING    DOORS,    AND    OF    LINSEED    OIL. 

If,  however,  you  wish  to  redden  panels,  take  linseed  oil, 
which  you  make  in  this  manner.  Take  linseed  and  dry  it  in 
a  pan  over  the  fire,  without  water.  Then  put  ft  into  a  mortar 
and  bruise  it  with  the  pestle  until  it  becomes  a  very  fine 
powder;  placing  it  again  in  the  pan,  and  pouring  a  little 
water  upon  it,  make  it  thus  very  hot.  Afterwards  fold  it  in 
a  new  cloth  and  place  it  in  the  press,  in  which  olive,  or  walnut, 
or  poppy  oil  is  accustomed  to  be  expressed,  that  this  also  may 
be  expressed  in  the  same  manner.  With  this  oil  grind 
minium,  or  cinnabar,  upon  the  stone,  without  water,  and 
paint  over  the  doors  or  tablets,  which  you  wish  to  redden,  with 
a  pencil,  and  you  will  dry  them  in  the  sun.  Then  paint  them 
again,  and  again  dry  them.  At  last  cover  them  over  with 
that  gluten  which  is  called  varnish,  and  which  is  made  in  this 
manner. 


CHAPTER  XXI. 

OF    THE    VARNISH    GLUTEN. 


Pur  Hnseed  oil  into  a  small  new  pot,  and  add,  very  finely 
powdered,  the  gum  which  is  called  fornis,  which  has  the 
appearance  of  the  most  lucid  Thus,  but  when  broken,  it  yields 
a  brighter  lustre.  When  you  have  placed  which  over  the 
fire,  cook  carefully,  so  that  it  may  not  boil  up,  until  a  third 
part  is  consumed,  and  guard  against  the  flame,  because  it  is 
very  dangerous  and  is  extinguished  with  difficulty  if  it  be 
raised.  Every  painting,  covered  over  with  this  gluten,  is 
made  both  beautiful  and  for  ever  durable. 


26  THEOPHILI    LIBER    I. 


CAPUT    XXII. 

DE    EODEM. 

/^NOMPONE  quatuor  lapides,  qui  possint  ignem  sustinere, 
^s  ita  ut  non  resiliant,  et  super  ipsos  pone  ollam  rudem,  et 
in  eam  mitte  supra  dictum  gummi  fornis,  quod  Romane 
glassa  dicitur  l,  et  super  os  hujus  ollse  pone  ollulam  minorem, 
quae  habet  in  fundo  modicum  foramen,  et  circumlinies  ei 
pastam,  ita  ut  nihil  spiraminis  inter  ipsas  ollas  exeat.  Deinde 
suppone  ignem  diligenter,  donec  ipsum  gummi  liquefiat. 
Habebis  etiam  ferrum  gracile  et  manubrio  impositum,  unde 
commovebis  ipsum  gummi,  et  cum  sentire  possis  quando 
omnino  liquidum  sit.  Habeas  quoque  ollam  tertiam  juxta  super 
carbones  positam,  in  qua  sit  oleum  lini  calidum;  et  cum  gummi 
penitus  liquidum  fuerit,  ita  ut  extracto  ferro  quasi  filum  tra- 
hatur,  infunde  ei  oleum  calidum  et  ferro  commove,  et  sic  in- 
simul  coque  ut  non  bulliat,  et  interdum  extrahe  ferrum,  et 
lini  modice  super  lignum  sive  super  lapidem,  ut  probes  densi- 
tatem  ejus.  Et  hoc  caveas  in  pondere,  ut  sint  duae  partes 
olei,  et  tertia  gummi.  Cumque  ad  libitum  tuum  coxeris  dili- 
genter,  ab  igne  removens  et  discooperiens  refrigerari  sine. 


CAPUT   XXIII. 

DE    SELLIS    EQUESTRIBUS    ET    OCTOFORIS. 


s] 


•ELLAS  autem  equestres  et  octoforos,  id  est  sellas  plica- 
torias,  scabella,  caeteraque,  quae  sculpuntur,  et  non  pos- 
sunt  corio  vel  panno  cooperiri,  mox  ut  raseris  ferro,  fricabis 
asperella,  sicque  bis  dealbabis,  et  cum  sicca  fuerint,  rursum 
asperella  planabis.     Posthaec  in  circino  et  regula   metire,  et 

1  *  aliter  Arabicum/  ex  C.  R:  Parisii. 


TRANSLATION.  27 

CHAPTER  XXII. 

OF    THE    SAME. 

Place  together  four  stones  which  may  be  able  to  sustain  the 
fire  without  flying  to  pieces,  and  place  a  common  pot  upon 
them,  and  put  into  it  the  above  mentioned  gum  fornis,  which 
in  Romaic  is  called  glassa,  and  upon  the  mouth  of  this  pot 
place  a  smaller  pot,  which  has  a  small  hole  in  the  bottom, 
and  lute  a  paste  round  it,  so  that  no  vapour  may  come  out 
between  these  pots.  Then  place  fire  carefully  underneath, 
until  this  gum  liquefy.  You  will  also  have  a  thin  iron  rod 
fitted  to  a  handle,  with  which  you  will  stir  this  gum,  and  with 
which  you  can  feel  when  it  is  quite  liquid.  Have  also  a  third 
pot  nigh,  placed  upon  the  coals,  in  which  is  hot  linseed  oil,  and 
when  the  gum  is  quite  liquid,  so  that  the  iron  being  extracted 
a  kind  of  thread  is  drawn  out  with  it,  pour  the  hot  oil  into  it 
and  stir  it  with  the  iron,  and  thus  cook  them  together  that 
they  boil  not  violently,  and  at  times  draw  out  the  iron  and 
daub  a  little  over  a  piece  of  wood  or  stone,  to  try  its  sub- 
stance.  And  take  care  in  this,  that  in  weight  there  are  two 
parts  of  oil  and  the  third  part  of  gum.  And  when  you  have 
carefully  cooked  it  to  your  wish,  removing  it  from  the  fire  and 
uncovering  it,  allow  it  to  cool. 


CHAPTER  XXIII. 

OF    SADDLES    AND    LITTERS. 


Saddles  and  octofori,  that  is,  folding  chairs,  footstools,  and 
other  things  which  are  sculptured  and  cannot  be  covered  with 
leather  or  canvas,  you  will  polish  with  the  grass,  as  soon  as 
you  have  scraped  them  with  an  iron,  and  in  this  state  will 
whiten  them  over  twice;  and  when  they  are  dry  will  smooth 
them  again  with  the  grass.     After  this,  measure  them  with  the 


28  THEOPHILI    LIBER    I. 

dispone  opus  tuurn,  videlicet  imagines  aut  bestias,  vel  aves  et 
folia,  sive  quodcunque  pertrahere  volueris.  Quo  facto  si  de- 
corare  volueris  opus  tuum,  auri  petulam  impones,  quam  tali 
modo  facies. 


CAPUT    XXIV. 

DE    PETULA    AURI. 

TOLLE  pergamenam  Graecam,  quae  fit  ex  lana  lini '  et 
fricabis  eam  ex  utraque  parte  cum  rubeo  colore,  qui 
comburitur  ex  synopide,  id  est  ogra,  minutissime  trito  et 
sicco,  et  polies  eam  dente  castoris,  sive  ursi,  vel  apri,  diligen- 
tissime,  donec  lucida  fiat,  et  idem  color  ipsa  fricatione  ad- 
haereat.  Deinde  incide  forcipe  ipsam  pergamenam  per  partes 
quadras  ad  latitudinem  quatuor  digitorum,  aequaliter  latas  et 
longas.  Postmodum  facies  eadem  mensura  ex  pergameno 
vituli  quasi  marsupium,  et  fortiter  consues,  ita  amplum,  ut 
multas  partes  rubricatae  pergamenae  possis  implevere.  Quo 
facto,  tolle  aurum  purum  et  fac  illud  attenuari  malleo  super 
incudem  aequalem  diligentissime,  ita,  ut  nulla  sit  in  eo  frac- 
tura,  et  incide  illud  per  quadras  partes  ad  mensuram  duorum 
digitorum.  Deinde  mittes  in  illud  marsupium  unam  partem 
rubricatae  pergamenae,  et  supra  eam  unam  partem  auri  in 
medio,  sicque  pergamenam  et  rursus  aurum;  atque  ita  facies 
donec  impleatur  marsupium,  et  aurum  sit  semper  in  medio 
commixtum.  Dehinc  habeas  malleum  fusilem  ex  auricalco, 
juxta  manubrium  gracilem  et  in  plana  latum,  unde  percuties 
ipsum  marsupium  super  lapidem  magnum  et  aequalem,  non 
graviter,  sed  moderate ;  et  cum  saepius  respexeris,  consider- 
abis,  utrum  velis  ipsum  aurum  omnino  tenue  facere,  vel 
mediocriter  spissum.  Si  autem  supercreverit  aurum  in  atte- 
nuando  et  marsupium  excesserit,  praecides  illud  forcipe  par- 
vulo  et  levi,  tantummodo  ad  hoc  opus  facto.     Haec  est  ratio 

1  "  id  est  papirum,"  ex  C.  It. 


TRANSLATION.  29 

compass  and  rule,  and  dispose  your  work,  that  is,  figures  or 
animals,  or  birds  and  foliage,  or  whatever  you  may  wish  to 
portray.  Which  done,  if  you  wish  to  ornament  your  work, 
lay  on  gold  leaf,  which  you  make  in  this  manner. 


CHAPTER  XXIV. 

OF   GOLD    LEAF. 


Take  Greek  parchment  *,  which  is  made  from  linen  cloth, 
and  you  will  rub  it  on  both  sides  with  a  red  colour  which  is 
burned  from  sinoper,  that  is  ochre,  very  finely  ground  and 
dry,  and  polish  it  with  a  beaver's  tooth,  or  that  of  a  bear  or 
wild  boar,  very  carefully,  until  it  becomes  shining,  and  that 
the  colour  may  adhere  through  the  friction.  Then  cut  up 
this  parchment  with  scissors,  into  square  pieces,  to  the  size 
of  four  fingers,  equally  broad  and  long.  Afterwards  make 
a  kind  of  purse  of  vellum  parchment,  of  the  same  dimension 
and  strongly  sewed,  ample  enough  that  you  may  fill  into  it 
many  pieces  of  reddened  parchment.  Which  being  done, 
take  pure  gold  and  make  it  very  thin  with  a  hammer  upon 
an  even  anvil,  very  carefully,  so  that  there  be  no  fracture  in 
it,  and  cut  it  into  four  parts  to  the  measure  of  two  fingers. 
Then  place  in  this  purse  one  piece  of  reddened  parchment, 
and  upon  it  one  piece  of  gold  in  the  midst,  and  then  parch- 
ment,  and  again  gold ;  and  do  thus  until  you  have  filled  up 
the  purse,  and  so  that  the  gold  may  always  be  placed  inside. 
Then  have  a  mallet  cast  from  yellow  brass,  small  towards  the 
lrandle,  and  large  in  the  flat  part,  with  which  you  strike  the 
purse  upon  a  large  and  flat  stone,  not  heavily,  but  mode- 
rately;  and  when  you  have  frequently  inspected  it,  you  will 
consider  whether  you  wish  to  make  the  gold  very  tliin  or 
moderately  thick.  If,  however,  the  gold  should  have  over- 
spread  in  thinning  and  have  exceeded  the  limits  of  the  purse, 
cut  it  offwith  small  and  light  scissors  made  altogether  for 
this  use.     This  is  the  fashioning   of  gold  leaf.     When  you 

1  "That  is,  paper." — From  the  Paris  MS. 


30  THEOPHILI    LIBER    I. 

aurese  petulae.  Quam  cum  secundum  libitum  tuum  attenu- 
averis,  ex  ea  incides  forcipe  particulas  quantas  volueris,  et 
inde  ordinabis  coronas  aureas  circa  capita  regulorum,  et 
stolas  et  oras  vestimentorum,  et  caetera  ut  libuerit. 


CAPUT   XXV. 

DE    IMPONENDO    AURO. 


IMPONENDO  aurum,  tolle  clarum,  quod  percutiter  ex 
albugine  ovi  sine  aqua,  et  inde  cum  pincello  leniter  linies 
locum  in  quo  ponendum  est  aurum,  et  cauda  ejusdem  pincelli 
in  ore  tuo  madefacta,  continges  unum  cornu  incisae  petulae,  et 
ita  elevans  cum  summa  velocitate  impones,  et  cum  pincello 
aequabis.  Ea  hora  oportet  te  a  vento  cavere,  et  ab  halitu 
continere,  quia  si  flaveris,  petulam  perdes  et  difHcile  reperies. 
Quae  cum  posita  fuerit  et  siccata,  ei,  si  volueris,  eodem  modo 
alteram  superpone,  et  tertiam  similiter,  si  opus  fuerit,  ut  eo 
lucidius  cum  dente  sive  cum  lapide  polire  possis.  Hanc 
etiam  petulam,  si  volueris,  in  muro  et  laqueari  eodem  modo 
imponere  poteris.  Quod  si  aurum  non  habueris,  petulam 
stagni  accipies,  quam  hoc  modo  facies. 


CAPUT    XXVI. 

DE    PETULA   STAGNI. 

STAGNUM  purissimum  attenuabis  diligenter  super  incude  ' 
malleo,  quantas  et  quam  tenues  partes  volueris.  Et  cum 
aliquantulum  attenuari  cceperint,  purgabis  eas  in  una  parte 
panno  laneo,  et  carbonibus  siccis  minutissime  tritis,  ac  iterum 
percuties  malleo,  rursumque  fricabis  panno  et  carbonibus,  sic- 

1  "  incundem  ?  " 


TRANSLATION.  31 

shall  have  thinned  it  to  your  mind,  cut  from  it  with  the 
scissors  what  pieces  you  wish,  and  with  it  fashion  golden 
crowns  round  the  heads  of  rulers,  and  round  stoles,  and 
borders  of  draperies  and  other  things,  as  it  may  please  you. 


CHAPTER  XXV. 

OF    LAYING    ON    THE    GOLD. 


In  laying  on  gold  take  the  clear  part  of  the  white  of  egg, 
which  is  beat  up  without  water,  and  then  with  a  pencil  paint 
lightly  over  the  place  in  which  the  gold  is  to  be  placed,  and, 
the  handle  of  the  same  pencil  being  wetted  in  your  mouth, 
touch  one  corner  of  the  cut  leaf,  and  so  elevating  it,  lay  it 
on  with  the  greatest  quickness,  and  spread  it  even  with  a 
brush.  And  at  that  moment  you  must  beware  of  a  current 
of  air  and  refrain  from  breathing,  because  if  you  blow  you 
lose  the  leaf  and  with  difficulty  recover  it.  When  this  is 
laid  on  and  dried,  superpose  another  upon  it,  if  you  wish,  in 
the  same  manner,  and  a  third  likewise,  if  it  is  necessary,  that 
you  may  be  able  to  polish  it  more  brightly  with  a  tooth  or  a 
stone.  You  can  also  if  you  wish  lay  this  leaf  upon  a  wall, 
and  on  a  ceiling,  in  the  same  manner.  But  if  you  have  not 
gold,  take  a  leaf  of  tin,  which  you  make  in  this  manner. 


CHAPTER  XXVI. 

OF    TIN    LEAF. 


Thin  carefully  the  purest  tin  upon  the  anvil  with  a  mallet,  as 
many  pieces  and  as  thin  as  you  wish.  And  when  they  have 
begun  slightly  to  attenuate,  clean  them  on  one  side  with  a 
linen  cloth  and  dry  charcoal,  most  finely  powdered,  and 
again  beat  them  with  the  mallet,  again  rub  them  with  the 
cloth  and  charcoal,  and  do  thus  alternately  until  you  have 


32  THEOPHILI    LIBER    I. 

que  singulis  vicibus  facies,  donec  omnino  attenuaveris.  Post 
hsec  fricabis  eas  leniter  dente  apri  super  ligneam  tabulam 
aequalem,  usque  quo  lucidee  fiant. 

Deinde  conjunges  easdem  partes  unam  ad  alteram  super 
ipsam  tabulam,  et  adhaerebis  eas  singulas  ad  lignum  cum 
cera,  ne  possint  moveri,  et  superlinies  eas  manu  tua  ex  supra- 
dicto  glutine  vernition  atque  siccabis  ad  solem.  Postmodum 
accipe  virgas  ligni  putridi,  quas  cum  Aprili  incideris,  findes 
per  medium  et  siccabis  super  fumum.  Dehinc  auferes  ex- 
teriorem  corticem,  et  interiorem,  qui  est  croceus,  rades  in 
patella  munda,  addens  ei  crocum  ad  quintam  partem ;  et  per- 
funde  haec  vino  veteri  sive  cervisia  abundanter,  et  cum  ita  per 
noctem  steterit,  in  crastinum  calefacies  super  ignem  donec 
liquefiat ' ;  sicque  impones  tabulas  stagneas  singulatim,  et 
frequenter  elevabis,  donec  consideres,  quod  aureolum  colorem 
sufficienter  trahant.  Postque  rursum  adhserebis  eas  ligneae 
tabulae  superliniens  gluten  sicut  prius,  et  cum  siccatae  fuerint, 
jam  habes  stagneas  petulas,  quas  impones  operi  tuo  secun- 
dum  libitum  glutine  corii.  Ac  deinceps  accipe  colores  quos 
imponere  volueris,  terens  eos  diligenter  oleo  lini  sine  aqua,  et 
fac  mixturas  vultuum  ac  vestimentorum  sicut  superius  aqua 
feceras,  et  bestias  sive  aves  aut  folia  variabis  suis  coloribus, 
prout  libuerit. 


CAPUT    XXVII. 

DE    COLORIBUS    OLEO    ET    GUMMI    TERENDIS. 

^""\MNIA  genera  colorum  eodem  genere  olei  teri  et  poni 
^S  possunt  in  opere  ligneo,  in  his  tantum  rebus  quae  sole 
siccari  possunt,  quia  quotiescunque  unum  colorem  imposueris, 
alterum  ei  superponere  non  potes,  nisi  prior  exsiccetur,  quod 
imaginibus2  diuturnumactaediosumestnimis.  Si  autemvolueris 

1  "tepefiat,"  in  cateria  Codicibm. — !  "et  aliis  picturis."  ex  C.  R. 


TRANSLATION.  33 

made  them  quite  thin.  After  this  rub  them  gently  with  a 
boar's  tooth,  upon  a  flat  wooden  tablet,  until  they  become 
shining. 

Then  join  together  the  same  pieces,  upon  this  tablet,  one 
to  another,  and  attach  them  singly  to  the  wood  with  wax,  so 
that  they  cannot  be  moved,  and  superpose  with  your  hand 
the  before-mentioned  varnish  gluten,  and  you  will  dry  them 
in  the  sun.  Afterwards  take  sticks  of  rotten  wood,  which 
you  cut  in  April,  split  them  through  the  middle,  and  dry 
them  in  the  smoke.  Then  take  ofT  the  outer  bark,  and  scrape 
the  inner,  which  is  yellow,  into  a  clean  vessel,  adding  to  it  a 
fifth  part  saftron ;  and  pour  over  this  a  quantity  of  old  wine, 
or  beer,  and  when  it  has  thus  stood  a  night,  on  the  morrow 
warm  it  upon  the  fire  until  it  liquefy ',  and  so  place  in  it  the 
tin  leaves  one  by  one,  and  lift  them  up  frequently,  until  you 
are  of  opinion  that  they  show  the  golden  colour  sufficiently. 
Afterwards  you  will  again  attach  them  to  the  wooden  tablet, 
varnishing  them  over  with  gluten  as  before,  and  when  they 
are  dry,  you  have  ready  tin  leaves,  which  you  may  place  upon 
your  work  according  to  your  wish  with  skin-glue.  And  then 
take  the  colours  which  you  wish  to  lay  on,  grinding  them 
carefully  with  linseed  oil,  without  water,  and  make  tints  for 
faces,  and  for  draperies,  as  you  before  made  with  water,  and 
you  will  vary  beasts,  or  birds,  or  leaves,  in  their  colours,  as  it 
may  please  you. 


CHAPTER  XXVII. 

OF    COLOURS    GROUND    WITH    OIL    AND    GUM. 

All  sorts  of  colours  can  be  ground  and  laid  upon  woodwork, 
with  the  same  kind  of  oil,  in  those  things  only  which  can  be 
dried  in  the  sun ;  because  each  time  that  you  have  laid  on  one 
colour,youcannotsuperposeanotherupon  ituntil  the  first  has 
dried,  which,  for  figures'2,  is  excessively  long  and  tedious. 

1  "  it  is  warm,"  in  the  oiker  maimscripts. — *  "  and  other  pictures,"  from  tke  Codex 
Regius. — Paris. 


34 


THEOPHILI    LIBER    I. 


opus  tuum  festinare,  sume  gummi,  quod  exit  de  arbore  ceraso 
sive  pruno,  et  concidens  illud  minutatim  pone  in  vas  fictile, 
et  aquam  abundanter  infunde,  et  pone  ad  solem,  sive  super 
earbones  in  hieme,  donec  liquefiat  gummi,  et  ligno  rotundo 
commisce.  Deinde  cola  per  pannum,  et  inde  tere  colores  et 
impone.  Omnes  colores  et  mixturse  eorum  hoc  gummi  teri 
et  poni  possunt,  prseter  minium  et  cerosam  et  carmin,  qui 
claro  ovi  terendi  et  ponendi  sunt.  Viride  Hispanicum  non 
misceatur  suco  sub  glutine,  sed  per  se  cum  gummi  glutine 
ponatur.     Aliud  vero  miscere  potes,  si  volueris. 


CAPUT    XXVIII. 

QUOTIENS   IIDEM    COLORES   PONENDI    SINT. 

OMNES  colores,  sive  oleo  sive  gummi  tritos,  in  ligno  ter 
debes  ponere,  et  pictura  perfecta  atque  siccata,  delato 
opere  ad  solem,  diligenter  linies  glutine  vernition,  et  cum  de- 
fluere  cceperit  a  calore,  leniter  manu  fricabis,  atque  tertio  sic 
facies,  et  tunc  sine  donec  penitus  exsiccetur. 


CAPUT   XXIX. 

DE    PICTURA   TRANSLUCIDA. 


FIT  etiam  pictura  in  ligno,  quae  dicitur  translucida,  et  apud 
quosdam  vocatur  aureola,  quam  hoc  modo  compones. 
Tolle  petulam  stagni  non  linitam  glutine  nec  coloratam  croco, 
sed  ita  simplicem  et  diligenter  politam,  et  inde  cooperie& 
locum,  quem  ita  pingere  volueris.  Deinde  tere  colores  impo- 
nendos  diligentissime  oleo  lini,  ac  valde  tenues  trahe  eos  cum 
pincello,  sicque  permitte  siccari. 


TRANSLATION.  35 

If,  however,  you  wish  to  hasten  your  work,  take  gum  which 
exudes  from  the  cherry  or  plum  tree,  and  cutting  it  up  very 
small,  place  it  in  an  earthenware  pot,  and  pour  water  upon  it 
abundantly,  and  place  it  in  the  sun,  or  in  winter  upon  the 
coals,  until  the  gum  has  liquefied ;  and  mix  it  together  with  a 
smooth  piece  of  wood.  Then  strain  it  through  a  cloth,  and 
grind  the  colours  with  it  and  lay  them  on.  All  colours  and 
their  mixtures  can  be  ground  and  laid  on  with  this  kind  of  oil, 
except  minium  and  ceruse  and  carmine,  which  are  ground  and 
laid  on  with  white  of  egg.  Spanish  green  is  not  mixed  with 
succus  under  the  gluten,  but  is  laid  on  by  itself  with  gum 
gluten.     You  can  otherwise  mix  it,  if  you  wish  it. 


CHAPTER  XXVIII. 

HOW    OFTEN    THE    SAME    COLOURS    MAY    BE    LAID    ON. 

You  should  apply  all  colours  three  times  upon  wood,  whether 
ground  in  oil  or  in  gum ;  and  the  picture  finished  and  dried  and 
the  work  carried  into  the  sun,  carefully  cover  it  with  varnish 
gluten,  and  when  it  begins  to  flow  from  the  heat,  lightly  rub 
it  with  the  hand,  and  do  this  three  times,  and  then  leave  it 
until  it  is  quite  dry. 


CHAPTER  XXIX. 

OF    A    TRANSPARENT    PICTURE. 


A  picture  is  likewise  made  upon  wood,  which  picture  is 
called  transparent,  and  after  some  it  is  called  aureola,  which 
you  compose  in  this  manner.  Take  tin  leaf,  not  covered  with 
varnish  nor  coloured  with  saflfron,  but  simply  as  it  is,  and 
diligently  polished,  and  with  it  you  cover  the  place  on  which 
rou  wish  thus  to  paint.  Then  grind  the  colours  to  be  laid  on 
'rnost  carefully  with  linseed  oil,  and  when  very  fine,  lay  them 
)encil.  and-SQ-allow  -them-to  dry. — ' 

d  2 


36  THEOPHILI    LIBER    I. 

CAPUT    XXX. 

DE  MOLENDO  AURO  IN  LIBRIS,  ET  DE  FUNDENDO  MOLENDINO. 

CUM  pertraxeris  imagines  vel  litteras  in  libris,  tolle  aurum 
purum  et  lima  illud  minutissime  in  mundissima  pelvi, 
sive  baccina,  sicque  lavabis  illud  cum  pincello  in  concha  tes- 
tudinis  vel  conchilii,  quse  de  aqua  tollitur.  Deinde  habeas 
molendinum  cum  pistillo  suo,  utraque  fusilia  ex  metallo 
cupri  et  stagni  ita  commixto,  ut  tres  partes  sint  cupri  puri 
et  quarta  stagni  puri  a  plumbo.  His  ita  compositis  fun- 
datur  molendinum  ad  similitudinem  mortarioli,  et  pistillum 
ejus  circa  ferrum  quasi  nodus,  ita  ut  ferrum  inde  procedat 
grossitudine  unius  digiti,  et  longitudine  modice  amplius  pedis 
dimidii ;  cujus  ferri  tertia  pars  infigatur  ligno  diligenter  tor- 
nato  ad  longitudinem  quasi  unius  ulnae,  et  rectissime  forato, 
in  cujus  inferiori  parte  tamen  a  fine  longitudine  quatuor  digi- 
torum,  sit  rotula  sive  lignea  sive  plumbea  tornatilis,  et  in 
media  parte  superiori  figatur  corrigia  qua  trahi  et  volvendo 
retrahi  possit.  Posthsec  mittatur  ipsum  molendinum  in  fora- 
men  super  scamnum  ad  hoc  aptatum  inter  duas  columnellas 
ligneas  in  ipso  scamno  firmiter  fixas,  super  quas  sit  aliud 
lignum  eis  insertum,  quod  possit  ejici  et  reponi,  in  cujus  medio 
inferius  sit  foramen  in  quo  volvatur  pistillum  molendini. 
His  ita  dispositis  mittatur  aurum  diligenter  purgatum  in  mo- 
lendinum,  addita  modica  aqua,  et  imposito  pistillo  atque 
superiori  ligno  coaptato  trahatur  corrigia  et  revolvi  permittatur, 
rursumque  trahatur  et  iterum  revolvatur,  sicque  fiat  per  duas 
vel  per  tres  horas.  Tunc  superius  lignum  ejiciatur,  et  pistil- 
lum  in  eadem  aqua  cum  pincello  lavetur.  Deinde  molendinum 
elevetur,  et  aurum  cum  aqua  usque  ad  fundum  cum  pincello 
moveatur  et  modice  teneatur,  donec  quod  grossius  est  resideat ; 
moxque  aqua  in  mundissimam  baccinam  effundatur,  et  quic- 
quid  auri  cum  aqua  exierit,  molitum  est.  Rursumque  im- 
posita   aqua,   repositisque    pistillo   et   sursum    ligno,    iterum 


TRANSLATION.  37 

CHAPTER  XXX. 

OF   GRINDING    GOLD    FOR    BOOKS    AND  OF  CASTING  THE   MILL. 

When  you  have  traced  out  figures  or  letters  in  books,  take 
pure  gold  and  file  it  very  finely  in  a  clean  cup  or  small  basin, 
and  wash  it  with  a  pencil  in  the  shell  of  a  tortoise,  or  a  shell 
which  is  taken  out  of  the  water.  Have  then  a  mill  with  its 
pestle,  both  cast  from  metal  of  copper  and  tin  mixed  toge- 
ther,  so  that  three  parts  may  be  of  pure  copper,  and  the  fourth 
of  pure  tin,  free  from  lead.  With  this  composition  the  mill  is 
cast  in  the  form  of  a  small  mortar,  and  its  pestle  round  about 
an  iron  in  the  form  of  a  knot,  so  that  the  iron  may  protrude 
of  the  thickness  of  a  finger,  and  in  length  a  little  more  than 
half  a  foot,  the  third  part  of  which  iron  is  fixed  in  wood  care- 
fully  turned,  in  length  about  one  yard,  and  pierced  very 
straightly;  in  the  lower  part  of  which,  however,  of  the  length 
of  four  fingers  from  the  end,  must  be  a  revolving  wheel, 
either  of  wood  or  of  lead,  and  in  the  middle  of  the  upper 
part  is  fixed  a  leather  strap,  by  which  it  can  be  pulled,  and,  in 
revolving,  be  drawn  back.  Then  this  mill  is  placed  in  a 
hollow,  upon  a  bench  fitted  for  it,  between  two  small  wooden 
pillars  firmly  fixed  into  the  same  bench,  upon  which  another 
piece  of  wood  is  to  be  inserted,  which  can  be  taken  out  and 
replaced,  in  the  middle  of  which,  at  the  lower  part,  is  a  hole  in 
which  the  pestle  of  the  mill  will  revolve.  These  things  thus 
disposed,  the  gold,  carefully  cleansed,  is  put  into  the  mill,  a 
little  water  added,  and  the  pestle  placed,  and  the  upper  piece 
of  wood  fitted,  the  strap  is  drawn  and  is  permitted  to  revolve, 
again  pulled  and  again  it  revolves,  and  this  must  so  be  done 
for  two  or  three  hours.  Then  the  upper  wood  is  taken  off, 
and  the  pestle  washed  in  the  same  water  with  a  pencil.  After- 
wards  the  mill  is  taken  up,  and  the  gold,  with  the  water,  is 
stirred  to  the  bottom  with  the  pencil,  and  is  left  a  little,  until 
the,  grosser  part  subsides;  the  water  is  presently  poured  into 
a  very  clean  basin,  and  whatever  gold  comes  away  with  the 
water  is  ground.     Replacing  the  water  and  the   pestle,  and 


38  THEOPHILI    LIBER    I. 

molatur  eo  ordine,  quo  prius,  donec  omnino  exeat  cum  aqua. 
Tali  modo  molendum  est  argentum,  auricalcum,  et  cuprum. 
Sed  aurum  diligentius  est  et  leniter  trahendum,  saepiusque  re- 
spiciendum  quia  mollius  est  ceteris  metallis,  ne  forte  adhaereat 
molendino  vel  pistillo  et  conglomeretur.  Quod  si  per  negli- 
gentiam  contigerit,  quod  conglomeratum  est  eradatur  et 
ejiciatur,  et  quod  reliquum  est  usque  ad  effectum  molatur. 
Quo  facto  superiorem  aquam  cum  sordibus  de  baccino  effun- 
dens;  inde  aurum  diligenter  in  concham  mundam  lava. 
Dehinc  infundens  ei  aquam  cum  pincello  move,  et  cum  per 
unam  horam  in  manu  tenueris  ipsam  aquam  in  alteram  con- 
cham  funde,  et  illud  minutissimum  quod  cum  aqua  exierit 
serva.  Rursumque  imposita  aqua  super  carbones  calefac  et 
move,  ac  sicut  prius  minutum  cum  aqua  ejice,  sicque  facias 
donec  omnino  purgaveris.  Posthaec  ipsum  minutum  •  cum  aqua 
et  eodem  ordine  bis  et  tertio,  quicquid  auri  susceperis  priori 
admisce.  Eodem  ordine  lavabis  argentum,  auricalcum  et 
cuprum.  Dehinc  tolle  vesicam  piscis,  qui  vocatur  huso,  et 
lavans  aqua,  tepida  tertio,  incide  particulatim,  ac  in  ollam 
purissimam  mittens  cum  aqua,  sine  mollificari  per  noctem,  et 
in  crastinum  coque  super  carbones  ut  non  bulliat,  donec 
probes  digitis  tuis,  si  adhaereat,  et  cum  fortiter  adhseserit, 
bonum  est  gluten. 


CAPUT    XXXI. 

QUOMODO   AURUM    ET   ARGENTUM    IN    LIBRIS    PONATUR. 

POSTEA  tolle  minium  purum,  et  adde  ei  tertiam  partem 
cenobrii,  terens  super  lapidem,  cum  aqua.     Quo  diligenter 
trito,  percute  clarum  ex  albugine  ovi,  in  aestate  cum  aqua,  in 

'  "  relava,"  ex  Cod.  Gtietyh. 


TRANSLATION.  39 

wood  above  being  placed,  again  it  is  milled  in  the  same  way  as 
before,  until  it  altogether  comes  away  with  the  water.  In  the 
like  manner  are  ground  silver,  brass,  and  copper.  But  gold 
is  ground  most  carefully,  and  must  be  lightly  milled;  and  you 
must  often  inspect  it,  because  it  is  softer  than  the  other  metals, 
that  it  may  not  adhere  to  the  mill  or  the  pestle,  and  become 
heaped  together.  If  through  negligence  this  should  happen, 
that  which  is  conglomerate  is  scraped  together  and  taken  out, 
and  what  is  left  is  milled  until  finished.  Which  being  done, 
pouring  out  the  upper  water  with  the  impurities  from  the 
basin,  wash  the  gold  carefully  in  a  clean  shell.  Then  pour- 
ing  the  water  from  it,  agitate  it  with  the  pencil,  and  when  you 
have  had  it  in  your  hand  for  one  hour,  pour  it  into  another 
shell,  and  keep  that  very  fine  part  which  has  come  away  with 
the  water.  Then  again,  water  being  placed  with  it,  warm  it, 
and  stir  it  over  the  fire,  and,  as  before,  pour  away  the  fine  par- 
ticles  with  the  water,  and  you  may  act  thus  until  you  shall 
have  purified  it  entirely.  After  this  wash  with  water  the  same 
refined  part,  and  in  the  same  manner,  a  second  and  a  third 
time,  and  whatever  gold  you  gather  mix  with  the  former.  In 
the  same  way  you  will  wash  silver,  brass,  and  copper.  After- 
wards  take  the  bladder  of  a  fish  which  is  called  huso,  and 
washing  it  three  times  in  tepid  water,  cut  it  into  very  small 
pieces,  and  putting  it  into  a  very  clean  pot  with  water,  leave 
it  to  soften  a  night,  and  on  the  morrow  warm  it  on  the  fire, 
so  that  it  does  not  boil  up  until  you  prove  with  your  fingers 
if  it  adhere,  and  when  it  shall  adhere  strongly,  the  glue  is 
good. 


CHAPTER  XXXI. 

HOW    GOLD    AND    SILVER    ARE    LAID    IN    BOOKS. 

Afterwards  take  pure  minium  and  add  to  it  a  third  part  of 
cinnabar,  grinding  it  upon  a  stone  with  water.  Which  being 
carefully  ground,  beat  up  the  clear  of  the  white  of  an  egg,  in 


40  THEOPHILI    LIBER    I. 

hieme  sine  aqua,  et  cum  purum  fuerit,  mitte  minium  in  cornu 
et  infunde  clarum,  impositoque  ligno  move  modicum,  et  inde 
cum  pincello  imple  omnia  loca,  in  quibus  aurum  velis  ponere. 
Dehinc  pone  ollulam  cum  glutine  super  carbones,  et  cum 
liquefactum  fuerit,  funde  in  concham  auri  et  lava  illud  inde. 
Quod  cum  effuderis  in  aliam  concham,  in  qua  purgamentum 
servatur,  rursus  infunde  gluten  calidum,  et  tenens  in  palma 
manus  sinistrae,  move  diligenter  cum  pincello,  et  pone  utrum 
volueris  spissum  aut  tenue,  sic  tamen  ut  glutinis  modicum  sit, 
quia  si  superabundaverit,  nigrescit  aurum  et  non  recipit  ful- 
gorem.  Postquam  autem  siccatum  fuerit,  polies  illud  dente 
vel  lapide  sanguinario  diligenter  limata,  et  polito  super  tabulam 
corneam  sequalem  ac  lucidam.  Quod  si  contigerit  per  negli- 
gentiam  glutinis  non  bene  cocti,  ut  aurum  in  fricando  se  pul- 
veret,  vel  prae  nimia  spissitudine  se  elevet,  habeas  penes  te 
clarum  vetus  sine  aqua  percussum,  et  mox  cum  pincello  de 
eodem  modicum  ac  leniter  super  aurum  liniens,  cum  siccum 
fuerit  denuo  dente  vel  lapide  fricabis.  Hoc  modo  argentum, 
auricalcum  et  cuprum  in  suis  locis  pones  et  fricabis. 


CAPUT    XXXII. 

QUOMODO    DECORETUR    PICTURA    LIBRORUM    STAGNO    ET 
CROCEO. 

SI  vero  neutrum  habueris,  et  tamen  opus  tuum  quoquomodo 
decorare  volueris,  tolle  stagnum  purum  et  rasum  minutis- 
sime,  mole  et  lava  sicut  aurum,  et  pone  eodem  glutine  in 
literis  vel  aliis  locis,  quse  volueris  auro  vel  argento  ornare,  et 
cum  polieris  dente,  tolle  crocum  cum  quo  sericum  coloratur, 
perfundens  illum  claro  sine  aqua,  et  cum  per  noctem  steterit, 
sequenti  die  cum  pincello  cooperies  loca,.quae  volueris  deaurare; 
csetera  habeto  loco  argenti.  Deinde  facies  subtiles  tractus 
circa  literas  et  folia  et  nodos  ex  minio  cum  penna,  et  paraturas 
vestimentorum  ac  caetera  ornamenta. 


TRANSLATION.  41 

summer  with  water,  in  winter  without  water,  and  when  it  is 
clear,  put  the  minium  into  a  horn  and  pour  the  clear  upon  it, 
and  stir  it  a  little  with  a  piece  of  wood  put  into  it,  and  with  a 
pencil  fill  up  all  places  with  it  upon  which  you  wish  to  lay  gold. 
Then  place  a  little  pot  with  glue  over  the  fire,  and  when  it  is 
liquefied,  pour  it  into  the  shell  of  gold  and  wash  it  with  it. 
When  you  have  poured  which  into  another  shell,  in  which  the 
purifying  is  kept,  again  pour  in  warm  glue,  and  holding  it  in 
the  palm  of  the  left  hand,  stir  it  carefully  with  the  pencil,  and 
lay  it  on  where  you  wish  thick  or  thin,  so  however  that  there 
be  little  glue,  because,  should  it  exceed,  it  blackens  the  gold 
and  does  not  receive  a  polish.  But  after  it  has  dried,  polish 
it  with  a  tooth  or  bloodstone  carefully  filed  and  polished, 
upon  a  smooth  and  shining  horn  tablet.  But  should  it  happen, 
through  negligence  of  the  glue  not  being  well  cooked,  that 
the  gold  pulverises  in  rubbing,  or  rises  on  account  of  too 
great  thickness,  have  near  you  some  old  clear  of  egg  beat  up 
without  vvater,  and  directly  with  a  pencil  paint  slightly  and 
quickly  with  it  over  the  gold;  when  it  is  dry,  again  rub  it  with 
the  tooth  or  stone.  Lay  in  this  manner  silver,  brass,  and 
copper  in  their  place,  and  polish  them. 


CHAPTER  XXXII. 

HOW    A   PICTURE    18    ORNAMENTED    IN    BOOKS    WITH    TIN 
AND    SAFFRON. 

But  if  you  have  neither  of  these,  and  yet  wish  to  decorate 
your  work  in  some  manner,  take  tin  pure  and  finely  scraped ; 
mill  it  and  wash  it  like  gold,  and  apply  it  with  the  same  glue, 
upon  letters  or  other  places  which  you  wish  to  ornament  with 
gold  or  silver:  and  when  you  have  polished  it  with  a  tooth, 
take  saffron,  with  which  silk  is  coloured,  moistening  it  with 
clear  of  egg  without  water,  and  when  it  has  stood  a  night,  on 
the  following  day  cover  with  a  pencil  the  places  which  you 
wish  to  gild,  the  rest  holding  the  place  of  silver.  Then  make 
fine  traits  round  letters  and  leaves  and  flourishes  from  minium, 
with  a  pen,  also  the  stuffs  of  dresses  and  other  ornaments. 


42 


THEOPHILI    LIBER    I. 


CAPUT    XXXIII. 

DE    OMNI    GENERE    GLUTINIS    IN    PICTURA    AURI. 

^JI  vesicam  non  habueris,  pergamenum  vituli  spissum  eodem 
*~-J  modo  incide,  lava,  et  coque.  Follem  quoque  anguillae 
diligentissime  rasum,  incisum  et  lotum  eodem  modo  coque. 
Ossa  quoque  capitis  lupi  piscis  loti  sicci,  diligenter  lota  in 
calida  aqua  ter,  ita  coque.  Qualecunque  horum  coxeris,  adde 
ei  tertiam  partem  gummi  lucidissimi,  et  modice  coque,  pot- 
erisque  servare  quamdiu  volueris. 


CAPUT    XXXIV. 

QUOMODO    COLORES    IN    LIBRIS    TEMPERENTUR. 

HIS  ita  peractis  fac  temperamentum  ex  gummi  lucidissimo 
et  aqua  sicut  supra,  et  tempera  omnes  colores,  excepto 
viridi,  et  cerosa,  et  minio,  et  carmin.  Viride  salsum  non 
valet  in  libro.  Viride  Hispanicum  temperabis  vino  puro,  et  si 
volueris  umbras  facere,  adde  modicum  sucum  gladioli,  vel 
cauli  vel  porri.  Minium  et  cerosam  et  carmin  temperabis 
claro.  Omnes  mixturas  colorum,  si  indigueris  ad  pingendas 
imagines,  compone  in  libro  ut  supra.  Omnes  colores  bis 
ponendi  sunt  in  libro,  in  primis  tenuissime,  deinde.spissius;  in 
literis  vero  semel. 


CAPUT    XXXV. 

DE    GENERIBUS    ET    TEMPERAMENTIS    FOLII. 

FOLII  tria  sunt  genera,  unum  rubeum,  aliud  purpureum, 
tertium  saphireum,  quse  sic  temperabis.     Tolle  cineres  et 
cribra  eos  per  pannum,  et  perfundens  eos  aqua  frigida,  fac 


TRANSLATION.  43 

.      CHAPTER  XXXIII. 

OF  EVERY  SORT  OF  GLUE  FOR  A  PICTURE  OF  GOLD. 

If  you  have  not  a  bladder,  cut  up  thick  parchment  of  vellum 
in  the  same  manner,  wash  and  cook  it.  Prepare  also  the 
skin  of  an  eel  carefully  scraped,  cut  up  and  washed  in  the 
same  manner.  Prepare  thus  also  the  bones  of  the  head  of  the 
wolf  fish  washed  and  dried,  carefully  washed  in  warm  water 
three  times.  To  whichever  of  these  you  have  prepared,  add  a 
third  part  of  very  transparent  gum,  simmer  it  a  little,  and  you 
can  keep  it  as  long  as  you  wish. 


CHAPTER  XXXIV. 

HOW  COLOURS  ARE  TEMPERED  FOR  BOOKS. 

These  things  thus  accomplished,make  a  mixtureof  the  clearest 
gum  and  water  as  above,  and  temper  all  colours  except  green 
and  ceruse  and  minium  and  carmine.  Salt  green  is  worth 
nothing  for  books.  You  will  temper  Spanish  green  with  pure 
wine,  and  if  you  wish  to  make  shadows,  add  a  little  sap  of 
iris  or  cabbage  or  leek.  You  will  temper  minium  and  ceruse 
and  carmine  with  clear  of  egg.  Compose  all  preparations  of 
colours  for  a  book  as  above,  if  you  want  them  for  painting 
figures.  All  colours  are  laid  on  twice  in  books,  at  first  very 
thinly,  then  more  thickly;  but  once  for  letters. 


CHAPTER  XXXV. 

OF   THE    KINDS    AND    THE    TEMPERING    OF    FOLIUM. 

There  are  three  kinds  of  folium,  one  red,  another  purple,  a 
third  blue,  which  you  will  thus  temper.  Take  ashes,  and  sift 
them  through  a  cloth,  and  sprinkling  them  with  cold  water, 


44  THEOPHILI    LIBER    I. 

inde  tortulas  in  similitudinem  panis,  mittensque  eas  in  ignem, 
sine  donec  omnino  candescant.  Postquam  ante  diutissime 
canduerint,  et  postea  friguerint,  mitte  inde  partem  in  vas  fic- 
tile,  perfundens  urina,  et  move  ligno.  Cumque  resederit  lucide, 
perfunde  inde  rubeum  folium,  et  terens  illud  modice  super 
lapidem,  adde  ei  quartam  partem  vivae  calcis,  et  cum  tritum 
fuerit  ac  sufficienter  perfusum,  cola  illud  per  pannum,  et  trahe 
cum  pincello  ubi  volueris  tenue,  deinde  spissius.  Et  si  placet 
similitudinem  pallii  in  pagina  facere  purpureo  folio,  eodem 
temperamento  sine  calce  perfuso,  pinge  penna  prius  in  ipsa 
pagina  nodos  vel  circulos,  et  interius  aves  sive  bestias  aut 
folia ;  et  cum  siccum  fuerit,  linies  per  omnia  rubeum  folium 
tenue,  deinde  spissius,  et  tertio  si  sit  opus;  ac  postmodum 
linies  desuper  tenue  vetus  clarum,  sine  aqua  percussum.  Pur- 
pureum  folium  et  saphireum  non  teres,  sed  perfunde  eodem 
temperamento  in  concha  sine  calce,  et  move  ligno,  et  cum 
per  noctem  steterit,  in  crastinum  pone  quomodocumque 
volueris  linies  claro  superius.  Vestimenta  quoque  et  omnia 
quae  folio  et  carmin  pinxeris,  claro  superlinies.  Cineres  au- 
tem  coctos,  qui  remanserint,  servare  diu  poteris  siccos. 


CAPUT    XXXVI. 

DE    CENOBKIO. 

SI  desideras  cenobrium  componere,  tolles  sulphur,  cujus 
sunt  tria  genera,  album,  nigrum  et  croceum,  quod  fran- 
gens  super  lapidem  siccum,  adde  ei  duas  partes  vivi  argenti, 
sequo  pondere  staterae  ;  et  cum  diligentius  miscueriSj  mitte  in 
vitream  ampullam,  cooperiens  eam  ex  omni  parte  argilla,  et 
os  obstrue,  ne  fumus  exeat,  et  pone  eam  ad  ignem  ut  siccetur. 
Deinde  pone  eam  inter  carbones  ardentes,  et  mox  cum 
cceperit  calefieri,  audies  fragorem  interius,  quomodo  se  vivum 
argentum  commiscet  ardenti  sulphuri;  et  cum  sonus  ces- 
saverit,  statim  ejice  ampullam  et  aperiens  tolle  colorem. 


TRANSLATION.  45 

make  rolls  of  them  in  form  of  loaves,  and  placing  them  in  the 
fire,  leave  them  until  they  quite  glow.  After  they  have  first 
burnt  for  a  very  long  time  and  have  afterwards  cooled,  place 
a  portion  of  them  in  a  vessel  of  clay,  pouring  urine  upon  them 
and  stirring  with  wood.  When  it  has  deposed  in  a  clear  man- 
ner,  pour  it  upon  the  red  folium,  and  grinding  it  slightly  upon 
a  stone,  add  to  it  a  fourth  part  of  quick  lime,  and  when  it 
shall  be  ground  and  sufficiently  moistened,  strain  it  through 
a  cloth,  and  paint  with  a  pencil  where  you  wish,  thinly,  after- 
wards  more  thickly.  And  if  you  wish  to  imitate  a  robe  in  a 
page  of  a  book,  with  purple  folium ;  with  the  same  tempering, 
without  the  mixture  of  lime,  paint  first  with  a  pen,  in  the  same 
page,  flourishes  or  circles,  and  in  them  birds  or  beasts,  or 
leaves ;  and  when  it  is  dry,  paint  red  folium  over  all, 
thinly,  then  more  thickly,  and  a  third  time  if  necessary ;  and 
afterwards  paint  over  it  some  old  clear  of  egg,  beat  up  with- 
out  water.  Do  not  grind  purple  or  blue  folium,  but  pour  it  with 
the  same  tempering,  without  lime,  into  a  shell,  and  stir  it  with 
wood,  and  when  it  has  stood  for  a  night,  the  next  day  use  it  in 
what  manner  you  wish,  paint  over  it  with  clear  of  egg.  Paint 
over  also  with  glaire  of  egg,  draperies,  and  all  things  which 
you  have  painted  with  folium  and  carmine.  You  can  likewise 
preserve  the  burned  ashes  which  remain,  for  a  long  time,  dry. 


CHAPTER  XXXVI. 


OF   CINNABAR. 

If  you  wish  to  make  cinnabar,  take  sulphur,  of  which  there 
are  three  kinds,  white,  black,  and  yellow;  breaking  which 
upon  a  dry  stone,  add  to  it  two  parts  of  quicksilver,  in  equal 
weight  of  the  balance,  and  when  you  have  carefully  mixed  it, 
place  it  in  a  glass  bottle,  covering  it  all  over  with  clay,  and 
close  the  mouth  that  the  vapour  may  not  exude,  and  put  it 
near  the  fire  to  dry.  Then  place  it  among  the  burning  coals, 
and  presently,  when  it  has  begun  to  grow  hot,  you  will  hear  a 
noise  inside,  the  manner  in  which  the  quicksilver  combines 
with  the  burning  sulphur ;  and  when  the  sound  has  ceased, 
immediately  take  off  the  bottle,  and  opening  it,  take  out  the 
colour. 


46  THEOPHILI    LIBER    I. 

CAPUT    XXXVII. 

DE    VIRIDI    SALSO. 

C*I  autem  viridem  colorem  velis  conficere,  sume  lignum 
*^  quercinum,  quantas  longitudinis  et  latitudinis  volueris,  et 
cava  illud  in  modum  scrinii.  Deinde  tolle  cuprum,  et  fac 
illud  attenuari  in  Jaminas,  quantse  latitudinis  velis,  ut  tamen 
longitudo  ejus  cooperiat  latitudinem  cavi  ligni.  Post  hsec 
accipe  scutellam  plenam  salis,  et  comprimens  eum  fortiter, 
mitte  in  ignem  et  cooperi  carbonibus  per  noctem,  et  in  cras- 
tinum  tere  eum  diligentissime  super  lapidem  siccum.  Cum- 
que  acceperis  surculos  graciles,  colloca  eos  in  prsedictum  ca- 
vatum  lignum,  ita  ut  duse  partes  cavi  sint  inferius,  et  tertia 
superius,  sicque1  laminas  cupreas  ex  utraque  parte  melle 
puro  aspergens  desuper  sal  tritum,  collocabis  super  surculos 
illos  conjunctim,  cooperiens  diligenter  altero  ligno  ad  hoc  ap- 
tato,  ita  ut  nihil  spiraminis  exire  possit.  Post  fac  foramen 
terebrari  in  angulo  ipsius  ligni  per  quod  possis  acetum  cale- 
factum  aut  urinam  calidam  infundere,  ita  ut  tertia  pars  ejus 
impleatur,  et  mox  obstrue  foramen.  Hoc  lignum  in  tali  loco 
debes  ponere,  ubi  possis  illud  in  sterquilinio  totum  cooperire. 
Post  quatuor  vero  septimanas  solve  operculum,  et  quicquid 
super  cuprum  inveneris,  erade  et  serva,  et  iterum  reponens 
cooperi  ordine  quo  supra. 


CAPUT    XXXVIII. 

DE    VIRIDI    HISPANICO. 

SI  vero  viride  Hispanicum  componere  velis,  tolle  cupri 
tabulas  attenuatas  et  radens  eas  diligenter  ex  utraque 
parte,  perfunde  aceto  puro  et  calido  absque  melle  et  sale, 
componesque  in  minori  ligno  cavo,  ordine  quo  supra.  Post 
duas  septimanas  respice  ac  rade,   sicque  facies  donec  color 

tibi  sufficiat. 

1  "  linies,"  ex  MS.  Guelph. 


TRANSLATION.  47 

CHAPTER  XXXVII. 

OF    SALT    GREEN. 

If,  however,  you  wish  to  make  a  green  colour,  take  oak  wood, 
as  long  and  as  large  as  you  like,  and  hollow  it  in  the  form  of 
a  box.  Then  take  copper  and  thin  it  into  leaves,  as  broad  as 
you  desire,  so  however  that  its  length  may  cover  the  breadth 
of  the  hollow  wood.  After  this  take  a  plate  full  of  salt,  and 
pressing  it  down  strongly,  cover  it  with  charcoal  for  a  night, 
and  on  the  morrow  grind  it  carefully  upon  a  dry  stone.  And 
when  you  have  taken  some  slender  twigs,  place  them  together 
in  the  same  hollowed  wood,  so  that  two  parts  of  the  hollow 
are  below  and  the  third  above  them,  and  thus  coating  the 
copper  plates  on  both  sides  with  pure  honey,  sprinkling  over 
them  the  ground  salt,  you  will  fix  them,  joined  together,  upon 
those  twigs,  covering  carefully  with  another  wood  fitted  for  this, 
so  that  no  vapour  can  come  out.  Afterwards  make  an  open- 
ing,  to  be  bored  in  an  angle  of  the  same  wood,  through  which 
you  can  pour  warm  vinegar,  or  hot  urine,  so  as  to  fill  a  third 
part  of  it,  and  then  close  the  passage.  You  should  put  this 
wood  in  such  a  place  that  you  can  wholly  cover  it  with  stable 
dung.  After  four  weeks  raise  the  covering,  and  scrape  off, 
and  keep  whatever  you  find  upon  the  copper,  and  again  re- 
placing  it,  cover  it  as  above. 


CHAPTER  XXXVIII. 

OF    SPANISH    GREEN. 


If,  however,  you  wish  to  make  Spanish  green,  take  plates  of 
copper  thinned,  and  scraping  them  carefully  on  both  sides, 
pour  upon  them  pure  and  warm  vinegar,  without  honey  and 
salt,  and  place  them  together  in  a  smaller  hollow  piece  of 
wood  in  the  order  above.  After  two  weeks  examine  and 
scrape  it,  and  do  thus  until  you  have  colour  sufficient. 


48  THEOPHILI    LIBER    I. 


CAPUT    XXXIX. 

DE   CEROSA    ET    MINIO. 

/^EROSAM  autem  compositurus  fac  tibi  plumbeas  tabulas 
^-^  attenuari,  et  componens  eas  siccas  in  cavo  ligno  sicut 
cuprum,  supra  infuso  aceto  calido  sive  urina  cooperi.  Deinde 
post  mensem  solve  cooperculum,  et  quicquid  album  fuerit 
auferens,  rursum  repone  sicut  prius.  Cumque  tibi  sufFecerit, 
et  minium  inde  facere  placuerit,  eamdem  cerosam  tere  super 
lapidem  absque  aqua,  et  deinde  mittens  in  ollas  novas  duas 
vel  tres,  pone  super  carbones  ardentes ;  habeas  autem  ferrum 
gracile  curvum,  ex  una  parte1  aptatum  et  in  summitate  latum, 
cum  quo  movere  ac  miscere  ipsam  cerosam  interdum  possis ; 
atque  hoc  tam  diu  facias  donec  minium  omnino  rubeum  fiat. 


CAPUT    XL. 

DE    INCAUSTO. 


INCAUSTUM  etiam  facturus  incide  tibi  ligna  spinarum  in 
Aprili,  in  Maio,  priusquam  producant  flores  aut  folia,  et 
congregans  inde  fasciculos,  sine  jacere  in  umbra  duas  septi- 
manas  aut  tres  aut  quatuor,  donec  aliquantulum  exsiccentur. 
Deinde  habeas  malleos  ligneos  cum  quibus  super  aliud  lignum 
durum  contundas  ipsas  spinas,  donec  corticem  omnino  evellas, 
quem  statim  mittes  in  dolium  aqua  plenum ;  cumque  duo 
dolia  vel  tria  seu  quatuor  aut  quinque  cortice  et  aqua  reple- 
veris,  sine  sic  stare  per  octo  dies,  donec  aqua  omnem  corticis 
succum  in  se  emordeat.  Post  hsec  mitte  ipsam  aquam  in 
cacabum  mundissimum,  vel  in  lebetem,  et  supposito  igne 
coque ;  interdum  etiam  immitte  de  ipso  cortice  in  cacabum,  ut 
si  quid  succi  in  eo  remansit  excoquatur.  Quam  cum  modice 
coxeris,  ejice,  aliumque  rursus  immitte.     Quo  facto  residuam 

1  "  ligno,"  sic  Cod  Ouelph. 


TRANSLATION.  49 

CHAPTER  XXXTX. 

OF    CERUSE    AND    MINIUM. 

But  in  making  ceruse,make  for  yourself  plates  of  lead  thinned, 
and  placing  them  together  dry,  in  a  hollow  piece  of  wood,  as 
the  copper,  hot  vinegar  or  urine  being  poured  over  it,  cover  it. 
Then  after  a  month  raise  the  cover,  and  taking  away  what- 
ever  white  there  is,  again  replace  it  as  before.  And  when  you 
have  sufficient,  and  wish  to  make  minium  of  it,  grind  the 
same  ceruse  upon  a  stone  without  water,  and  then  placing  it 
in  two  or  three  new  pots,  put  it  upon  the  hot  coals ;  have  also 
a  thin  curved  iron  rod  at  one  end  fitted  with  wood  and  flat  at 
the  top,  with  which  you  can  sometimes  stir  and  mix  this 
ceruse  :  and  you  may  do  this  until  the  minium  becomes  quite 
red. 


CHAPTER  XL. 

OF    INK. 


To  make  ink,  cut  for  yourself  wood  of  the  thorn  trees  in  April 
or  May,  before  they  produce  flowers  or  leaves,  and  collecting 
them  in  small  bundles,  allow  them  to  lie  in  the  shade  for  two, 
three,  or  four  weeks,  until  they  are  somewhat  dry.  Then 
have  wooden  mallets,  with  which  you  beat  these  thorns  upon 
another  piece  of  hard  wood,  until  you  peel  off  the  bark  every- 
where,  put  which  immediately  into  a  barrel  full  of  water; 
when  you  have  filled  two,  or  three,  or  four,  or  five  barrels  with 
bark  and  water,  allow  them  so  to  stand  for  eight  days,  until 
the  water  imbibe  all  the  sap  of  the  bark.  Afterwards  put  this 
water  into  a  very  clean  pan  or  into  a  cauldron,  and  fire  being 
placed  under  it,  boil  it ;  from  time  to  time  also  throw  into  the 
pan  some  of  this  bark,  so  that,  whatever  sap  may  remain  in 
it,  may  be  boiled  out.  When  you  have  cooked  it  a  little, 
throw  it  out  and  again  put  in  more.     Which  done,  boil  down 

E 


50  THEOPHILI    LIBER    I. 

coque  aquam  usque  ad  tertiam  partem,  sicque  ejiciens  de  ipso 
cacabo  mitte  in  minorem,  et  tamdiu  coque  donec  nigrescat 
atque  incipiat  densescere,  hoc  omnino  cavens  ne  aliquod 
addas  aquse,  excepta  illa  quae  succo  mixta  est.  Cumque 
videris  eam  densescere,  adde  vini  puri  tertiam  partem,  et 
mittens  in  ollas  novas  duas  vel  tres,  tamdiu  coque  donec  videas 
quod  in  supremo  quasi  cutem  trahat.  Dehinc  tollens  ipsas 
ollas  ab  igne  pone  ad  solem  donec  se  nigrum  incaustum  a 
rubea  faece  purificet.  Postea  tolle  folliculos  ex  pergameno 
diligenter  consutos  et  vesicas,  et  infundens  purum  incaustum 
suspende  ad  solem  donec  omnino  siccetur.  Cumque  siccum 
fuerit,  tolle  inde  quotiens  volueris  et  tempera  cum  vino  super 
carbones,  et  addens  modicum  atramenti  scribe.  Quod  si  con- 
tigerit  per  negligentiam  ut  non  satis  nigrum  sit  incaustum, 
accipe  frustum  grossitudine  unius  digiti,  et  ponens  in  ignem, 
sine  candescere,  mox  et  in  incaustum  projice. 


EXPLTCIT    LIBER    PRIMUS. 


TRANSLATION.  51 

the  remaining  water  unto  a  third  part,  and  then  pouring  it 
out  of  this  pan  put  it  into  one  smaller,  and  cook  it  until  it 
grovvs  black  and  begins  to  thicken,  quite  taking  care  that  you 
add  no  water,  except  that  which  is  mixed  with  the  sap.  And 
when  you  see  it  thicken,  add  one  third  part  of  pure  wine,  and 
putting  it  into  two  or  three  new  pots,  cook  it  until  you  see  a 
sort  of  skin  show  itself  on  the  surface.  Then  taking  these 
pots  from  the  flre,  place  them  in  the  sun  until  the  black 
ink  purifies  itself  from  the  red  dregs.  Afterwards  take  small 
bags  of  parchment  carefully  sewn,  and  bladders,  and  pouring 
in  the  pure  ink,  suspend  them  in  the  sun  until  all  is  quite  dry. 
And  when  dry,  take  from  it  as  much  as  you  wish  and  temper 
it  with  wine  over  the  flre,  and,  adding  a  little  vitriol,  write. 
But  if  it  should  happen  through  negligence  that  your  ink  be 
not  black  enough,  take  a  fragment1  of  the  thickness  of  a 
finger,  and  putting  it  into  the  fire  allow  it  to  glow,  and  throw 
it  directly  into  the  ink. 

"  of  vitriol,  or  sulphate  of  iron  ;  or  of  bl.ick  ?"  see  note. — Trans. 


END    OF    THE    FIRST    BOOK. 


E    2 


NOTES    TO    BOOK    I. 


Auripigmentum,  c.  14.  The  auripigmentum  of  ourauthor  is  cer- 
tainly  a  sulphuret  of  arsenic,  the  ccpprmxbv  and  aa.v^ci^a.m  of  Theo- 
phrastus1,  the  o-a.v$a.%d.x.-n  of  Dioscorides2.  It  was  the  more  valued 
as  it  approached  the  colour  of  gold.  Theophrastus,  c.  89,  tells  us 
that  "arsenicon"  and  "sandarache"  are  painters'  colours. 

The  native  genuine  red  orpiment,  or  the  sandaracha,  was  the 
most  esteemed,  the  Zarnich-Ahmer  of  the  Arabians,  the  paler 
kinds  being  often  impure  were  less  valued.  "  Quod  optimum, 
coloris  etiam  in  auro  excellentis."3 

In  the  MS.  of  Eraclius  entitled  "  Liber  tertius  et  prosaicus 
Eraclii,  de  Coloribus,"  &c,  contained  in  the  MS.  of  Le  Begue 
written  about  the  period  of  the  eighth  century,  and  of  Byzantine 
origin,  "Auricon,"  "Auripigmentum,"  and  "Sandaracha"  aremen- 
tioned,  auricon  and  auripigmentum  as  produced  in  Pontus,  (near 
the  Euxine,)  and  the  best  sandaracha  also  as  produced  there,  near 
the  river  "  Ysparin."  In  article  261,  this  author  tells  us  how  they 
prepared  orpiment  for  painting :  "  Break  up  orpiment  in  a  skin, 
then  grind  it  with  water  upon  a  marble,  adding  to  it  a  little  cal- 
cined  bone,  and  again  allow  it  to  dry,  temper  it  afterwards  with  egg 
for  laying  upon  wood,  or  on  a  wall.  But  upon  parchment  lay  it 
as  you  would  ceruse.  If  not  good,  mix  ochre  with  it,  afterwards 
it  is  serviceable4. 

The  authorof  the  treatise  upon  coloursin  the  Sloane  MS.  1754, 
British  Museum,  which  is  of  the  fourteenth  century,  directs  the 
white  of  egg  to  be  used,  also  that  two  parts  of  orpiment  be  mixed 

1  Theophrast.  Hist.  of  Stones,  C.  89.     Hill,  Lond.  1746. 

•  Dioscor.  Mat.  Med.     L.  5.     C.  76. 

*  Pliny,  Nat.  Hist.     L.  24.     C.  18. 

4  Liber  Johannis  le  Begue.     MS.  Bib.  du  Roi,  Paris,  No.  6741.     Art.  261. 


54  NOTES    TO    BOOK    I. 

with  one  of  yolk  and  calcined  bone,  then  used  with  the  white  of 
the  egg. 

Orpiment  is  too  valuable  a  colour  to  be  lost  to  the  artist,  and  it 
is  quite  permanent  upon  ochres,  and  when  kept  from  the  contact 
of  all  other  colours.  I  am  in  possession  of  the  several  modes  prac- 
tised  for  its  use,  at  a  later  day,  when  orpiment  was  in  constant 
use  by  the  Italian  painters,  but  these  are  reserved  for  a  future 
opportunity. 

When  the  yellow  sulphuret  of  arsenic  is  heated,  it  parts  with  a 
portion  of  the  sulphur,  and  the  substance  becomes  converted  into 
red  orpiment,  or  "  Realgar." 

Cennino  mentions  the  two  colours ;  "  Oropimento,"  the  yellow, 
and  "  Risigallo,"  the  red  sulphuret,  or  Realgar1. 

Cerosa,  c.  1.  The  fabrication  of  tliat  colour  which  the  Greeks 
called  ■^ipvdiov,  psimuthion,  and  the  Romans  Cerusa,  or  psimythin, 
is  describedby  Theophrastus2,  Dioscorides^,  Vitruvius4and  Pliny° 
in  nearly  the  same  terms,  and  they  speak  of  it  as  a  colour  com- 
monly  used  in  painting.  Theophrastus  thus  describes  the  process. 
"  To  make  which,  lead  is  placed  in  earthen  vessels  over  sharp 
vinegar,  and  after  it  has  acquired  some  thickness  of  a  kind  of  rust, 
which  it  commonly  does  in  about  ten  days,  they  open  the  vessels 
and  scrape  it  off,  as  it  were,  in  a  kind  of  impurity;  they  then  re- 
place  (the  lead)  over  the  vinegar,  repeating  often  the  same  method 
of  scraping,  till  it  is  wholly  dissolved,  they  then  beat  what  has 
been  scraped  off  into  powder,  and  boil  for  a  long  time,  and  what 
at  last  subsides  to  the  bottom  of  the  vessel  is  the  psimuthion." 

Pliny  describes  the  process  nearly  in  the  same  terms. 

Dioscorides  adds  that  the  principal  manufactories  of  ceruse  were 
at  Rhodes,  at  Corinth,  at  Lacedemon  and  Pozzuoli. 

Vitruvius  informs  us  that  the  Rhodians  put  vine  twigs,  or  ten- 
drils,  in  barrels,  into  which  they  poured  vinegar,  over  this  were 
suspended  sheets  of  lead  and  the  barrels  were  closed  up.  After 
a  certain  time  the  lead  was  found  changed  into  ceruse,  and 
Pliny  states  that  the  Rhodian  ceruse  was  the  most  esteemed, — 
"  Laudatissimum  in  Rhodo."     Would  the  decomposition  of  these 

1  Cennino  Cennini.  Trattato  della  Pittura.  Tambroni,  Roma,  1821.  CC.  47 
and  48. 

•  Theophrast.  Hist.  of  Stones.     C.  101. 
3  Diosc.  Mat.  Med.     L.  5.     C.  103. 

*  Vitruv.  Archit.     L.  7.     C.  12. 
»  Pl.  Nat.  Hist.     L.  34.     C.  18. 


NOTES    TO    BOOK    I.  55 

tendrils  facilitate  the  formation  of  carbonic  acid,  and  thus  account 
for  the  superiority  of  the  Rhodian  ceruse?  Marble  is  now  used 
for  a  like  purpose  in  Holland. 

The  Byzantine  MS.  published  by  Muratori1,  and  which  he 
refers  to  the  eighth  century,  gives  the  same  receipt  for  making 
"  white  lead,"  "  De  compositio"  psimitthin." 

Thus,  no  alteration  in  the  mauufacture  of  white  lead  had  been 
attempted  from  the  time  of  Aristotle  to  that  of  our  author.  L.  1. 
c.  39.  In  the  MS.  British  Museum,  Sloane  1754,  ceruse  is  called 
"  Minium  Album."  This  MS.  is  of  the  early  half  of  the  four- 
teenth  century2. 

The  use  of  ceruse  as  a  pigment  is  confined  by  Theophilus  to 
plaster  work,  wood,  or  canvass.  Sir  H.  Davy  in  his  analysis  of  the 
colours  of  the  ancients  ■  found  that  the  whites  he  examined  "  were 
all  fine  chalk,"  yet,  that  Davy  did  not  find  white  lead  used  upon  a 
mural  decoration  is  no  proof  that  it  did  not  enter  into  the  other 
decorations,  or  pictures,  of  the  Romans,  used  in  encaustic,  or  with 
gums,  gluten,  or  oil  upon  plaster  work. 

The  white  lead  of  the  present  period  is  a  combination  of  prot- 
oxide  of  lead  with  carbonic  acid,  and  is  a  sub-carbonate  of  lead. 
It  is  prepared,  at  Clichy,  by  forming  a  precipitate,  with  carbonic 
acid  gas,  in  a  saturated  solution  of  prot-oxide  of  lead  in  distilled 
vinegar.  The  current  of  carbonic  acid  gas  is  passed  through  this 
solution,  and  the  precipitate  is  washed  and  dried. 

A  patent  was  recently  taken  in  London  for  a  means  of  manu- 
facturing  white  lead  by  one  process  from  the  metal.  Very  small 
shot  was  violently  agitated  in  water,  by  which  a  pulverulent 
hydrated  oxide  was  produced.  This,  having  been  exposed  to  the 
air,  became  converted  into  a  carbonate. 

Had  this  powder  been  exposed  to  the  action  of  carbonic  acid  gas 
in  a  close  chamber,  a  fine  carbonate  of  lead  would  have  been  pro- 
duced  fit  for  the  artist ;  as  it  was,  the  patent  was  not  much  valued,  as 
two  processes  would  have  been  necessary  during  the  manufacture. 

Cenobrium,  c.  1.  Weare  informed  by  Theophrastus  that  two 
kinds  of  cinnabar  (x  »»»«#«£ »)  were  known  to  the  Greeks,  the  one 

1  Muratori,  Antiquitates  Ital.  medii  aevi.     V.  2.  p.  370. 

*  MS.  Sloan.  1754.  Cod.  Merab.  B.  Museum.  "  Liber  de  Coloribus  Illumina- 
torum  sive  Pictorum."     Fourteenth  century. 

'  Works  of  Sir  H.  Davy.     L.  1840.     V.  6.  p.  181. 


56  NOTES    TO    BOOK    I. 

native,  the  other  factitious1.  The  native,  which  was  found  in 
Spain,  was  hard  and  stony,  as  was  also  that  brought  from  Colchis. 
The  factitious  (which  does  not  appear  to  be  a  cinnabar)  came  from 
Ephesus  in  the  form  of  a  sand,  shining  like  scarlet,  which  was 
ground  and  washed.  Hill  in  his  notes  to  Theophrastus2  thinks 
that  this  latter  substance  was  the  "  Sil  Atticum"  of  the  Romans, 
injudiciously  confounded,  he  states,  by  Vitruvius  with  the  Ochra 
Attica  of  the  ancients.  Hill,  however,  produces  no  reason  or 
support  for  this  assertion.  The  "  Sil  Atticum,"  was  of  a  golden 
colour,  which  was  altered  in  its  hue  by  burning.  The  origin  of  the 
term  is  probably  o-i\a,<;,  fulgor,  auro  similis. 

There  were  the  "  Sil  Atticum,"  Marmorosum,  and  Pressum,  vel 
Syricum. 

The  factitious  cinnabar  was  more  likely  a  true  minium,  the  in- 
vention  or  introduction  of  Callias  the  Athenian.     (See  Minium.) 

The  "  Native  Cinnabar,"  however,  of  Theophrastus  was  identical 
with  ours,  it  was  vermilion,  or  sulphuret  of  quicksilver,  and  that 
writer  relates  the  process  of  extracting  the  metal  from  the  ore  by 
"  rubbing  it  with  vinegar  with  a  brass  pestle  in  a  brass  mortar.":t 
During  this  process  the  brass  would  be  attacked  by  the  acid,  and, 
through  the  affinity  of  the  copper  for  the  sulphur,  the  cinnabar 
would  be  reduced  to  the  metallic  state. 

Dioscorides  tells  that  "  a  cinnabar  is  worked  in  Spain4,  and  that 
during  the  operation  the  workmen  cover  the  face  with  a  skin 
because  of  the  (mercurial)  vapours  dangerous  to  inhale;"  he  like- 
wise  describes  the  process  of  extracting  quicksilver  from  cinnabar. 
Pliny,  likewise,  describes  a  "  Cinnabar  or  Minium  "  "  whose  pro- 
duce  we  have  called  quicksilver,"  "  cujus  vomicam  argentum  vivum 
appellavimus."5 

Cinnabarwas  the  "  Minium"  of  Vitruvius,  who  gives  a  process 
for  using  it  in  staining  walls  of  a  red  colour6. 

Cinnabar  has  been  confounded  with  the  "  Miltos"  of  the  Greeks, 
which  is  a  red  ochreous  earth  and  the  most  ancient  red  colour 
known.     (See  Sinopis;  also  Ezekiel,  c.  23,  v.  14.) 

1  Theophrast.  Hist.  of  Stones.     C.  103. 

*  Id.  by  John  HiU,  Lond.  1746,  p.  135. 

3  Id.     C.  105. 

4  Dioscor.  Mat.  Med.     L.  5.     C.  63. 

*  Plin.  Nat.  Hist.     L.  33.     C.  7. 

6  Vitruv.  de  Archit.     L.  7.     C.  9. 


NOTES   TO    BOOK    I.  57 

Petrus,  of  St.  Audemar1,  gives  the  method  of  making  the  best 
vermilion,  "  Vermiculum  optimum."  "  If  youwish  to  make  the 
best  vermilion,  take  a  glass  botlle  and  cover  it  with  a  lute  outside; 
and  take  one  part  of  quicksilver,  by  weight,  and  two,  by  weight, 
of  white  or  yellow  coloured  sulphur.  Put  itinto  the  above  bottle, 
which  you  afterwards  place  on  four  stones,  and,  laying  a  very 
slight  fire  of  coals  round  the  bottle,  cover  its  mouth  with  a  tile, 
and  when  you  see  the  smoke  come  vvhite  from  the  mouth  of  the 
bottle,  close  it,  but  vvhen  a  smoke  as  red  as  the  vermilion  shall 
come  out,  take  it  from  the  fire  and  you  will  have  the  best  ver- 
milion."  Similar  recipes  are  found  amongst  the  medical  writers  of 
the  thirteenth  and  fourteenth  century,  but  are  mostly  repetitions. 

The  Greeks  called  "  Dragon's  Blood,"  x^v«|3ap»  'i*o*»xor,  Indian 
cinnabar. 

Exudra  or  Exedra.  i£»aa  or  ityScr*,  the  aorist  tense  of  Za>,  vivo, 
may  perhaps  be  the  origin  of  this  word.  From  ZS  is  l&xfi*  to 
protrude  or  "  etre  en  saillant."  The  exudra  of  Theophilus  is  a 
dark  colour  intended  to  relieve  and  finish  the  flesh,  in  the  artist's 
language  "  to  bring  it  out." 

"  Exedra  is  a  colour  from  a  mixture  of  red  and  a  little  black 
for  making  the  flesh  colour,  otherwise  called  cedra."2 

Flavus  Color,  c.  1.  Theophilus  here  describes  the  process 
followed  in  his  time  for  making  the  "Cerussa  usta"  of  the  ancients, 
and  the  "Massicot"  or  "Minium"  of  the  moderns,  according  to 
the  duration  of  the  heat  employed. 

Flavus  color  is  made  of  burnt  ceruse.      Tab.  Voc.  Sin.  Le  Begue. 

This  colour  was  also  called  "  Arxica"  or  "  Arsicon"  by  the  By- 
zantines.  Arsicon  or  arxica  is  like  orpiment ;  it  is  a  yellow  colour, 
and  by  being  mixed  with  the  sap  of  the  plant  called  scaldalussa,  a 
green  is  made  ;  and  the  sap  of  other  plants  is  good  for  this.     Id. 

There  is  no  doubt  that  the  "  Arxica  "  of  Cennino  Cennini  is  mas- 
sicot,  or  a  prot-oxide  of  lead.  "  Giallo  e  un  colore,  che  si  chiama 
arzica,"3  &c.  There  is  a  yellow  colour  vvhich  is  called  "arzica," 
which  colour  is  the  produce  qfchemislry,  and  is  little  used.  He  adds, 
"  this  colour  is  very  delicate,  loses  its  force  in  the  air,  is  not  good 

1  MS.  6741.     Bib.  du  Eoi,  Faris.     Art.  174.     Le  Begue. 

J  Tabula  de  Vocabulis  Synonymis,  &c.     MS.  Le  Begue.     Paris. 

3  Trattato  dclla  pittura.     Tambroni.     Roma,  1821.     C.  50. 


58  NOTES    TO    BOOK    I. 

upon  a  wall,  but  is  proper  in  a  picture.  By  mixing  a  little  Gernian 
blue  and  giallorino  (Naples  yellovv)  with  it,  it  forms  a  fine  green." 
He  tells  us  that  it  is  used  by  "  portrait  painters,"  "  a  miniatori." 
The  term  " archimiato"  must  have  been  overlooked  by  the  Cava- 
liere  Tambroni,  in  his  note  upon  this  chapter,  when  he  refers  the 
arxica  of  Cennini  to  the  gommagotta  (gamboge)  of  the  present 
day.  Cennini  uses  the  same  term  in  describing  minium  ;  "  Rosso 
e  un  colore,  che  si  chiama  minio,  il  quale  e  artificiato/;e;-1  archimia." 
Cennino  does  not  otherwise  speak  of  massicot,  which  was  much  in 
use,  both  before  and  after  his  time,  in  Italy. 

The  Spanish2  and  Portuguese3  writers,  who  appear  to  have  re- 
tained  the  ancient  terms  for  a  long  time,  call  the  prot-oxides  of 
lead  by  the  name  of  "  azarcon  "  and  "  zarquaon." 

In  the  Tab.  Voc.  Syn.  of  Le  Begue,  arxica  is  also  defined  to  be 
"  a  yellow  earth,  fit  for  painting  with,  and  likewise  useful  in  making 
moulds  for  casting  copper."   This  must  have  been  an  ochreous  earth. 

During  the  combustion  of  lead  in  the  preparation  of  minium, 
the  yellow  prot-oxide  of  lead  is  produced ;  this  is  separated  frorn 
the  lead  by  washing  and  trituration.  The  massicot,  suspended  in 
tlie  water,  is  drawn  ofF.  This  having  after  a  time  settled,  is  col- 
lected  and  dried,  and  is  the  massicot  of  the  moderns. 

Massicot  is  a  useful  colour  in  oil  painting  if  used  alone. 

Folium,  c.  14.  In  the  Tab.  Voc.  Synon.  Folium  is  thus  de- 
scribed.  "  Folium  is  used  for  dying  cloths  and  is  a  red  colour, 
and  another  kind  is  purple,  and  another  is  blue.  There  is  another 
variety  which  is  made  by  mixing,  with  the  same  red  colour,  ashes, 
or  the  lixivium  of  ashes  of  elm  wood,  and  it  is  called  foliuui 
stampnense,  or  stanniivense." 

The  term  Folium  appears  to  include  the  vegetable  reds  and  red 
purples  of  the  Byzantine  Greeks;  to  these  may  be  added  the  vege- 
table  blue  colours. 

Theophilus  does  not  inform  us  from  what  substance  his  folium 
was  composed,  merely  that  "  folium  is  of  three  kinds,  one  red, 
another  purple,  the  third  blue." 

The  author  or  copyist  of  the  treatise  "  De  coloribus  Illumina- 

1  Trattato  della  pittura.     Tambroni.     Roma,  1821.     C.  41. 

3  Carducho.  Dialogos  de  la  Pintura.  Madrid,  1633.  Dialogo  Octavo,  p.  132. 
Also  Francisco  Pacheco.  Arte  de  la  Pintura.  Seville,  1649.  L.  3,  pp.  387,  390, 
and  404. 

3  Nunez.     Arte  da  Pintura.     Lisb.  1615.     4to,  p.  67. 


NOTE8    TO    BOOK    I.  59 

torum  sive  Pictorum," l  and  which  treatise  is  of  Greek  origin,  in- 
forms  us  that  "  Morella  quaedam  herba  est  in  terra  Sancti  Egidii. 
Ex  hac  herba  triagrana  in  semine  exeunt.  Et  exhiis  granis  telae 
tinguntur,  sicque  murum  colorem  reddunt  qui  color  'folium' 
dicitur."  Morella  is  a  certain  plant  in  the  country  of  St.  Giles 
(Athens).  And  from  this  plant  three  grains  proceed  in  the  seed. 
From  these  grains  cloths  are  dyed  and  thus  render  a  mulberry 
colour,  which  colour  is  called  folium. 

I  give  an  extract  from  a  MS.  belonging  to  the  **■  Bibliotheque 
Royale  at  Montpellier,"  of  the  early  part  of  the  fifteenth  century, 
kindly  lent  to  me  for  inspection  by  M.  Libri  of  the  Sorbonne,  with 
permission  to  make  any  extracts  relating  to  the  arts.  This  MS. 
belonged  to  Cardinal  Alberti,  and  is  a  collection  of  medical  recipes, 
&c.  It  contains  a  notice  upon  the  materials  and  processes  used 
in  the  arts,  which  appears  to  be  dravvn  from  the  Byzantine  source  ; 
it  is  entitled,  "  Liber  diversarium  artium."  I  give  the  extract 
upon  folium.  "  De  natura  et  distemperatione  '  folii '  seu  '  morella?.' " 
"  Quaedam  herba  est  in  terra  Sancti  CEgidii,  ex  hac  herba  tria 
grana  in  semine  exeunt,  sicque  mirum  colorem  reddunt,  qui  color 
folium  dicunt,  qui  color  sic  distemperatur.  Pannum  folii  scindes 
et  fissura  in  coquilla  pones,  postea  sic  fundes  claram  ovi  et  sine 
maturescere,  et  fit  purpureus.  Distempera  folium  urina,  tempe- 
rata  cum  aqua  tepida,  vel  cum  lexivia  per  noctem  unam  ;  deinde 
projicietur  et  distemperatur  cum  claro  recenti ;  adhibe  modicum 
calcis.  Confectio  folium;  in  frusta  nimis  tenuia  et  modica  inci- 
datur;  et  glutine  casei  preparato,  distemperatur  ;  et  sic  permittatur 
donec  bene  permixtum  sit." 

"  Of  the  nature  and  tempering  of  '  folium,'  or  •  mulberry 
colour.' "  "  It  is  a  certain  plant  in  the  country  of  St.  Giles,  from 
this  plant  in  seed  three  grains  proceed,  and  so  yield  a  beautiful 
colour,  which  colour  they  call  '  folium,'  and  which  is  thus  tem- 
pered.  You  cut  up  the  cloth  of  folium,  (dyed  with  folium,)  and 
place  the  shreds  in  a  small  vessel,  afterwards  you  pour  the  white 
of  egg  over  itand  leave  it  to  mature,  and  a  purple  is  made.  Temper 
folium  with  urine,  mixed  with  warm  water,  or  with  a  lixivium, 
during  one  night ;  it  is  then  poured  out  and  tempered  with  fresh 
glaire  (of  egg) ;  put  a  little  lime  to  it.  A  preparation  of  folium; 
it  is  cut  up  into  pieces,  >ery  thin  and  small,  and  is  tempered  with 
prepared  glue  of  cheese  ;  and  it  is  thus  left  until  it  has  well  mixed 
together." 

1  Mfi.  Sloan.  1754. 


60  NOTES    TO    BOOK    I. 

Peter  of  St.  Audemar  writes  of  folium,  "  De  folio  quomodo 
distemperatur."  "  Purpureus  color  quem  folium  vocant  laici,  qui 
lanam  inde  tingunt,  vel  potius  Anglici,  in  quorum  terra  conficitur, 
'  nuormam '  vocant,  non  uno  semper  modo  distemperatur.  Nam 
aliqui  cum  urina,  vel  lexivia  de  cinere  fraxinii  facta,  ut  in  parieti- 
bus  praecipue,  alii  in  pergamenis  cum  visco  de  caseo,  ita  facto." 
This  identifies  the  folium  of  St.  Audemar  with  our  "  madder," 
which  was  called  "  norma,  nuorma  or  gorma,"  in  Celtic.  This 
allusion  to  our  country  at  so  early  a  period  is  not  a  little  curious 
in  the  history  of  the  arts.  The  action  of  the  acid  or  alkaline  sub- 
stances  with  which  these  vegetable  purples  or  blues  were  mixed 
would  of  course  influence  their  colour. 

The  "  morella,"  was  a  species  of  "  solanum"  bearing  a  dark 
berry  or  seed.  The  turnsol  was  used  for  making  a  violet  colour, 
the  fruit  of  the  mulberry  tree,  the  elderberry,  the  petals  of  the 
violet  andmany  vegetable  colours  which  must  have  been  very  little 
permanent  even  in  illuminated  books. 

Varantia,  Warancia,  Warantz  or  Garance,  our  Madder,  was 
likewise  employed  by  the  ancients. 

Dioscorides  uses  the  same  term  for  madder  which  the  Greeks 
of  the  present  day  employ,  epuGpo^avov.  The  "  rubia  tinctorum"  of 
the  Romans  and  the  rubia  major  of  the  mediaeval  chemists,  in 
order  to  distinguish  it  from  the  rubia  minor,  or  bugloss,  of  the 
alkanet,  or  anchusa  species. 

The  "Hysginum"  of  Vitruvius,  whichhas  been  confounded  by 
his  commentators1  with  vaccinium  (violet)  and  hyacinthum,  (dark 
purple,)  is  the  "  alga  tinctoria"  or  "  lichen  rocella"  of  the  moderns, 
the  ■  orseille'  of  the  French."  Hysginum  from  vo-yr>,  is  without 
doubt  the  noimov  (fSxoj  of  Theophrastus2,  who  tells  us  that  it  grows 
under  the  rocks  in  the  Island  of  Crete,  and  that  it  is  used  to  dye 
cloth  purple.  Pliny3  tells  us  the  same  thing;  the  same  author  iden- 
tifies  the  purple  of  hysginum  with  that  of  Pozzuoli4.  "  Quare 
Puteolanum  potius  laudatur  quam  Tyrium,  aut  Gaetulicum,  vel 
Laconicum,  unde  pretiosissimae  purpurae  :  causa  est,  quod  hysgino 
maxime  inficitur  rubiamque  cogitur  sorbere."  "  But  that  from 
Pozzuoli  is  more  esteemed  than  the  Tyrian,  or  Gaetulian,  or  Laco- 
nian,  whence  come  the  dearest  purples :  the  cause  is  that  a  thing 

1  De  Laet.  Vitruv.  Amst.  1649.     Philander,  Hermolaus. 

*  Theophrastus,  Hist.  Plantarum.     L.  IV.     C.  7. 

3  Pliny,  Hist.  Nat.     L.  26.     C.  10.     L.  32.     C.  6, 

1  Idem.    L.  35.    C.  6. 


NOTES    TO    BOOK    I.  61 

is  most  powerfully  dyed  with  liysginum  and  it  is  thought  that  the 
red  endures."  "  The  painters  (he  continues)  lay  a  ground  with  red 
ochre,  then  glazing  over  the  purple  with  egg,  they  give  the  splen- 
dour  of  minium."  Pliny  here  uses  sandyx,  for  burnt  ochre,  and 
minium  for  red  lead.  "  If  they  wish  rather  to  make  a  purple  colour, 
they  underlay  blue,  then  theyoverlay  the  purpurissimum  with  egg." 

Xenophon,  Cyr.  viii.  3.  7,  writes  vtjyw>$a.+m<;,  dyed  purple. 

Sir  H.  Davy  states1  that  a  pale  rose  colour  vvas  found  in  a  vase 
in  the  Baths  of  Titus,  that  the  colouring  matter  was  vegetable, 
and  that  it  was  mixed  with  a  considerable  quantity  of  carbonate  of 
lime,  (chalk.)  He  proceeds,  "  It  differed  from  madder,  as  the 
madder  lake  gave  a  much  deeper  tint  to  muriatic  acid  and  pro- 
duced  a  tawny  hue  when  its  weak  muriatic  solution  was  acted  on 
by  muriate  of  iron.  The  ancient  lake  did  not  change  its  colour. 
The  ancient  lake  agreed  with  the  lake  of  cochineal  in  being  ren- 
dered  of  a  deeper  hue  by  weak  alkalies,  and  of  a  brighter  hue  by 
weak  acids,  but  it  differed  from  it  in  being  much  more  easily  de- 
stroyed  by  strong  acids.  It  agreed  with  both  in  being  immediately 
destroyed  by  a  solution  of  chlorine." 

Was  this  colour  "orceine?"  (the  colouring  matter  of  the 
"  lichen  roccella"  and  the  hysginum  of  the  ancients.)  If  so,  this 
vaiuable  colour  seen  by  Davy,  and  which  astonished  all  who  saw 
it,  should  not  be  neglected. 

In  the  Tab.  Voc.  Syn.  we  find,  "  Purple,  which  is  a  red  colour, 
is  otherwise  called  ■  folium ; '  and  the  English,  in  whose  country  it 
is  grown,  call  it  '  wormam.'  A  purple  colour  is  also  made  from  the 
stone,  stl,  burnt,  and  extinguished  in  vinegar  whiie  it  is  glowing. 
Oster  is  a  fish,  of  the  sea  or  elsewhere,  from  which  a  purple  colour 
is  made,  or  from  its  blood ;  and  also  the  sea  conchae,  when  cut, 
make  a  purple  colour.  And  likewise  white  chalk  tinctured  with 
madder,  (rubed  radice).  So  also  the  herb  called  vaccinium  yields 
a  purple  colour  if  mixed  with  lake,"  (cum  lacte2.)  This  leads  us 
to  the  consideration  of  the  lake  of  the  ancients. 

"  Lacca  is  a  kind  of  gum  made  of  the  red  liquor  which  proceeds 
from  the  juice  of  the  ivy  cleaving  to  and  creeping  upon  trees,  if 
its  branches  are  perforated  with  a  sharp  instrument  in  the  month 
of  March  :"3  again, 

"  Edera  is  a  plant,  creeping,  by  attaching  itself  to  trees,  which  in 

1   Davy's  Works,  v.  6,  p.  131,  et  seq. 

*  pro  "  lacca." — Tkams. 

»  Tab.  Voc.  Syn.     MS.  Le  Begue. 


62  NOTES    TO    BOOK    I. 

the  Gallic  is  called  •  yene,'  and  ■  herre,'  the  branches  of  which 
being  perforated  or  cut  half  through  below,  in  the  month  of  March, 
give  out  a  red  liquor  which,  boiled  with  urine,  is  '  lake,'  with 
which  the  skins  of  swine  are  stained : "  and  again, 

"  Gum  lacha  of  the  ivy  is  made  from  the  juice  or  liquor 
flowing  in  March  from  the  boughs  of  the  ivy  plant,  cleaving  and 
growing  to  the  trees,  if  cut  with  a  sharp  instrument."  This  will 
be  noticed  more  fully  in  notes  to  lib.  3. 

The  lacca  of  Cennini  is  doubtless  our  "  gum-lac,"  yet  the  gum- 
lacha  of  the  Greeks  was  more  properly  so  called,  being  a  true  gum 
not  a  resinous  substance. 

Another  vegetable  purple  red,  which  will  come  under  the  liead 
"  Folium,"  was  made  from  the  "Bresilium  Lignum." 

"  Braxilium  vel  Brexilium  est  lignum  rubeum,  a  quo  cum  pistus, 
roseus  sit,  in  lixivio  forti,  vel  urina,  cum  albumine  commiscetur, 
exit  color  roseus  vel  purpureus." — Tab.  Voc.  Syn. 

That  Brazil  or  Bresil  wood  was  in  use  at  an  early  period  for  a 
purple  or  rose  coloured  dye  we  have  abundant  evidence.  Moses 
speaks  of  "  rams'  skins  dyed  red,"1  -uSk  algom,  fyxcv  juitim/,  the 
Brasile  tree,  according  to  Holyoke.  This  word  has  been  rendered 
in  a  French  version  of  the  Testament,  "  jaune"  as  if  from  "  adom" 
a.  "  adamah,"  terra,  and  therefore  judged  to  mean  "  yellotv  ochre." 
The  word  Brasilium  is  probably  derived  from  the  Greek  B^u. 
The  Pseudo  Santalum,  vulgo  "  Saunders  wood,"  from  which  the 
red  colour  was  obtained,  is  a  native  of  the  East.  Huet2  states 
that  "Sampian  vvood,  which  is  the  same  as  Brasil,  comes  from  the 
East  Indies."  It  doubtless  found  its  way  into  Egypt  by  the  Red 
Sea,  and  thus  became  known  to  Moses,  who  could  have  taught  us 
much  relating  to  the  arts  of  the  Egyptians. 

Thus,  contrary  to  the  received  opinion,  the  country  Brazil  has 
taken  from  rather  than  given  the  name,  to  the  wood  which  it 
yielded  of  so  fine  quality  and  in  such  quantity. 

Chaucer  mentions  Brasil  vvood  before  the  discovery  of  the  New 
World. 

"  He  loketh  as  a  sparhauk  with  his  eyen ; 
Him  nedeth  not  his  eolour  for  to  dien, 
With  Brasil,  ne  with  grain  of  Portingale." 

The  Manciple's  Prologoe. 
"  The   "  grain  of  Portingale"   vvas  tlie   "Grana  Tinctoria,  the 

1  Exodus,  c.  25,  v.  5. 

8  Huet,  Memoirs  of  the  Dutch  Trade,  p.  171.     Lond.  1722. 


NOTES    TO    BOOK    I.  63 

M  Kox.y.o<;"  of  the  Greeks,  the  "  Kermes  herries."  Theseare  excres- 
cences  of  the  ilex  "  cocciglandifera,"  "  quercus  coccifera"  or 
scarlet  oak,  and  were  supposed  to  be  a  berry.  The  Greeks  used  tliem 
as  a  red  dye.  The  coccinos  and  vaccinium  of  the  Byzantines  was 
from  this  kermes,  as  also  the  cremisi  of  the  Italians,  cramoisi, 
French,andourcrimson;  the  "scharlatto" of  theltalians.ourscarlet. 

The  "  yellow  Saunders"  wood  which  yielded  the  red  colour 
called  "Brixilium"  by  the  Latins  and  "  Verzino"  by  the  early 
Italian  artists,  is  the  Romaic  " kokkIvokwXos" 

Madder  likewise  was  a  folium  of  the  Byzantines.  "  Rubea 
radix  "  est,  de  qua  rubeus  color  fit  miscendo  cum  creta,  alba,  id  est 
gypso." — Tab.  Voc.  Syn. 

This  was  the  "  Verantia"  or  "  Alithina"  of  the  Byzantines,  the 
"  true  red,"  t«  «tafitM  ^-rcru,  Myrepsus1. 

St.  Audemar  speaks  of  madderas  "  Warrantia"  in  theLe  Begue 
MS.  Art.  183. 

I  give  a  recipe  from  a  MS.  of  the  fourteenth  century  which  will 
show  the  means  employed  to  extract  the  colour  from  madder  in  our 
country  at  that  time. 

For  to  make  a  fyne  rede.  Take  woode-ashys  and  seeth  them  in 
clere  water  awhile,  as  hot  as  you  might  soffer  thyne  hand,  then 
cast  there  in  madyr  and  the  white  of  an  eg  and  bole  6  worthe  thereto, 
and  hit  will  be  as  rede  as  scarlet.  And  for  to  make  more,  sufFyceth, 
take  comyn  ashys  and  unguant  them  and  make  lye  thereof,  then 
temper  with  water  as  thou  wilt  have  it  thynner  or  thyckker2. 

Neither  Eraclius  nor  Cennini  speak  of  madder.  The  MS.  from 
Mount  Athos  gives  directions  for  making  a  vegetable  red  only 
from  kermes  *. 

Gummi  Fornis,  quod  Romane  Glassa  dicitur,  cc.  21  et  22. 

My  reason  for  not  concurring  in  the  opinion  of  Merrimee  and 
the  French  writers,  that  copal  was  the  resin  intended  by  Theophi- 
lus,  was  a  conviction,  subsequently  verified  by  comparison  and 
experiment,  that  copal  would  neither  answer  to  the  description 
given,  nor  to  the  treatment  proposed  by  Theophilus  in  the  com- 
position  of  his  varnish. 

At  the  conclusion  of  Merrimee's4  chapter  upon  copal  varnish 

1  Salmasius  ad  Capitolini,  Macrinum,  p.  169. 

*  MS.  Sloan.  122.     Tractat.  Var.  de  Medicinal,  p.  56. 

'  Manuel  D'Iconographie  Chretienne.     Didron,  Paris,  1845. 

*  Art  of  oil  painting.     Merrimee,  translated  by  Taylor,  pp.  69  and  70. 


64 


NOTES    TO    I300K    T. 


and  the  varnish  of  Theophilus,  the  writer  is  seen  comhating  with 
his  error  :  he  evades  the  text,  supposes  mistake  in  the  given  quan- 
tity  and  imperfect  description  as  to  the  mode  of  making  the  var- 
nish,  questioning  the  intentions  of  his  author,  in  order  to  render 
his  own  idea  tenable. 

The  followers  of  Raspe,  who  see  the  Latin  "  Glessum"  and 
"  Amber,"  in  the  word,  "  glassa,"  are  still  more  liable  to  the  same 
physical  objections  ;  it  would  be  found  impossible  to  dissolve  any 
portion  of  amber  by  strictly  adhering  to  the  directions  given  by 
Theophilus  in  c.  21,  and  it  is  indispensably  required  that  a  pro- 
posed  resin  strictly  fulfils  this  condition. 

On  reading  our  author,  the  description  given  of  the  resin  em- 
ployed  is  clear:  "et  adde  gummi  (Arabici,  Cod.  R.)  quod  vocatur 
fornis,  minutissime  tritum,  quod  habet  speciem  lucidissimi  thuris, 
sed  cum  frangitur  fulgorem  clariorem  reddit."  It  is  impossible 
that  Theophilus,  "  presbyter  et  monachus,"  and  therefore  neces- 
sarily  familiarly  acquainted  with  "  Thus,"  or  "  Frankincense,"  as 
used  for  incense,  could  compare  with  it  any  resin  but  one  which 
closely  resembled  it  in  outward  appearance  ;  in  such  a  case  of 
comparison,  the  clear  and  concise  writing  of  Theophilus,  upon  all 
the  practical  subjects  on  which  he  treats,  absolves  him  from  care- 
lessness,  and  even  did  the  question  rest  upon  this  comparative 
evidence  alone,  copal  or  amber  are  entirely  out  of  the  ques- 
tion,  neither  possessing  points  of  appearance  in  common  with 
"  Thus." 

It  was  therefore  necessary  in  the  first  place,  in  order  to  deter- 
mine  the  gum  resin  of  Theophilus,  to  fix  upon  one  which  bore  a 
strong  external  resemblance  to  "  Thus."  The  fine  specimens  of 
the  Arabic  sandarac,  whichexactly  resemble  the  choice  "Thus,"  viz. 
the  T.  masculinum,  corticosum,  and  feminceum  of  the  ancients, 
pointed  out  that  resin,  for  it  has  the  distinguishing  mark,  a  bright 
glassy  fracture,  which  the  Thus  has  not ;  or,  as  Theophilus  writes, 
"  sed,  cum  frangitur,  fulgorem  clariorem  reddit." 

But  the  term  "  fornis "  which  is  given  to  the  resin  will  still 
more  strongly  designate  Sandarach,  if  it  can  be  shown  that  this 
name  has  been  applied  to  that  gum  resin. 

In  the  second  process  given  by  Theophilus  for  making  the 
"  Gluten  Vernition,"  he  calls  the  same  gum  fornis  "  Glassa," 
"  supra  dictum  gummi  fornis,  quod  Romane  glassa  dicitur," 
(*«  aliter  Arabicttm,"  an  interpolation  in  the  Cod.  Royal,  Paris.) 

If  it  can  also  be  shown  that  this  term  was  likewise  used  to  de- 


NOTES    TO    BOOK    I.  65 

note  sandarac,  the  problem  is  solved  and  the  coraposition  of  the 
varnish  in  use  at  this  early  period  of  the  arts  made  evident. 

Tacitus  shows  that  the  word  "  Glas,"  given  by  the  Germans  to 
amber  on  account  of  its  transparency,  has  been  Latinized. 

Tacitus,  de  Germanicis,  c.  45,  writes  of  amber,  "  quod  ipsi 
Glessum  vocant,"  and  elsewhere — "  Quod  Germani  glas  vocant," 
probably,  "  a  similitudine  vitri:"  and  doubtless  the  same  compara- 
tive  nomenclature  would  be  used  for  other  species  of  transparent 
resins,  the  word  having  once  become  Latinized1. 

Some  Greek  and  Arab  authors,  consequently,  many  of  the  medi- 
aeval  writers,  have  confounded  the  Amber,  Sandarac  and  Juniper 
resins  together  ;  the  two  latter  are,  even  at  this  day,  often  mistaken 
for  each  other,  or  indiscriminately  noticed. 

Serapio,  de  temperamentis 2,  c.  266,  p.  163,  writes,  on  the 
authority  of  Galen,  "  De  Karabe  vel  Ka-krabe,"  "  Haur  Romi, 
id  est  Karabe  ;  "  and  of  Dioscorides,  "  Et  dicitur  quod  gummi 
haur  Romi,  quod  nascitur  juxta  fluvium  quod  dicitur  Rhodanum, 
quod  distillatur  in  flumine  illo,  congelatur  ibi,"  &c,  &c. ;  and  of 
Paulus  Agineta,  "  Karabe  est  gummi  arboris  haur  Romi,  emanat 
ab  haur  Romi,  et  congelatur,  et  est  coloris  auri:  putant  quidam, 
quod  istud  Karabe  sit  sandaracha  et  dicunt,  quod  Karabe  Sodoniae 
est  hujusmodi  gummi :  et  est  gummi  funeris  ;  eo  quod  Latini  pone- 
bant  ipsum  super  corpora  defunctorum." 

Isaac  Eben  Amram  tells  us,  "  Sandaracha  est  gummi  citrini 
coloris  similis  Karabe,  sed  non  est  ita  durum  sicut  Karabe,  et  est 
in  eo  parum  amaritudinis,  et  aflfertur  a  terris  Christianorum,  et 
virtus  ejus  est  similis  virtuti  Karabe,  &c.  ;  et  qui  accipitur  ex  san- 
daracha  et  oleo  rosarum  et  limitur  cum  eis,  confert  scissuris  quae 
fiunt  in  membris,  &c.  et  si  non  reperitur,  pone  loco  ejus  pondus 
tertiae  partis  plus  pondere  ipsius  de  Karabe  :  quod  quidem,  dixit 
Galenus,  esse  gummi  '  Haur  Romanae.'"  This  writer,  by  the 
phrase  "  et  affertur  a  terris  Christianorum,"  seems  to  indicate  the 
gum  resin  of  the  European  Cedrus  Juniperus  ;  as  alsodoes  Paulus 
by    "  Karabe  Sodoniae,"  a  species  of  this  tree  growing  in  Phce- 

1  I  am  fortified  in  this  presurnption  by  a  passage  in  Aldrovandus,  "  Musaei  Metal 
lici."  Lib.  3.  C.  18.  "  Latini  succinum.  Germani  veteres,  ut  Tacitus  et  Plinius 
referunt,  glessum  vocabant  quse  vox  hodie  vitrum  significare  videtur ;  cum  aliqua 
species  succini,  instar  vitri  pelluceat,  vnde  postea  ortum  est  proverbium  in  aliquod 
rnicans  et  nitidum,  Electro  lucidius." 

*  Serapio.  Fol.  Venice,  1550.  Abrahamo  Judaeo,  et  Symoni  Janseni,  interpre- 
tibus. 


66  KOTES    TO    BOOK    I. 

nicia  and  the  islands  of  the  Mediterranean  and  the  Archipelago  ; 
probably  also  thence  its  name  of  "  Haur  Romana,"  for  Andrea 
Alpagus,  in  his  "  Liber  Arabicorum  Nominum,"  tells  us  that, 
"  Harrire,  id  est  Juniperus,"  and  Rulandus,  "  Lex.  Alchim." 
that  "  Hara,  i.  e.  Juniperus."  * 

The  following  will  show  that  the  comparative  term,  "  glassa," 
has  been  applied  to  sandarac,  as  glessum  or  glass  to  amber,  pro- 
bably  for  the  same  reason,  "  a  similitudine  vitri."  "  Glassa  est 
genus  vernicis."  Rulandus,  Lex.  Alchem.  "  Glassa  est  genus 
vernicis."  Johnson,  Lex.  Med.  "  Glassa  est  genus  vernicis 
siccioris."  Castelli,  Lex.  Chym.  "  Vernice  est  vernix  guttosa." 
Johnson,  Lex.  M.  "  Sandarax,  id  est  vernix  gummi."  Serapio, 
c.  57. 

But  the  word  "  fornis,"  the  firniss,  vulgo  furniss,  of  the  Ger- 
mans,  is  a  direct  name  for  the  same  resin,  from  the  Latin  vernix. 

Parr.  Dic.  Med.  gives  the  derivation  of  the  Arab  word  sandarac, 
saghad-narak,  gummy ;  and  this  author  calls  the  cedrus  gummi 
"  vernix  "  •  quia  verno  tempore  fluat,'  because  it  flows  in  the  spring 
season. 

Ruland  has  shown  that  the  word  "  fernis  "  has  been  Latinized  as 
well  as  "glas,"  "  porro  quia  resina  illa  juniperi  sandarax,  et  ver- 
nix  dicitur  apud  Arabes,  unus  error  alterum  traxit.  Quidam  in- 
docti  mox  factitiunt  hoc,  quod  vocamus  vernis  (pder  vernisch)  quo 
utuntur  pictores,  et  alii  artifices,  quod  fit  ex  oleo  et  gummi,  ha- 
buere  pro  vera  sandaracha  metallica,  ut  si  scriberes,  R  sandaracae," 
illi  intellexerunt,  secundum  *  Arabes,'  R  gummi  vel  resinam  juni- 
peri,  aut  '  fernicem  '  illum  factitium,"  &c. 

The  Paris  MS.  contains  the  addition  of  the  word  "  Arabicum" 
**  glassa  vocatur,  aliter  Arabicum."  This  manuscript  is  of  the 
fifteenth  century,  and  this  interpolation  is  a  proof  that  the  "  Arabic 
sandarac  "  was  understood  as  the  "  fornis  "  by  the  copyist. 

Pliny2  "  De  picis  generibus  et  resinis"  mentions  "  Arabica 
resina,"  and  in  so  doing  gives  a  good  description  of  sandarac. 
"  Arabica  resina  alba  est,  acri  odore,  difficile  coquenti."  The 
acidulous  pungent  smell  yielded  by  this  resin  when  melted  is  pe- 
culiar  to  it,  and  it  is  one  of  the  most  difficult  of  the  resins  to  unite 

1  The  black  poplar  was  also  called  "  Haur  Romana,"  and  Martial  calls  the  "  gnm  " 
of  the  "  black  poplar  "  "  succina  gemma."     Ep.  lib.  4,  32,  another  confusion. 
»  Plinv.     Nat.  Hist.     L.  14.  C.  20. 


NOTE8    TO    BOOK    I.  67 

with  oil :  Pliny  concludes  his  notice  of  the  resins  by  the  statement 
that  every  resin  is  dissolved  in  oil.  "  Resina  omnis  dissolvitur  in 
oleo ;  "  the  vvord  "  coquenti  "  is  thus  explained. 

Sandarac  was  called  "  sandaracha  Arabum,"  during  the  middle 
ages,  by  most  of  the  writers  on  physics ;  one  example  will  suffice. 
Caneparius  "de  atramentis  "  '  writes,  "  De  vernice,  qua  effingun- 
tur  coria  aurata.  Cape  oleum  lini  ad  pondus  librarum  trium, 
vernicis,  vulgo  appellatur  sandaracha  Arabum,  libra  una,"  &c,  &c. 
Andrea  Alpagus2  calls  sandarac  "sanderos,"  and  adds  "  est 
almedon,  et  est  vernix  quae  dicitur  sandaracha." 

In  a  manuscriptbelonging  to  the  Royal  Library  at  Montpellier,  of 
the  early  part  of  the  fifteenth  century,  and  which  is  principally  a 
collection  of  authors  upon  medical  subjects,  is  a  small  treatise  upon 
the  arts.  This  MS.  was  kindly  placed  at  my  disposal  by  M.  Libri, 
of  the  Sorbonne,  Paris  n. 

From  this  MS.  I  give  some  extracts  vvhich  will  show  what  the 
"  fornis  "  or  "  glassa  "  was. 


"  INCTPIT    LIBER    DIVERSARUM    ARTIUM. 

"  De  glutine  vernicon. 

"  Pone  oleum  lini  in  ollam  novam  parvam,  adde  gummi  quod 
vocatur  fernix  vel  grassa,  minutissime  tritum,  et  assimilatur  thuri : 
deinde  ponatur  ad  lentum  ignem  et  coquatur,  ita  ut  non  bulliat, 
usque  dum  tertia  pars  consumatur,  omnino  et  caveatur  ab  igne, 
quod  multum  periculosum  est,  et  de  levi  non  extinguitur." 

"  Ad  vernicem. 

"  Accipe  glassa,  vel  fernix  grana,  estque  idem  quod  vernix,  et 
fac  eam  lente  liquare,  et  bullito  oleo  linosse,  insimul  misce,  com- 
mixtum  ita  tractu,  dimitte  bene  coopertum  donec  frigescat." 

It  will  be  seen  that  these  are,  in  substance,  the  two  chapters  of  our 
author,  that  the  "  fernix,"  "  grassa,"  "glassa,"  and  "vernix"  are 
synonymous,  and  explain  Theophilus.  "  Grassa"  is  the  Moorish 
and  a  Spanish  term  for  sandarac :  the  substitution  of  the  r  for  l, 
is  common  also  with  the  Neapolitan  and  Roman  people. 

1  Petrus  M.  Canepaiius  de  atramentis,  p.  333. 

2  Alpagus.     Liber  Arabicorum  nominum. 

8  This  MR.  formerly  belonged  to  Cardinal  Alberti,  Rome. 

4  This  word  appears   to   be   Greek,  /3i£v/*/,    varnish,  fisjv/xw^a,  varnish    work, 
f&i^txuia,  to  varnish. 

F    2 


68  NOTE8    TO    BOOK    I. 

Therefore,  fernis  or  vernix  is  a  direct  and  primitive  term  for 
sandarac;  and,  secondly,  glassa  is  a  comparative  term  for  the  same 
resin. 

Tingry,  in  his  work  on  varnishes  l,  states  thatjuniper  and  san- 
darac  resins  are  still  called  "  verniz "  by  the  Germans,  so  that 
another  proof  of  the  German  origin  of  Theophilus  may  be  adduced. 
Lessing,  founding  his  opinion  upon  the  derivation  which  the 
Bollandists  2  gave  to  the  German  "  firniss,"  saw  that  word  in  the 
"  fornis "  of  Theophilus,  thus  strongly  corroborating  the  last 
assertion. 

I  have  elsewhere  given  extracts  from  the  MS.  published  by 
Muratori  in  which  the  word  "  gumma"  implies  sandarac.  See 
note,  Oleum. 

Peter  of  St.  Audemar3  gives  several  recipes  for  the  manufacture 
of  varnish  for  metallic  leaves. 

"Oleum  delini  semine  et  pice  uno  pondere  mixtum,  et  earndem 
mensuram  de  '  vernix'  pone  in  ollam  et  fac  bullire  bene.  Deinde 
mitte  folia  stanni  bene  verniciata,  intus,  et  postmodum  siccata  ad 
solem."     (Qu.  vernicia  intus  et  sicca,  &c.) 

"  Linseed  oil  and  resin  being  mixed  in  equal  weight,  and  the 

same  measure  of  '  vernix,'  place  them  in  a  pot  and  boil  them  well. 

Then  place  the  leavesof  tin,  well  varnished,  inside,  and  afterwards 

dried  in  the  sun."  (Qu.  inside,  varnish  well  and  dry  afterwards,  &c.) 

Again,— 

"  Oleum  lineum  et  medianam  corticem  nigri  pruni  mitte  in 
ollam  novam  ac  fac  bene  bullire  super  carbones  vel  claro  igne 
paulatim.  Deinde  munda,  '  glassam  tuam'  quantum  Volueris  in 
pondere  et  pone  in  alteram  ollam,  et  aluminis  quasi  mediam 
partem  et  sanguinis  draconis,  et  omnia  heec  mitte  in  ollam,  et  ad 
ultimum  mixtum,  picem  adjunge  et  bene  funde,  et  quam  citiushaec 
omnia  fundentur  appone  supradictum  oleum,  et  secundum  unctionem 
confectionis,  et  sine  bene  bullire  simul,  et  saepe  move,  et  post  mo- 
dum  mitiges  ungulam  tuam  et  temptabis  utrum  bonum  sit  an  non." 
In  a  third  recipe  "  white  thus "  and  iesin  are  used  instead  of  glassa, 
with  linseed  or  hempseed  oil,  "oleum  de  lino  vel  de  canapo." 

Michelino  de  Vesucio  of  Venice,  whom  Le  Begue  describes  as 
one  of  the  best  painters  in  the  world,  "  Michelino  de   Vesucio, 

>  Acta  SS.     April,  T.  2,  p.  302. 

*  Vom  Alter  der  Oelmalerey,  1739.     Ouvres  de  Lessing,  1839,  T.  9.  p.  482. 

*  Eraclius  de  Artibus  Romanorum.  MS.  6741.  Bib.  du  Roi,  Paris.  Liber  3. 
Art.  207.     MS.  Le  Begue. 


NOTE8    TO    BOOK    I.  69 

pictore  excellentissimo  inter  omnes  pictores  mundi,"  gave  this 
composition  to  be  used  in  the  preparation  of  "  ultramarine,"  and 
speaks  first  of  "  vernice  liquida,"  with  which  resin  and  gum  mastic 
are  to  be  united.     This  was  in  1410. 

John  Le  Begue  himself  gives  the  preparation  of  a  "  vernix 
liquide  pour  paintres."  The  process  is  the  same  as  that  in  the 
second  recipe  of  Theophilus.  But  Le  Begue  directs,  "  Take 
aromatic  glassa  which  is  dull  outside,  and  when  broken  it  is  clear 
and  shining  inside,  like  glass."  "  Prenez  glasse  aromatique  qui  est 
obscur  par  dehors,  et  par  dedans,  quand  on  le  brise,  il  est  clere  et 
luisant  a  maniere  de  verre."  With  this,  oil  of  linseed  or  hempseed, 
or  walnuts  is  to  be  used,  two  parts  to  one  of  resin.  He  concludes, 
"  Et  1'etendez  desus  la  peinture  a  vos  doigts,  car  si  vous  le  fassiez 
du  pincel,  il  seroit  trop  epais  et  ne  pourroit  secher." 

Having  established  that  the  vernix  is  sandarac,  the  "  vernice 
liquida"  of  Cennino,  and  of  the  early  Italians,  is  known  to  us. 
Mrs.  Merrifield  in  her  translation  of  this  author1  refers  in  a  note 
to  this  facr.  Cennino,  therefore,  gives  the  receipt  for  making  the 
"  vernice  liquida"  in  the  151  cap.  He  singularly  also  shows  that 
the  Italians  were  aware  of  the  action  of  metallic  oxides  as  driers. 
The  directions  are  for  making  a  mordant,  perfect  for  walls,  pictures, 
upon  glass,  or  iron,  or  anywhere. 

"  Take  your  oil,  cooked  at  the  fire,  or  in  the  sun,  by  the  mode 
which  I  have  before  shown  you.  Grind  with  this  oil  a  little  white 
and  verdigris;  and  when  you  have  ground  them  as  with  water,  put 
a  little  vernice  into  it  and  allow  all  to  boil  together  a  little." 

It  appears  to  me  that  this  passage  has  never  been  rightly  read, 
the  word  "vernice,"  by  which  Cennino  intended  sandarac,  having 
been  accepted  as  "  varnish"  or  the  "  vernice  liquida"  itself.  The 
white  (carbonate  of  lead)  and  verdigrise,  carbonate  of  copper, 
acting  as  driers.  Van  Eyck  could  not  have  therefore  invented 
"  driers  "  for  the  oils  or  varnishes  used  for  pigments  more  than  he 
did  the  use  of  these  materials  themselves.  It  is  my  endeavour 
here  to  ascertain  and  expose  the  materials  universally  employed 
in  the  studio  previously  to  the  time  of  Van  Eyck.  What  that 
painter  probably  did  invent,  I  have  endeavoured  to  show  in  the 
Preface  to  this  work, 

Cennino  speaks  of  "  vernice  liquida"  in  several  places,  yet  he 
gives  no  mode  of  making  it  unaccompanied  by  driers. 

1  Cennino  Cennini,  translated  by  Mrs.  Merrifield. 


70  NOTES    TO    BOOK    I. 

But  in  a  MS.  in  the  Sloane1  collection  of  the  early  part  of  the 
fifteenth  century,  written  in  the  Venetian  d»alect,  are  several  curious 
recipes  for  varnishes,  colours,  &c.  The  whole  appears  the  collection 
of  an  Englishman,  and  in  it  are  several  notes  bearing  dates  which 
determine  its  age.  A  date  in  page  125  of  the  MS.  is  as  early  as 
"  1424,  12th  June;  "  also,  "  1454, 1 1  Fefraro  io  mi  parti  aBologna, 
va  a  Millano;"  "  a  di  15  a  di  3  de  Marzo,  va  astare  a  Novaria 
cum  Maestro  Baldasaro;"  "  1455,  a  di  18  de  Giognio  va  astare 
cum  Maestro,  &c." 

In  p.  61,  is  the  date,  "  furst  daj  of  Louly°,  1456,"  written  in  an 
English  hand,  probably  by  the  collector  of  the  contents. 

This  MS.  is  therefore  of  the  period  of  Cennino,  who  finished  the 
composition  of  his  work  on  the  31st  July,  1437,  and  is  of  import- 
ance,  as  being  the  result  of  the  knowledge  and  experience  of  a 
chemist  of  the  period,  which  class  were  called  in,  as  were  the 
"  pigmentarii"  of  the  Romans2,  to  the  councils  of  the  studio.  I 
intend  to  publish  this  MS.,  and  give  merely  an  extract  or  two  re- 
lating  to  the  varnishes  of  the  period. 

"  A  FARE  VERNICE  LIQUJDA. 

"  To.  vernice  salda  lb  j  ;  olio  dl  semente  di  lino  ft>  3 ;  pece  Grega 
tb  3  ;   sara  bona  da  invernicare  balestre. 

"  Take  vernix,  whole,  lb  1  ;  linseed  oil,  ft>3;  Greek  pitch 
(common  white  pine  resin  from  which  the  oil  has  been  evapo- 
rated  over  hot  water)  3  lb.  It  will  be  good  for  varnishing  cross- 
bows." 

"   A  FARE  VERNICE  DA  DI  PINTURI. 

"  Toy  olio  de  lino  quanto  voy  e  mitilo  al  fuoco  e  falo  tanto 
coxere  che  quando  li  meti  una  pena  che  incrostigi  i  pili  corno  se 
ardesse  e  quando  e  coto  levalo  dal  fuoco,  e  getali  vernice  pista  e 
sedacata  (qu.  '  stacciata,')  a  poco  a  poco  nel  dito  olio,  e  tieni  mente 
di  non  meterne  tropo  per  volta  perche  se  la  varebe  alta  e  gon- 
fiarebe  per  modo  che  trabucarebe,  e  quando  ai  dato  tuta  la  vernice, 
remitela  uno  poco  al  fuoco  tanto  che  si  riscaldi  un  poco,  e  poy 
levalo  dal  fuoco  e  colala  con  la  stamegna  e  sic  fata. 

"  Nota  che  al  medesimo  modo  la  poy  fare  dando  al  dito  olio  pece 
Greca  tanto  che  sia  le  due  parte  de  cio  che  fu  1'olio. 

1  Sloane,  No.  416. 

1  The  physicians  and  apothecaries  of  Kome  were  classed  as,  pigmentarii,  seplasiarii 
pharmacopola?,  medicamentarii,  &c. 


NOTES    TO    BOOK    I.  71 

"  El  terzo  modo  la  poy  fare  dando  al  dito  olio  quando  e  coto  tanta 
raxa  quanto  fo  ]'olio,  e  questo  e  secondo  Nicolao  di  Bertoldo." 

"  TO    MAKE    PAINTERS'    VARNISH. 

"  Take  the  quantity  you  please  of  linseed  oil,  placeit  on  the  fire 
and  boil  it  until  upon  putting  a  pen  into  the  boiling  oil  it  warps  as  if 
burnt ;  and  when  it  is  cooked,  take  it  from  the  fire,  and  cast  pounded 
and  sifted  vernix  into  the  said  oil,  little  by  little,  and  remember  not 
to  put  too  much  at  a  time,  because  it  will  rise  up  and  swell  so  as  to 
run  over.  And  when  you  have  put  in  all  the  vernix,  replace  it  for 
a  short  time  upon  the  fire  until  it  has  become  slightly  hot  again, 
then  strain  it  and  it  is  done. 

"  Note — that  the  best  manner  to  make  itis,  by  putting  to  the  said 
oil,  Greek  pitch,  two  parts  as  much  of  the  resin  as  there  is  oil. 
And  a  third  way  of  making  it  is  by  putting  to  the  same  oil,  when 
cooked,  as  much  resin  as  there  is  oil,  and  this  is  according  to  Ni- 
colao  di  Bertoldo." 

The  use  of  these  materials  in  our  own  country  has  been  traced 
by  Walpole  to  a  very  early  date.  On  the  2nd  of  August,  1239, 
a.  d.  (23  Henry  III.,)  Odo  and  his  son  were  paid  "  for  oil,  varnish 
and  colours  bought  and  pictures  made  in  the  Queen's  Chamber  at 
Westminster." 

The  Rev.  Mr.  Bentham  has  noticed  in  the  Archaeologia,  v.  9, 
varnish  among  the  materials  used  for  painting  the  cathedral  of 
Ely.  In  the  Sacrist's  annual  roll  of  expenses  from  Michaelmas 
(8th  of  Ed.  III.  a.d.  1335,)  to  Michaelmas  following,  under  the 
title  of  "  custos  novis  operis"  and  of  "  nova  pictura." 

"  Item,  in  20  lt>.  de  vernyz,  Empt.  pro  eodem,  5s.  prec.  lib.  3d." 

In  the  Sacrist's  roll  from  Michaelmas  1341  to  the  Michaelmas 
following,  under  the  head  "  Minute  expenses"  is  this: — 
"  In  6  lib.  de  albo  verhish  I8d.  prec.  lib.  3d. 
In  21\  lagenis  olei  empt.  2s.  2d." 

In  the  roll  from  Michaelmas  1346  to  Michaelmas  1347. 
"  In  7  lib.  de  vernyz  empt.  2ld." 

Mr.  Smith1  has  given  an  account  of  the  contents  of  the  Rolls 
in  the  Exchequer,  which  prove  the  use  of  oil  and  varnish  during 
the  painting  of  the  chapel  of  St.  Stephen  at  Westminster,  the  date 
of  the  earliest  roll  being  20th  of  Edward  I.  a.d.  1292. 

Oil,  red  and  white  varnish  and  "tinctu"  (probably  oil  of  turpen- 
tine)  are  here  mentioned. 

1   Antiq.  We»t. 


72  NOTES    TO    BOOK    I. 

Edward  III.  destroyed  this  chapel,  and,  in  rebuilding  it  with 
increased  magnificence,  pressed  all  the  painters  for  this  work  in 
Kent,  Middlesex,  Essex,  Surrey  and  Sussex;  also,  by  anotheredict, 
those  in  the  counties  of  Lincoln,  Northampton,  Oxford,  Warwick, 
Leicester,  Cambridge,  Huntingdon,  Norfolk  and  Suffolk1. 

Among  the  items  of  expenses  in  the  Exchequer  Rolls  for  this 
work,  are — 

"  Four  flaggons  of  painter's  oil  for  painting  the  chapel,  16«. 
Half  a  pound  of  Tynct.  for  the  same. 

Six  pounds  and  a  half  of  white  varnish  from   '  Lomyn  de 
Bruges,'  at  9d.  per  pound,  for  painting  of  the  said  chapel." 

In  an  old  English  Monkish  MS.  of  the  fourteenth  century, 
(Sloane  2584,)  in  a  collection  of  recipes  for  painting  and  the  mate- 
rials  required,  a  curious  varnish  is  given. 

"Take  of  Terbentyne  lft>.,ofgume  Arabyk  ltb.,  offrank  ensence 
ltb.,  and  melt  them  togeder,  and  put  there  to  oyle  of  Lynsed  als  a 
mochel  as  it  nedes :  and  thus  you  schalt  assay  zif  it  be  wele 
molten  to  geder.  Take  a  drope  or  2  of  clere  water  and  sprinkle 
therein,  and  then  take  a  litel  there  of  be  twene  your  fingers  and 
zif  it  is  helding  togeder,  als  wer  gumed,  it  is  goode,  and  zif  it  is 
nost  so  put  yet  more  oyle." 

Arabic  resin,  or  Sandarac,  has  been  called  "  Gum  Arabic  " 
indiscriminately  with  the  gum  of  the  Mimosa  Nilotica,  even  as  late 
as  the  middle  of  the  last  century.  This  has  led  to  strange  mis- 
takes.  The  author  of  "  Institutes  of  Experimental  Chemistry," 
who  should  have  therefore  known  better,  comments  upon  the  sin- 
gularity  of  thefact,  that  "  Gum  Arabick  "  is  soluble  in  fixed  oil, 
and  states  that  it  yields  an  oil  by  distillation  2. 

That  the  "  vernice  liquida  "  of  the  Italians  during  the  fifteenth 
and  sixteenth  centuries  was  identical  with  the  varnish  of  Theophi- 
lus  we  have  proof  amongst  their  writers.  Cardanus,  who  flourished 
at  the  commencement  of  the  sixteenth  century,  and  who  therefore 
possessed  the  experience  of  the  fifteenth,  tells  us  that  "  liquida 
vernix"  is  made  from  linseed  oil  and  vernix  of  thecedar  juniper 
species. — De  Plautis,  Lib.  8. 

"  Vernix  ex  cedro  Juniperi  species." 

"  Ob  id  ignitur  e  '  sicca  vernice,'  et  lini  oleo  fit  liquida  vernix, 

1  Rymer's  Foedera.     T.  5,  p.  670. 

*  In  2  Vols.  London,  1759.     V.  2,  p.  91  and  92.— Dossie. 


NOTES    TO    BOOK    I.  73 

ad  omnes  cceli  impetus  coercandos  aptissima,  unde  picturis  addi 
solet." 

Caneparius,  "  De  Atramentis,"  p.  300,  writes — 

"  Ex  Vernice,  (Sandaracha  Arabum,)  et  oleo  ex  semine  lini, 
fit  liquida  vernix." 

The  two  processes  given  by  Theophilus  would  form,  owing  to 
the  peculiar  nature  of  the  resin,  two  different  varnishes.  By 
the  first  process  the  resinous  portion  alone  of  this  gum  resin  would 
be  dissolved,  unless  the  boiling  were  continued  for  a  very  long 
time,  so  as  at  last  to  raise  the  heat  to  a  high  degree,  in  order  to 
keep  the  oil  at  the  simmering  point,  which  becomes  higher  in  pro- 
portion  to  the  loss  of  the  more  volatile  portions  of  the  oil,  which 
it  will  be  remembered  are  allowed  to  escape,  "  until  a  third  part 
isconsumed."  The  varnish,  however,  is  not  perfected  by  the  first 
process,  and  is  of  a  very  dark  colour.  By  the  second  process  the 
whole  of  the  resin  may  be  incorporated  with  the  oil  at  once  and  the 
long  boiling  is  not  required,  nor  does  Theophilus  prescribe  it. 
The  word  "  bullire,"  is  used  by  our  author  in  opposition  to 
u  coquere,"  the  latter  having  the  signification  of  "  to  seeth," 
the  former  "  to  boil  violently,"  as  "  aestuo  "  "  ferveo,"  against  the 
danger  of  which  he  cautions  the  artist. 

The  true  Arabian  sandarac  is  stated  by  Schousboe  \  a  Danish 
traveller,  to  be  produced  by  the  thuia  articulata,  which  is  a  cy- 
press.  It  is  called  "  el  grassa."  The  juniper  cypress  does  not 
grow  in  Africa.  Dr.  Ure  gives  an  analysis  of  this  gum-resin. 
"Spec.  gr.  1.05  to  1.09.  It  contains  three  resins,  one  soluble  in 
alcohol,  somewhat  resembling  pinic  acid  or  turpentine  resin,  one 
not  soluble  in  that  liquid,  and  a  third  soluble  only  in  alcohol  of 
90  per  cent." 

The  following  are  taken  from  the  MS.  from  Mount  Athos. 
These  varnishes  are  of  the  twelfth  century. 

"VARNISH    OF    PESERI. 

"  Take  Peseri  which  you  have  baked  in  the  sun,  one  hundred 
drachmas,  and  white  resin,  seventy-five  drachmas.  Place  tliem 
in  a  pot  upon  a  fire,  so  as  to  melt  and  combine  these  two  substances 
together.     Filter,  and  employ  this  varnish  in   exposing  it  to  the 

1  Nicholson's  Joiirnal,  Vol.  i,  p.  369.  Taken  froin  the  Danisli  Journal,  "  Biblioth. 
de  Physique." 


74  NOTES    TO    BOOK    I. 

sun.  Pay  attention  to  apply  the  first  couch  as  thin  as  possible, 
to  avoid  blisters.  If  the  mixture  is  too  thick  and  difficuk  to 
spread,  add  naphtha,  or  peseri  not  baked  ;  by  this  means  you  will 
obtain  a  liquid  varnish.  If  you  have  a  great  quantity  of  mastic, 
takefifty  drachmas  of  resinand  twenty-five  of  mastic:  this  mixture 
will  give  you  a  very  good  and  brilliant  varnish." 

"  ANOTHER    VARNISH    OF    SANDALOZE. 

**  Take  one  hundred  drachms  of  Sandaloze,  grind  them  upon  a 
marble,  or  in  a  mortar,  into  very  fine  powder.  Place  this  powder 
in  a  pot,  with  a  little  naphtha,  and  a  little  peseri,  to  prevent  burn- 
ing  or  blackening  in  the  melting.  Place  the  vase  over  hot  coals 
and  cover  it  with  a  plate  :  uncover  often  to  stir  it  with  a  stick  un- 
til  all  is  well  melted.  When  melted  and  a  foam  is  formed,  take 
the  vase  from  the  fire,  and  add  half  an  ocque  '  of  peseri  baked  in 
the  sun,  and  heated  beforehand.  Then  filter  through  a  fine  cloth, 
and  you  will  keep  this  varnish  in  a  vase ;  if  it  grows  too  hard,  add 
naphtha,  which  will  permit  you  to  spread  it  easily  without  forming 
blisters. 

Sandalus  or  Sandaloz  is  the  Persian  word  for  Sandarach. 

Incaustum,  c.  40.  The  use  of  ink  is  ancient ;  Moses  mentions  it 
in  Numbers,  v.  23,  also  Jeremiah,  xxxvi.  18  ;  the  principal  colour- 
ing  matter  was  smoke  black  combined  with  tannic  acid.  These 
inks  approach  the  composition  of  the  Chinese  or  Indian  ink  as 
made  at  present;  the  Chinese  have  had  the  credit  of  the  invention 
of  ink,  but  it  is  more  probably  of  Egyptian  origin. 

Colouredinks  wereusedby  theOrientals ;  theemperorsof  the  East 
had  their  "  sacrum  encaustum,"  which  was  made  with  purple2  and 
which  was  kept  in  vases  of  gold  enriched  with  gems,  the  guardian- 
ship  of  which  was  entrusted  to  the  royal  officers  3,  and  the  use  of 
which  was  interdicted  as  a  capital  oftenee. 

The  word  ".encaustum"  is  evidently  in  this  case  much  per- 
verted  from  its  original  signification,  it  having  been  first  used  to 
denote  the  process  of  the  ancient  Greek  painters,  who  applied  heat 
to  their  colours,  which  were  laid  upon  an  absorbent  surface  with 
wax,  in   order  to   drive  them  into  the  grounds  upon  which  they 

1  The  ocque  is  a  weight  used  in  the  Levant,  equal  to  about  three  pounds  and  a 
half,  English  weight. 

*  Nouveau  traite"  de  Diplomatique,  T.  1,  p.  554.  (Note  by  Le  Coiute  de  L'  Esca- 
lopier,  idem.) 

3  Du  Cange,  Gloss,  vide  Caniclinus. 


NOTES    TO    BOOK    I.  75 

were  superposed.  The  term  was  retained  while  the  process 
changed,  and  hence  the  different  coloured  fluids  used  for  painting 
or  wriring,  and  which  were,  in  either  case,  laid  on  with  pencils, 
were  still  called  "  encausta."1  The  word  "  atramentum"  has  been 
similarly  perverted.  Originally  representing  a  dark  colour  or 
fluid,  it  gradually  was  used  to  denote  different  coloured  fluids  or 
"  inks"  used  for  various  purposes2. 

The  fabrication  of  ink  by  means  of  "  Roman  vitriol "  (sulphate 
of  iron)  and  oak  bark,  (tannic  acid,)  is  of  more  recent  origin, 
probably  a  century  or  two  before  the  Christian  era. 

Sir  H.  Davy,  "  on  the  Papyri  in  the  Museum  of  Naples," 
writes — "  I  looked  in  vain  amongst  the  MSS.  and  in  the  animal 
charcoal  s*urrounding  them  for  vestiges  of  letters  in  oxide  of  iron, 
and  it  would  seem  from  these  circumstances,  as  well  as  from  the 
omission  of  any  mention  of  such  a  substance  by  Pliny,  that  the 
Romans,  up  to  his  period,  never  used  the  ink  of  galls  and  iron  for 
writing.  And  it  is  very  probable  that  the  adoption  of  this  ink  and 
the  use  of  parchment  took  place  at  the  same  time  ;  for  the  ink 
composed  of  charcoal  and  a  solution  of  glue  can  scarcely  be  made 
to  adhere  to  the  skin,  whereas  the  free  acid  of  the  chemical  ink 
partly  dissolves  the  gelatine  of  the  MS.,  and  the  whole  substance 
adheres  as  a  mordant."  3 

This  is  not  certain ;  Pliny  gives  a  mode  for  detecting  sulphate 
of  iron  in  sulphate  of  copper  by  the  infusion  of  galls  upon  paper ; 
he  says  "  it  instantly  blackens."  4 

Davy  appears  to  have  overlooked  the  following  passage  inPliny, 
which  shows  that  acid  inks  were  known  before  his  time.  "  Omne 
autem  atramentum  sole  perficitur,  librarium  gummi,  tectorium 
glutino  admixto.  Quod  autem  aceto  liquefactum  est,  aegre 
eluitur."5 

Atramentum  is  mentioned  by  Theophilus  towards  the  close  of 
this  chapter.  Whether  the  "  atramentum  librarium"  of  Diosco- 
rides,  composed  of  three  ounces  of  soot  with  one  ounce  of  gum,  (see 
Dioscor.  v.  183,  n^»  pft«»cO  was  intended,  or  thesulphate  of  iron, 
green  vitriol,  "  atramentum  tectorium"  of  the  Romans,  is  open  to 

1  Cicero,  de  natura  deor.  II.  20.  Pers.  III.  11. 
8  Caneparius  de  Atramentis. 

3  Sir  H.  Davy's  Works,  Lond.  1840.     V.  6,  p.  174. 

4  Pliny,  Nat.  Hist.  L.  34.  C.  11.  "  Deprehenditur  et  papyro,  galla  prius  macerata ; 
nigrescit  enim  statim  serugine  illita." 

5  Pl.  Nat.  Hist.     L.  35.     C.  6. 


76  NOTES    TO    BOOK    I. 

conjecture.  M.  de  L'Escalopier  prefers  the  former  hypothesis,  as 
he  has  translated  the  word  "  atramentum "  into  "noir" — black  ; 
it  will  be  seen  that  I  have  preferred  the  latter  in  the  presence  of 
the  bark  juice,  or  tannic  acid. 

Another  atramentum,  the  "  atramentum  sutorium"  of  the 
Romans,  or  "  sulphate  of  copper,"  blue  vitriol,  is  certainly  not 
intended. 

Indicum,  c.  14.  Both  Vitruvius  and  Pliny1  mention  indigo ; 
"  when  divided  it  is  black,  but  diluted  it  yields  an  admirable  mix- 
ture  of  purple  and  blue."  Indicum  was  called  by  the  Byzantine 
artists,  and  others,  "  Azoreum  Romanum."  In  a  MS.  of  the 
fourteenth  century  of  Byzantine  source2  we  find  "  Roman  azure, 
otherwise  indigo,  is  ground  in  water.  In  this  Roman  azure  you 
can  mix  orpiment  for  a  yellow  green.  Likewise,  if  you  add  Brasil, 
it  will  be  a  purple." 

In  the  same  MS.  the  azures  are  defined. 

"Azorium  bonum  est  quod  Saraceni  faciunt.  Item,  azorium 
Romanum  est  aliud  quod  Indicum  vocatur." 

John  Archerius,  who  in  a.d.  13983  wrote  a  treatise  upon  colours 
from  the  verbal  directions  of  Jacobus  Cona,  a  Flemish  painter  then 
residing  in  Paris,  calls  indigo  "  Bagadellus."  This  is  the  "  indaco- 
baccadeo"  of  Cennino. 

The  tariffs  of  Marseilles  speak  of  the  indigos  of  Bagdad,  which 
are  called  "  indigo  bagadel,"  since  the  year  12284. 

The  introduction  of  indigo  into  western  Europe  gradually  put 
an  end  to  the  culture  of  the  isatis  tinctoria,  pastel,  or  woad,  which 
was  at  one  time  so  lucrative  a  branch  of  industry."  5 

In  Laqueari,  c.  14.  In  our  author  this  word  means  the  orna- 
menting  of  ceiling  or  plaster  work.  Theophilus  distinguishes  it 
from  "  in  muro,"  as  by  caustic  lime  being  employed  in  the  latter, 
it  is  rendered  unfit  for  the  reception  of  certain  colours  which  "  in 
laqueari"  can  be  applied. 

The  Catholicon  tells  us  that  "  Laquear"  is  so  called  from  the 

1  Hist.  Nat.     L.  33.     C.  13.     Et  id.  L.  35.  C.  6. 

*  Sloane  MS.  1754.     British  Museum. 
3  MS.  Le  Begue.     Paris. 

*  M.  Depping,  Hist.  du  commerce  entre  le  Levant  et  1'Europe,  T.  1.  p.  141.  Note 
by  le  Comte  de  1'Escalopier.     Theoph.  Par.  1843. 

5  Weigelb.  Geschichte  der  Erfendengen.     Hist.  of  Inventions,  &c,  p.  179. 


NOTES    TO    BOOK    I.  77 

conjunction  of  the  reeds  at  the  top  of  the  habitation  (or  temple). 
Or  "  Laquearia"  are  what  are  laid  over  the  beams  and  are  inter- 
woven  with  those  beams.  Also  laquearia  are  those  works  which 
cover  and  ornament  apartments  ;  hence  Josephus  in  VIIP,  "  De 
lignis  celatis,  opere  laqueario,  auroque  vestitis." 

Thus,  from  originally  denoting  the  interwoven  wood,  reed,  or 
plaster  work,  the  word  became  applied  to  the  ornaments  with  which 
that  work  was  covered,  and  in  such  sense  it  is  used  by  Theophilus. 

St.  Isidore,  L.  xix.  c.  12,  Originum  ;    thus  refers  to  laquearia. 

"  Laquearia  sunt  quae  cameram  subtegunt  et  ornunt,  quae  et 
lacunaria  dicuntur:  quod  lacus  quosdam  quadratos  vel  rotundos 
ligno  vel  gipso  vel  coloribus  habeat  pictos,  cum  signis  intermican- 
tibus." 

Jeremiah,  c.  22,  v.  14.  "  Et  facit  laquearia  cedrina,  pingitque 
synopide,"  "  and  it  is  ceiled  with  cedar  and  painted  with  sinoper," 
(translated  vermilion  in  the  English  version.) 

Pliny  tells  us  that  Pamphilus,  the  master  of  Apelles,  instituted 
the  custom  of  painting  "  lacunaria"  or  the  intervals  between 
beams  or  arches  upon  walls,  and  adds  "  nec  cameras  ante  eum 
taliter  adornari  mos  fuit." 

Lazur,  c.  14.  The  Lazur  of  Theophilus  is  doubtless  the  male 
cyanus  of  the  Greeks,  the  deep  blue  lapis  armenus,  the  Kuanos, 
xva.vo$,  of  Theophrastus,  which  has,  as  yet,  been  confounded  with 
the  lapis  lazuli,  or  Greek  ooiirQiipoi. 

Theophrastus  mentions  among  the  valuable  stones  "o-a7r$£»fo»," 
"  Sapphire,"  which  is  of  a  dark  dye1,  and  not  very  different  from 
the  male  cyanus  "  x.vuws."  This  comparison,  Hill  remarks,  "isa 
confirmation  that  the  sapphire  and  cyanus  are  not  the  same  stone, 
as  they  are  compared  together;  "  it  may  be  added  that  it  identifies 
the  sapphire  with  the  lapis  lazuli,  the  cyanus  being  of  two 
kinds,  divided  into  male  and  female,  the  male  being  of  a  deeper 
colour2.  Yet  Hill  here  unfortunately  falls  into  error,  as  he  re- 
marks  that  "  this  cyanus  is  a  gem,  and  is  the  lapis  lazuli  of 
which  ultramarine  is  made,"  whereas  that  colour  is  only  truly 
made  from  the  sapphire  of  the  Greeks,  the  true  "lapis  lazuli." 
Theophrastus  does  not  speak  of  cyanus  "  as  a  gem "  at  all ; 
noticing    that    in    the    "  carnelian  "  and   the    "  lapis   lyncurius" 

1  Theophr.  de  Lapidibus.     C.  65.     Hill. 
*  Idem,  p.  83.     C.  50.     Id. 


78  NOTES    TO    BOOK    I. 

gemsare  divided  into  male  and  female;  he  instances  the  "  cyanus," 
of  which  he  is  not  then  treating,  as  being  divided  in  the  same 
manner.  Hill  continues  the  error  of  previous  commentators, 
Philander,  De  Laet.,  C.  Leonardus,  &c,  &c,  &c 

Theophrastus  tells  us  that  the  sapphire  was  spotted,  as  it  were, 
with  gold,  "pcficraTa^os."  Hill  denies  this  to  be  the  lapis  lazuli, 
following  De  Boot,  who  writes,  "  Quam  gemman  Plinius  sapphi- 
rum  vocat,  cyanus  est,  seu  lapis  lazuli,"  a  double  error,  divided 
between  both  the  critics. 

But  Theophrastus  says  that1  "  The  native  cyanus,"  (or  lapis 
armenus)  "  xvetto^  avtofpv^"  has  in  it  "  chrysocolla,"  "  ^vo-oxoXA»»," 
which,  with  the  ancients,  vvas  a  green  oxide  of  copper.  Hill  here 
admits  this  to  mean  the  lapis  armenus,  attempting  to  avoid  the 
dilemma  by  making  the  cyanus  before  mentioned  a  "  gem,"  for- 
getting  that  there  were  more  than  one  kind  of  "cyanus." 

In  c  90,  Theophrastus  places  kv&voc,  cyanus,  and  "  chryso- 
colla"  among  colours  used  by  painters. 

Hill,  having  apparently  perplexed  himself,  accuses  Pliny  of  con- 
fusion2,  and,  having  embroiled  the  question,  asserts  that  Pliny  has 
misunderstood  Theophrastus.  This  is  both  unlikely  and  erroneous. 
Pliny  "  De  Jaspidum  generibus"  1.  37.  c  9,  describes  cyanus, 
and  after  mentioning,  as  Theophrastus,  that  the  Egyptian  kind  was 
"  tinctured,"  proceeds,  "  Dividitur  autem  et  hoc  in  mares  fcemi- 
nasque.  Inest  ei  aliquando  et  aureus  pulvis,  non  qualis  in  sappki- 
rinis."  He  follovvs  with  "  Sa.pphirus  enim  et  aureis  pukctis 
collucet.  "  Ceruleae  et  sapphiri,  raroque  cum  purpura.  Optime 
apud  Medos,  nusquam  tamen  perlucidee,"  &c,  certainly  a  dis- 
tinction  is  made  here  between  the  cyanus  and  the  sapphirus. 

The  deep  blue,  "  lapis  armenus"  or  cyanus,  is  even  now  cut  for 
ornaments ;  some  of  this  so  closely  resembles  sapphirus  or  lapis 
lazuli  that  it  is  only  by  the  test  of  fire,  which  destroys  the  blue 
colour  of  the  native  carbonate  of  copper,  the  tvvo  are  to  be  distin- 
guished.  De  Boot:!,  upon  lapis  lazuli,  gives  this  true  test  of  the 
stone.  "  Fixus  lapis  lazuli,  hoc  est,  qui  igni  impositus  colorem 
non  mutat." 

"  The  lapis  lazuli  is  permanent,  that  vvhich  is  placed  in  the 
fire  does  not  change  colour,  this  is  the  legitimate  proof;   it  is  mostly 

J  Theophr.  de  Lapidibus,  p.  101.     C.  70.     Hill. 

*  Theophr.  by  Hill,  p.  131. 

3  De  Boot,,  Gemmaram  et  lapidum  historia.     Leyden,  1647.     C.  110. 


NOTES    TO    BOOK    I,  79 

brought  from  the  East.  That  found  in  Germany  is  not  perma- 
nent,  it  is  commonly  called  '  Lasurstein,'  and  this  is  the  mean 
between  the  Armenian  stone,  which  is  friable,  and  the  lapis  lazuli, 
which  is  equal  in  hardness." 

Theophrastus,  c.  71,  speaks  of  a  sandy  cyanus,  the  "  bergblau" 
of  the  Germans,  our  mountain  blue. 

The  "  Lasur-stein "  or  male  cyanus,  the  deep  blue  lapis 
armenus,  is  most  probably  the  "Lazur"  of  Theophilus. 

The  Persian  "Lazoard"  blue,  is  probably  the  origin  of  the  term 
"  Lazur."  Beckmann  states  that  the  Persians  are  very  fond  of 
ultramarine,  but  that  Persia  only  produces  the  blue  copper  ore, 
(the  male  cyanus,)  and  that  the  real  lapis  lazuli  is  found  in  the 
mountains  of  Tartary  in  Bucharia,  extending  eastward  from  the 
Caspian1. 

Most  of  the  mediaeval  writers  have  confounded  the  lapis  la- 
zuli,  the  lapis  armenus,  bluejasper  coloured  with  carbonates  and 
arseniates  of  copper,  mountain  blue,  the  one  with  the  other,  and 
errors  have  arisen  which  even  now  are  to  be  dispelled. 

But  there  were  factitious  blues  used  by  the  ancients  in  painting. 
Theophrastus  tells  us  that  **  the  Egyptian  Kuanos  was  factitious, 
and  that  the  historians  think  worthy  of  a  place  in  their  annals, 
the  king  of  Egypt  who  was  the  inventor  of  the  artificial  cyanus."^ 
It  was  the  wrong  translation  of  the  second  sentence  in  thischapter 
by  Hill,  which  led  to  his  confusion  and  his  wrongful  denunciation 
of  Pliny.  "  There  are  three  kinds  of  Cyanus,"  Hill  has  trans- 
lated  "  there  are  three  kinds  of  this,"  which  he  thus  makes  rela- 
tive  to  the  "  factitious"  Egyptian  kind  just  before  mentioned. 
Pliny  avoids  this  error,  yet  mentions,  like  Theophrastus,  all  the 
kinds  together.  The  "  Caerulea"  of  Pliny  are  all  factitious  kinds3, 
which  Sir  H.  Davy  thinks  preparations  of  blue  carbonates  and 
arseniates"  of  copper."4  Vitruvius,  however,  gives  the  composi- 
tion  of  the  Egyptian  blue.  "  Arena  cum  natri  (or  nitri)  flore  con- 
teritur,  adeo  subtiliter  ut  eflficiatur  quemadmodum  farina,  et  seri 
Cyprio  limis,"  &c. ;  the  different  MSS.  have  both  "natri"  and 
"  nitri."  Thus  sand,  carbonate  of  soda,  to  form  the  glass,  and 
the  colouring  matter  copper  filings,  were  the  component  parts  of 

1  Beckmann's  Inventions.     L.  1814.     V.  2,  p.  315. 
»  Theoph.     C.  98. 
,    3  Pl.  Nat.  Hist.     h.  33.  0.  13. 
*  Davy's  Works,  v.  6,  p.  IQl. 


80  NOTE8    TO    BOOK    I. 

the  Alexandrian  blue,  afterwards  made  at  Pozzuoli  and  used,  Davy 
tells  us,  in  the  Baths  of  Titus  and  in  the  Aldobrandine  marriage. 
These  azures  had  not  changed  at  all.  In  an  excavation  made  at 
Pompeii,  at  which  Davy  was  present,  a  small  vase  was  found  filled 
with  a  pale  blue  colour,  which  Davy  asserts  was  "  a  mixture  of 
lime  and  Alexandrian  frit." 

Other  azure  colours  were  made  by  the  Greek  artists  for  the 
purpose  of  painting  and  illuminating. 

Azurium  or  "  lazurium"  is  the  colour  otherwise  called  "  celestis 
or  celestinus,"  otherwise  "  blancus,"  otherwise  "  Persus,"  and 
elsewhere  "  ethereus."     Tab.  Voc.  Syn. 

In  a  collection  of  medical  and  other  recipes  at  the  end  of  the 
MS.  of  Theophilus,  andwhich  have  notbeen  written  later  than  the 
commencement  of  the  thirteenth  century,  I  find  two  verycurious 
modes  of  making  "  azurium/'  the  first  of  which  is  made  from 
silver,  and  is,  I  confess,  to  me,  incomprehensible,  as  an  oxide  of 
silver  would  be  the  result  of  the  process  instead  of  a  blue  colour. 
The  second  is  from  copper.     I  give  the  text  for  the  curious. 

"  SI    VIS    FACERE    AZURIUM    OPTIMUM. 

"  Accipe  ollam  novam  et  mitte  in  eas  laminas  purissimi  argenti 
quantas  volueris/et  pone  illam  ollam  in  vindemiam  quae  est  pro- 
jecta  de  torculari  sive  de  tina,  et  cooperi  ollam  cum  laminis  de 
ipsa  vindemia  et  serva  diligenter  usque  ad  xv.  dies,  et  sic  aperies 
ollam  illam,  et  siccata  quod  est  in  laminis,  rade  in  mundissimo 
vase.     Quod  si  amplius  volueris  fac  iterum  similiter." 

"  SI    VIS    ALIUM    AZURIUM    FACERE. 

"  Accipe  ampullam  de  purissimo  cupro  et  imple  fortissimo  aceto, 
et  cooperi  diligenter  os  ejus,  ne  aliquid  humoris  vel  vaporis  possit 
exire,  et  addens  si  necesse  est  ad  hoc,  tenacem  terram  vel  pastam, 
et  ipsam  ampullam  ita  clausam  pone  in  aliquo  calido  loco  aut  in 
terram  aut  in  fcenum  projectum  de  stabulo  et  sic  dimitte  per  unum 
mensem  et  tunc  aperi  illam  ampullam  et  quod  inveneris  in  ea 
dimitte  ad  solem  siccare." 

This  last  recipe  would  form  an  oxide  of  copper,  which  by  the 
continued  action  of  the  acid  would  become  a  sub-acetate  ;  this,  de- 
composed  by  lime,  would  yield  verditer. 

These  recipes  are  found  frequently  among  the  notices  upon 
•.olours  of  the  Byzantine  school,  the  silver  being  used  alone,  but 


NOTE8    TO    BOOK    I.  81 

the  copper  being  directed  to  be  used  with  sal  ammoniac  and  vvine 
lees,  by  Dionisius1,  and  with  lime  and  vinegar  by  Petrus  de  St-. 
Audemar2,  thus  procuring  a  verditer. 

Geber3,  in  his  notice  of  silver,  tells  us  that,  "exposedto  the 
contact  of  acid  vapours  and  of  sal  ammoniac,  it  takes  a  beautiful 
violet  colour."  Any  colour,  however,  procured  from  silver,  on 
account  of  its  liability  to  suffer  from  hydro-sulphurous  vapours, 
would  be  very  little  permanent.  Pure  silver,  however,  will  not 
take  this  colour  under  such  circumstances. 

Limbus,  c.  16.  In  the  Synonyma  Magistri  Johannis  de  Gar- 
landia,  written  in  the  eleventh  century,  the  word  Limbus  is  de- 
scribed  as  meaning  the  ornament  upon  the  border  of  a  garment. 
In  C.  60.  L.  3,  Theophilus  directs  that  the  names  of  the  Apostles 
be  inscribed  on  the  limbos  or  borders  surmounting  the  figures 
— "  Quorum  nomina  scribes  in  limbo."  The  Greek  artists  wrote 
the  name  of  the  personage  represented  either  on  the  nimbus  or 
glory,  or  on  the  limbus  surrounding  it,  as  the  Greeks  were  for- 
bidden  to  reverence  unknown  images. 

Manisc,  c.  14.  In  the  table  of  synonimes  "  Menesch,"  is  stated 
to  be  a  red  colour  darker  than  minium  and  lighter  than  sinoper  ; 
the  hue  of  indigo  is  likewise  attributed  to  it.  The  juice  from  the 
berries  of  the  elder  was  also  called  "  Menesch,"  "  Succus  est  color 
trahens  ad  indicum.  Alii  dicunt  esse  rubeum,  minus  clarum  quam 
minium  et  magis  clarum  quam  sinopis ;  et  aliter  vocatur  menesch 
quod  aliter  dicitur  ipse  menesch  esse  succus  sambuci."  Idetn.  Theo- 
philus  calls  the  drapery  made  with  "  succus  folii  "  "  Violaticum." 

The  word  Menesch  is  Greek,  the  Romaic  teM»n£i{"  signifying 
"  violet  colour  ;  "  from  this  word  probably  the  Turkish  "  mene- 
wiche,"  purple  colour,  has  arisen.  That  a  violet  colour  would 
coincide  with  the  directions  for  the  use  of  manisc  by  Theophilus 
is  evident,  for  it  is  used  mixed  either  with  folium,  or  a  little  black 
and  red,  as  a  ground  for  a  drapery,  manisc  and  lazur,  and,  lastly, 
pure  lazur  being  used  to  lighten  it.  It  is  likewise  used  in  con- 
junction  with  orpiment  as  a  ground,  upon  which  more  orpiment  is 
used  as  a  middle  tint  and  pure  orpiment  as  a  high  light ;  the  violet 
colour  would  most  effectually  neutralize  the  pure  yellow  of  the 

1  MS.  Le  Begue,  6741.     Paris,  Art.  5,  29. 

8  Id.  Art.  169, 170. 

3  Geberi  de  Alchimia,  lib.  III.  fol.  1529. 


82  NOTES    TO    BOOK  I. 

orpiment.  Again,  in  the  imitation  of  the  rainbow,  c.  16,  manisc, 
as  a  violet  colour,  is  conjoined  with  cinnabar  and  with  yellow, 
both  of  which  it  would  carry  out ;  in  the  same  chapter  directions 
are  given  to  shade  manisc  with  folium,  a  little  black  being  added 
at  the  extremity.  It  is  evident  that  it  is  a  tender  colour,  as  veneda 
is  directed  to  be  first  laid  on  if  used  upon  walls,  and  the  word  ap- 
pears  to  imply  that  class  of  colours  possessing  a  violet  tint  rather 
than  indicative  of  any  particular  substance.  I  have  found  receipts 
for  the  manufacture  of  a  bluish  or  violet  colour  from  the  petals 
of  the  violet  flower,  which  would  be  little  permanent,  and  which 
has  probably,  as  woad,  disappeared  after  the  introduction  of 
indigo. 

Minium,  c.  14.  It  is  remarkable  that  although  Theophrastus  has 
accurately  described  the  miltos  and  cinnabar  of  the  Greeks,  he 
has  made  no  mention  of  minium  or  the  "  red  oxide  of  lead." 

A  great  confusion  of  terms  has  unfortunately  occurred  amongst 
the  ancient  writers  with  respect  to  minium,  and  numerous  errors 
have  arisen  from  the  reproduction  of  these  inaccuracies.  The 
minium  of  the  Romans  was  sometimes  our  "  vermilion,"  or 
"  sulphuret  of  mercury,"  sometimes  our  "  minium,"  or  "  prot- 
oxide  of  lead,"  sometimes  the  "  red  ochres,"  as  the  "  minium 
sinopium  "  of  Pliny. 

Dioscorides  l  signalises  this  error.  "  Some  erroneously  believe 
that  minium  is  identical  with  cinnabar,"  &c.  The  minium  of 
Dioscorides  was  produced  from  a  galena.  "  For  2  minium  is  made 
from  an  argentiferous  stone  mixed  with  sand."  Was  this  the 
"artificial  cinnabar"  of  Theophrastus  invented  by  Callias  the 
Athenian  in  the  reign  of  Praxibulus,  only  ninety  years  before  his 
time3?     This  would  account  for  the  confusion  of  terms. 

The  "  minium  "  manufactured  from  cerussa  is  called  "  sandyx  " 
by  Dioscorides,  L.  5,  c.  57.  This  term  for  minium  was  adopted 
afterwards  in  Italy,  as  Hieron.  Cardanus  says  that  minium  was 
also  called  "  sandyx,"  and  that  "  sandix  "  was  a  term  also  applied  to 
burnt  ochre  ;  and  in  the  much  quoted  line  of  Virgil, 

"  Sponte  sua  sandyx  pascentes  vestiet  agnos," 
This  latter     colour  would    seem   to    be    intended,   rather    than 

1  Dioscor.     L.  v.  C.  63. 

*  Idem. 

3  Theophr.,  xUm  (Hfixiw,  $'.     Hist.  of  Stones,  c.  104. 


NOTES    TO    BOOK  I.  83 

"redarsenic"  or  "  red  lead."  See  also  Caesalpinus,  de  Metallis, 
L.  3,  c.  14.  Hodie  sandycem,  id  est  Cerussam  ustam  quousque 
ut  rubentem  acquiescerit,  vulgo  minium  vocant. 

The  minium  of  Vitruvius  is  a  cinnabar.  For  in  his  chapter 
on  "  The  consideration  of  Minium,"1  he  says,  "  Foditur  gleba, 
quae  anthrax  dicitur"  "  emittit  lachrymas  argenti  vivi."  An- 
thrax  was  a  term  applied  by  the  Greeks  to  gems  or  rare  stones 
of  a  red  colour;  Vitruvius  evidently  applies  it  to  the  native  cinna- 
bar,  as  "  it  yields  drops  of  quicksilver."  He  calls  the  minium  of 
the  moderns,  or  red  prot-oxide  of  lead,  "  sandaracha."  2  "  Cerussa 
vero  cum  in  fornace  coquitur,  mutato  colore  ad  ignis  incendium 
efficitur  sandaracha." 

But  Pliny,  better  informed  upon  these  points,  tells  us  that  a 
minium  is  made  from  a  veined  stone,  from  which  also  silver  is 
extracted,  not  from  that  whose  liquid  we  call  quicksilver;  "  galena 
is  evidently  intended,  as  it  is  by  Dioscorides  3.  Yet  he  tells  us 
that  minium  is  called  cinnabar  by  the  Greeks,  "  and  that  a  minium 
called  also  cinnabaris  is  produced  in  the  mines  of  Spain,"  as  at 
this  day. 

An  inferior  minium,  the  "  minium  secundarium  "  of  Pliny,  was 
made  by  grinding  the  burnt  and  exhausted  lead  ore,  of  a  red 
colour. 

In  a  chamber  in  the  Baths  of  Titus  a  bright  red  was  found  in 
an  earthen  vase.  This  was  analysed  by  Davy,  who  found  that  it 
fused  into  litharge,  consequently  that  it  was  the  true  "minium" 
or  red  prot-oxide  of  lead  4. 

When  massicot  is  calcined  in  a  reverberatory  furnace,  it  gradually 
assumes  a  dark  purple  colour  ;  when  this  has  taken  place,  the 
doors  should  be  closed,  allowing  the  air  to  enter  very  slowly.  The 
longer  the  process  of  cooling  the  finer  is  the  minium,  and  the 
colour  is  heightened  if  it  is  kept  constantly  stirred,  as  more  oxygen 
is  imbibed.  The  quantity  of  oxygen  taken  up  by  the  lead  is  enor- 
mous.  I  have  been  assured  by  a  practical  chemist,  that  twelve 
parts  of  lead,  by  weight,  produce  thirteen  of  minium,  if  the  pro- 
cess  has  been  properly  conducted. 

I  give  an  extract  verbatim  from  the  MSS.  of  Peter  of  St.  Aude- 

1  Vit.  de  Archit.     L.  7,  C.  8. 
*  Idem.     L.  7,  C.  12. 

3  Pliny.     Nat.  Hist.  L.  33,  C.  7,  De  Minio. 

4  Davy's  Works,  Lond.  1840.     Vol.  6,  p.  131. 

G  2 


84 


NOTES    TO    BOOK  I. 


mar,  and  collected  by  John  Le  Begue.     It  will  show  that  the  By 
zantines  at  a  later  period  also  called  minium  "  sandaracha." ' 

"  Nisi  fallor,  minium,  id  est  sandaracam,  et  album  plumbum, 
id  est  cerusa,  unius  naturae  sunt.  Si  in  ignem  mittes  cerusam, 
nomen  et  colorem  et  fortitudinem  accipit,  quia  quanto  plus  ustum 
fuerit  plus  rubet,  et  quanto  minus  ustum  plus  pristinum  colorem 
retinet,  id  est,  alborem  aut  pallorem  ;  et  ponendo  ipsum  in  mace- 
ris,  teritur  cum  aqua  gummata,  nunquam  vero  cum  ovo.  In  per- 
gamenis  vero  poni  potest,  cum  ovo  distemperatum.  Sed  in  lignis 
cum  oleo." 

Muro  Recenti,  c.  2.  Emeric  David  2  is  in  error  when  he  af- 
firms  that  Theophilus  gives  directions  for  painting  in  "  fresco." 
The  blunder  of  supposing  all  paintings,  executed  upon  a  wall,  that 
were  not  accomplished  with  an  oily  vehicle,  has  been  lately  re- 
marked  elsewhere. 

Theophilus  mentions  painting  upon  wall,  "  in  muro,"  and  upon 
ceiling  or  plaster  work,  "  in  laqueari."  In  the  former  style  par- 
ticular  colours  are  to  be  used,  mixed  with  lime  to  make  them 
bind,  "propter  firmitatem,"  chap.  16.  The  dry  wall,  "murus 
siccus,"  is  saturated  with  water,  and  the  colours  applied  while  it 
is  wet.  The  whole  dries  together,  c.  15.  Thiswasthe  Byzantine 
mode  of  painting  upon  walls,  "  in  humido,"  and  is  quite  a  dif- 
ferent  process  from  that  known  by  the  name  of  "  fresco,"  which 
was  of  Italian  invention.  When  dry  and  firm,  these  paintings  re- 
ceived  glazings  of  the  rarer  colours  upon  them,  mixed  with  egg, 
or  other  glarea. 

Muro,  quomodo  pingitur  in,  c.  15.  I  have  remarked  elsewhere 
that  Emeric  David  is  in  error  when  he  states  that  Theophilus  gives 
directions  for  painting  in  fresco.  Theophilus  nowhere  instructs 
us  in  the  art  of  fresco  painting,  properly  so  called  and  so  under- 
stood  by  the  Italians  at  a  later  period,  and  by  us  as  "  fresco 
buono,"  or  true  fresco.  Although  painting  upon  walls  was  much 
in  use  during  the  latter  period  of  the  Roman  ernpire3  and  was 
employed  in  every  possible  place  by  the  early  Christians  in  the 
decoration  of  their  temples,  and  lime  was  used  with  the  first 
colours  laid  upon  the  well  moistened  wall  for  permanency,  "  prop- 

1  Mfl  iTfTllir  t  "  |T*T™      Bib.  du  Roi,  Paris,  No.  6741.     Art.  176. 

*  Emeric  David.     Discours  historique  sur  la  pcintuiv.     Paris,  1812. 
8  Pliny.     L.  35. 


NOTE8    TO    BOOK    I.  85 

ter  firmitatem,"  and  the  colours  allowed  to  dry  with  the  wall 
itself,  that  they  might  adhere,  "  ut  haereant,"  yet  this  process,  as 
it  will  be  seen  by  consulting  the  fifteenth  chapter  of  our  author, 
was  widely  different  from  the  Italian  invention  of  a  later  date,  by 
which  the  colours  unite  with  the  new  plaster  of  lime  and  sand  and 
are  fixed  upon  the  surface,  yet  forming  part  of  the  body  of  the 
cement  itself.  Theophilus  speaksof  lime,  only  in  connection  with 
mural  decoration.    ■ 

Requeno1  thought  with  reason  that  the  ancients  were  ignorant 
of  the  style  of  "buon  fresco,"  and  that  the  directions  of  Vitruvius2 
"  De  tectoriis  operibus^_were  for  colouring  the  surface  of  the 
plaster  before  it  hardened.  He  adds  that  Winkelmann  and  the 
academicians  observed  that  at  Herculaneum,  when  some  of  the 
paintings  were  washed,  the  colours  of  the  figures,  &c,  were  re- 
moved  and  the  even  smooth  coloured  ground  only  remained.  Other 
figures  were  painted  with  "  Punic  wax  and  oil."  Vitruvius  cer-  . 
tainly  nowhere  speaks  of  painting  upon  cement,  although  he  gives 
directions  for  colouring  it. 

The  passage  of  Pliny3  "  Ex  omnibus  coloribus  cretulam  amant 
udoque  illini  recusant,  purpurissimum,  Indicum,  cseruleum,  meli- 
num,  auripigmentum,  appianura,  cerussa,"  applies  to  the  process 
described  by  Vitruvius. 

The  phrase,  however,  of  Theophilus  "  in  recenti  muro"  "  upona 
new  wall"  cannot  be  overlooked.  It  is  not  the  "murus  siccus"  of 
chap.  15,  but  it  appears  to  mean  that  "fresco"  was  intended 
by  Theophilus.  How  then  to  coincide  the  neglect  of  our  author 
in  this  instance  with  his  universal  care  in  description,  if  "  fresco" 
wereintended?  Theophilus,  whopromises  to  teach  us  all  the  Greeks 
knew  in  the  art  of  painting,  would  not,  certainly,  have  neglected 
so  important  a  branch.  The  Byzantine  MS.  published  by  Muratori 
is  silent  upon  the  subject,  Eraclius  likewise,  as  also  the  writers 
collected  by  Le  Begue ;  and  it  was  not  until  the  translation  of  the 
JByzantine-  MS.  from  Mount  Athos,  published  by  Mons.  Didron 4, 
appeared,  that  any  light  was  thrown  upon  it ;  Theophilus,  although 
he  has  spoken  generally,  has  neglected  nothing. 

I  give  a  translation  of  the  chapters  relating  to  "  painting  upon 
walls"  from  this  MS.,  as  well  as  an  interesting  note  by  M.  Didron, 

1  Saggi  sul  ristabilimento  delT  Antica  Arte,  &c.     L.  1,  pp.  187,  et  seq. 

*  Vitruvius  de  Archit.     L.  7.     C.  11. 
s  Pliny.     L.  35.     C.  7. 

*  Manuel  d'Iconograpbie  Chretienne.     Didron  et  Durand.     Paris. 


86  NOTES    TO    BOOK    I. 

placed  at  the  end  of  the  first  book,  which  shows  that  the  Greeks 
at  this  hour  follow  the  process  of  the  twelfth  century,  and  which, 
although  not  "  true  fresco"  as  at  present  understood,  is  a  transi- 


:: 


tion  from  the  mural  practice  of  Theophilus,  and  probably  the 
"  recens  murus,"  to  the  "  fresco  buono,"  and  perhaps  a  better  style 
for  interiors  than  either,  as  ofFering  the  same  facility  to  the  artist 
as  the  former  and  being  as  durable  as  the  latter  style.  See  the 
ideas  of  Guevara1  upon  this  subject. 

"  Manuscript  Byzantin,  Le  Guide  de  la  Peinture." 

"  guide  for  painting  upon  walls. 

"  When  you  would  paint  upon  walls,  choose  good  lime;  let  itbe 
as  fat  as  lard,  and  it  must  not  contain  uncalcined  stones.  If  it  is 
poor  and  filled  wilh  this  kind  of  stones,  make  a  trough  of  wood, 
dig  a  hole  of  the  necessary  size,  place  the  lime  in  the  trough, 
and  add  water,  which  you  will  carefully  stir  with  a  stick  until  the 
lime  appears  well  steeped.  Pour  this  lime  into  a  basket,  placed 
over  the  hole,  and  which  will  arrest  the  stones.  Then  the  milk  of 
lime  thus  obtained  must  be  left  quiet,  until  it  has  coagulated  and  is 
capable  of  being  taken  up  by  the  trowel." 

"  HOW    THE    LIME    IS    MIXED    WITH     STRAW. 

"  Take  the  purified  lime  and  place  it  in  a  large  trough,  choose 
straw,  fine  and  without  dust;  mix  it  with  the  lime,  stirring  it  with 
a  pick.  If  the  lime  is  too  thick,  add  water,  to  succeed  in  employing 
it  easily  for  working.  Allow  these  to  ferment  two  or  three  days, 
and  you  can  then  lay  the  plaster  ('  arriciato.')" 

"  HOW    THE    LIME    IS    MIXED   WITH    TOW. 

"  Take  the  best  lime  you  have  prepared,  place  it  in  a  small 
trough.  Take  tow,  well  cleaned  from  all  bark  and  well  crushed  ; 
twist  it,  as  if  to  make  a  cord,  and,  by  the  aid  of  a  hatchet,  cut  it 
into  as  small  particles  as  you  can;  shake  it  well,  to  separate  the 
dirt,  and  throw  it  into  the  trough,  where  you  will  mix  it  care- 
fully  by  the  aid  of  a  trowel  or  pick.  You  will  take  care  to  try  it, 
and  recommence,  (rvorking  it?)  until  the  lime  does  not  crack  upon 
the  wall.  Allow  it  to  ferment  like  the  other,  and  you  will  thus  have 
lime  prepared  with  tow  to  form  the  superficial  plaster,  ('intonaco.')" 

1  Art  of  Fresco  Painting.     Mrs.  Merrifield.    1846,  Lond.  pp.  12,  et  seq. 


NOTES    TO    BOOK    I.  87 

"  HOW    THE    WALLS    ARE    PLASTERED. 

**  When  you  would  paint  a  church,  commence  by  the  higher  por- 
tions  and  finish  by  the  lower.  For  this,  you  begin  by  placing  a 
ladder.  Then  take  water  in  a  large  vase,  and  throw  some  with  a 
spoon  against  the  wall  so  as  to  wet  it.  If  the  wall  is  built  of 
earth,  scratch  the  earth  with  a  trowel  as  much  as  you  can,  because, 
above  all  at  the  vault,  the  lime  will  detach  itself  more  tardily. 
Wet  it  again  and  polish  the  surface.  If  the  wall  is  in  brick,  you 
will  wet  it  five  or  six  times,  and  you  will  make  the  plaster  work  of 
lime,  of  the  thickness  of  two  fingers  and  more,  to  retain  humidity, 
and  to  allow  you  to  take  advantage  of  it.  If  the  wall  is  in  stone, 
wet  it  only  once  or  twice,  and  put  a  much  smaller  quantity  of 
plaster,  for  stone  takes  humidity  easily  and  does  not  dry.  During 
winter,  lay  one  coat  of  plaster  in  the  evening,  and  another,  more 
superficial,  the  next  morning.  In  the  fine  season,  do  what  is  the 
most  convenient,  and,  after  havinglaid  on  the  last  couch  of  plaster, 
equalize  it  well;  allow  it  to  take  consistence,  and  work." 

"  HOW    TO    DRAW    WHEN    PAINTING   UPON    WALLS. 

"  When  you  would  draw  upon  a  wall,  smooth  its  surface  well. 
Then  take  a  compass,  and  attach  to  both  its  branches  pieces  of 
wood,  so  as  to  lengthen  it  as  much  as  you  wish.  Attach  a  small 
brush  (pinceau)  to  the  extremity  of  one  of  these  sticks.  You 
will  draw  out  the  nimbus  of  your  personages,  and  you  will  indicate 
all  the  measures  which  are  necessary.  Then  make  a  very  slight 
sketch  with  ochre;  finish  your  outlines.  If  you  wish  to  correct 
(effacer)  anything,  employ  oxy  (red  ochre  or  sinoper).  Retouch 
the  nimbus,  repolish  the  surface  well,  and  employ  black ;  polish 
the  drapery,  and  lay  on  the  proplasm.  Try  to  terminate  very 
quickly  that  which  you  have  polished ;  for,  if  you  are  too  tardy, 
a  crust  will  form  upon  the  surface  which  would  not  absorb  the 
colour.  Work  the  face  in  the  same  manner ;  you  will  design  the 
outline  with  a  piece  of  bone  cut  to  a  point,  and  put^on  the  flesh 
colour  as  promptly  as  possible,  before  the  formation  of  a  crust,  as 
we  have  before  said." 

"  HOW    WHITE    IS    PREPARED    FOR   PAINTING   ON    WALLS. 

"  Take  very  old  lime  (chalk).  Try  it  upon  your  tongue ;  if  it 
is  neither  bitter  nor  astringent,  but  insipid  like  earth,  it  is  good. 


00  NOTES   TO    BOOK    I. 

Take  the  precaution  always  to  try  if  it  is  bitter  or  astringent;  for 
that  must  be  rejected,  because  the  crust  would  form  too  quickly, 
which  would  much  hinder  the  work." 

"  OF    THE    PREPARATION    OF    PROPLASM    FOR   PAINTING   ON    WALLS. 

"  Take  green  lake  ....  drachmas ;  deep  ochre ....  dr. ;  white  .... 
dr.;  black  . . . .  dr.  Grind  all  these  substances  well  and  put  a  pro~ 
plasm  where  you  wish." 

(Note. — The  MS.  does  not  give  the  quantities,  which  are  at 
the  option  therefore  of  the  artist.) 

"  OF    THE    DRAWING    OF    THE    EYES    AND    EYEBROWS,    AND   OTHER 
PARTS,    WHERE    FLESH    COLOUR    IS    EMPLOYED. 

"  Take  umber  or  black,  with  an  equal  quantity  of  black  wood, 
("  bois  noir,"  is  this  charcoal?)  Grind  them  well,  and  sketch  the 
eyes,  nose,  hands,  and  feet.  For  the  pupil  of  the  eyes,  very  fine 
black  must  be  employed,  like  that  which  is  collected  from  the 
smoke  of  an  oily  wood,  for  if  you  employ  the  black  which  is  in  use 
for  the  grounds  and  draperies,  it  will  soon  be  effaced." 

"  HOW    TO    MAKE    FLESH    COLOUR   AND   GLYCASM    FOR   PAINTING   ON 

WALLS. 

"  Take  white  ....  dra.  ;   ochre  of  Thasos dra9.  (a  yellow 

ochre);  bole  ....  dras.  (a  bright  red  earth,  the  true  Armenian  earth.) 
Grind  them  with  care  upon  amarble,  andyou  will  obtain  a  beauti- 
ful  colour  for  flesh.  By  adding  proplasm  to  this  colour,  you  will 
obtain  a  glycasm,  such  as  is  used  in  choice  pictures.  If  you  wish 
to  paint  more  quickly,  you  commence  by  making  the  flesh  with 
this  colour  (flesh  colour),  and  you  will  terminate  the  outlines  by 
melting  them  with  glycasm." 

"  HOW    THE    REDS    ARE    EMPLOYED. 

"  Make  the  mouths  of  young  people  with  pure  bole.  You  mix 
the  red  with  the  bole  and  the  flesh  colour  for  the  margin  of  the 
lips,  and  you  will  use  it  for  the  shadows  of  hands  or  other  mem- 
bers.  In  the  shadows  of  aged  persons,  you  can  employ  very  fine 
bole;  as  for  hair  and  beards^  you  act  upon  a  wall  as  for  pictures." 

"  HOW    REFLECTIONS    ARE    GIVEN    UPON    A    WALL    WITH    AZURE. 

"  Add  indigo  upon  your  pallet  to  the  azure,  to  hinder  it  from 
spoiling   upon  the  wall.     Add  white,  in  an  equal  quantity  to  the 


N0TE8    TO    BOOK    I.  89 

indigo  ;  grind  them  well  together  and  gather  them  in  a  cup.  You 
can  then  give  the  reflections  with  this  preparation  of  azure.  Dark 
umber  can  also  serve  for  the  same  use." 

"  WHICH    ARE    THE    COLOURS    THAT    CAN    BE    EMPLOYED   UPON    A 
WALL    AND    WHICH    ARE    THOSE    THAT    CANNOT. 

"  Picture  white,  (white  lead,)  tzinkiari,  (light  green,)  lachouri, 
(purple,)  lake,  arsenic,  cannot  be  employed  in  painting  upon  walls; 
all  other  colours  can  serve.  Only  you  must  observe  that  you 
cannot  employ  cinnabar  upon  any  place  outside  the  church  and 
much  exposed  to  the  wind,  because  this  colour  would  blacken. 
You  must  then  mix  it  with  much  white.  In  the  interior  you  can 
employ  it,  without  seeing  it  turn  black,  by  adding  white  or  a 
small  quantity  of  ochre  of  Constantinople." 

"  HOW    TO    MAKE    NIMBUS    IN    RELIEF    UPON    WALLS. 

"  When  you  have  drawn  the  saint,  mark  out  the  nimbus  with  a 
compass.  Place  then  upon  the  nimbus  a  thick  couch  of  lime, 
taking  care  to  reserve  for  the  hair.  Then  stick  on  the  leaves  of 
beaten  gold  and  cover  the  lime  entirely.  Describe  a  fresh  circle 
with  the  compass  to  form  a  clean  outline." 

"  HOW    TO    EMPLOY    AZURE    UPON    A    WALL. 

"  Take  bran,  wash  it  and  rinse  it.  Then  allow  the  water  which 
has  served  for  this  purpose  to  repose ;  then  boil  it,  and  when  it  is 
cooked  you  can  mix  it  with  azure  and  paint  the  grounds.  Others 
insist  that  to  make  a  water  sufficiently  glutinous  the  bran  must  be 
boiled  for  a  very  long  time,  then  filtered.  In  any  way,  before 
employing  azure,  assure  yourself  that  the  wall  is  very  dry." 

"  Note  by  Monsieur  Didron." 

"  It  would  perhaps  not  be  uninteresting  to  sum  up  a  portion  of 
these  receipts  and  these  processes,  by  relating  the  observations 
which  I  have  made  and  the  conversation  which  I  held  with  Father 
Joasaph,  one  of  the  best  painters  of  Mount  Athos.  The  pro- 
cesses  of  this  day  are  the  same,  nearly,  as  those  of  former  times. 

"  Here,  then,  is  the  manner  in  which  I  saw  a  fresco  painted  in  the 
Monastery  of  Esphigmenou,  by  Father  Joasaph,  by  his  brother, 
by  his  first  pupil,  who  was  a  'diacre'  and  the  future  heir  of  the 
studio,  and  by  two  children  of  twelve  or  fifteen  years  of  age. 

"  The  porch  of  the  church,  or  narthex,  vvhich  they  were  painting 


90 


NOTES    TO    BOOK    I. 


at  the  tirae  of  our  passage,  had  just  been  built;  it  was  scaffolded 
for  receiving  the  fresco  paintings  at  the  upper  part  of  the  vault. 
Workmen,  under  the  direction  of  the  painters,  prepared  in  the 
court  the  mixed  lime  which  was  to  serve  as  the  plaster.  As  two 
plasterings  are  made,  there  are  two  kinds  of  lime  ;  the  first,  a  kind 
of  mortar  rather  fine,  is  mixed  with  straw  cut  small,  which  gives  it 
a  yellow  colour ;  in  the  second,  which  is  of  a  finer  quality,  they 
mix  cotton  or  flax.  It  is  with  the  lime  of  a  yellow  colour  that 
they  make  the  first  plastering  ;  it  adheres  to  the  wall  better  than  the 
second.  The  second  is  white,  fine,  and  makes  a  rather  firm  paste, 
by  means  of  the  cotton ;  it  is  this  which  receives  the  painting. 
^  "  The  workmen  then  bring  the  yellow  lime  and  apply  upon  the 
wall  a  layer  of  the  thickness  of  about  half  a  centimetre1.  Upon 
this  layer,  some  hours  afterwards  they  spread  a  pellicle  of  the  fine 
and  white  lime.  This  second  operation  demands  more  care  than 
the  first,  and  I  have  seen  the  brother  of  the  painter  Joasaph,  a 
painter  himself,  apply  this  second  couch   of  lime.     They  wait 

THREE   DAYS    FOR    THE    HUMIDITY    TO    EVAPORATE.       If   they  paillted 

/t  before  that  time,  the  lime  would  soil  the  colours  ;  afterwards,  the 
painting  would  not  be  solid,  and  would  not  enter  into  the  mortar, 
which  would  be  too  hard,  too  dry  to  absorb  the  colours.  It  need 
not  be  said  that  the  thermometrical  state  of  the  atmosphere 
abridges  or  lengthens  the  interval  which  must  be  allowed  to  leave 
the  plaster  to  dry  suitably  before  painting. 

"  Before  drawing,  the  master  painter  smooths  the  lime  with  a 
spatula ;  then,  by  means  of  a  string,  he  determines  the  size  which 
his  picture  should  have.  Within  this  picture,  on  the  ground  of  his 
figures,  he  measures  with  a  compass  the  dimensions  which  the  dif- 
ferent  objects,  which  he  wishes  to  represent,  will  have.  The  com- 
pass  which  Father  Joasaph  used  was  simply  a  cane  bent  double, 
divided  in  the  middle,  and  adjusted  by  a  piece  of  wood,  which 
united  the  two  branches  and  brought  them  together  or  parted  them 
at  pleasure.  One  of  the  branches  was  sharpened  to  a  point,  the 
other  was  furnished  with  a  small  brush,  (pinceau.)  A  compass  of 
a  more  simple,  coramodious,  or  economical  fashion  could  not  be 
made. 

"  The  brush,  which  garnishes  the  extremity  of  one  branch  of  the 
compass,  is  dipped  into  red ;  it  is  with  this  colour  that  the  draw- 

1  A  centrimetre  is,  in  ancient  nieasure,  4  lines  and  .4344,  or  about  half  an  English 
inch. 


NOTES    TO    BOOK    I.  91 

ing  is  slightly  traced  and  the  picture  sketched.  The  cornpass 
serves  principally  for  the  nimbus,  the  heads,  and  the  circular  parts ; 
the  rest  is  traced  with  the  hand,  which  is  only  armed  with  a  small 
brush  (pinceau.)  In  less  than  an  hour,  Father  Joasaph  had  traced 
before  us  an  entire  picture,  in  which  figured  Christ  and  his  Apos- 
tles,  of  the  natural  size ;  he  made  this  sketch  ventirely  from  idea, 
without  any  hesitation,  carton  or  model,  and  without  even  looking 
at  the  figures  already  painted  by  him  in  other  neighbouring  pic- 
tures.  I  did  not  see  him  efface  or  rectify  a  single  line,  so  sure  was 
he  of  his  hand.  He  commenced  by  sketching  the  principal  per- 
sonage,  Christ,  who  was  in  the  midst  of  his  Apostles.  He  made 
first  the  head,  then  the  remainder  of  the  figure  in  descending. 
Then  he  drew  the  first  Apostle  on  the  right,  then  the  first  on  the 
left,  then  the  second  on  the  right  and  left,  and  so  the  others,  sym- 
metrically.  The  painter  traced  his  sketches,  his  hand  raised  and 
without  using  a  rest;  this  instrument,  used  by  our  painters,  would 
enter  the  still  humid  plaster.  However,  the  hand  is  rested  upon 
the  wall  itself  when  it  trembles,  or  is  fatigued. 

"Inside  this  red  line,  which  defines  the  outline  of  the  figures,  an 
inferior  painter  spreads  a  black  ground1,  which  he  relieves  with 
blue,  but  in  a  tint  as  flat  as  the  black  ground  itself.  It  is  upon 
this  field  that  this  painter,  a  kind  of  practitioner,  designs  the 
draperies  and  other  ornaments.  As  to  the  nude,  he  does  not 
touch  it;  that  is  reserved  for  the  master.  All  the  draperies  are 
made,  and  the  circular  line  of  the  nimbus  is  traced,  before  the 
head,  the  feet,  and  the  hands. 

"  The  master  then  takes  this  sketched  figure,  and  forms  the  head. 
He  spreads  at  two  different  times  a  couch  of  blackish  colour, 
(noiratre,)  over  all  the  face,  and  fixes  the  outline  of  the  face  with 
a  colour  still  deeper.  He  paints  two  faces  at  once,  going  in- 
cessantly  from  one  to  the  other,  to  exhaust  all  the  colour  con- 
tained  in  the  pencil ;  the  colour  of  one  head  must  likewise  have 
time  to  be  imbibed  into  the  wall  while  the  second  is  preparing. 
Then  with  a  yellow  colour  he  makes  the  forehead,  cheeks,  neck, 
and  the  flesh  parts.     A   first  couch  of  yellow  extinguishes  the 

1  This  "  black  ground "  must  be  the  proplasm,  which,  while  wet,  would  appear 
quite  black.  The  mixture  of  blue  would  prepare  for  the  half  tints,  as  in  this  pro- 
cess  the  lights  are  graduated  into  the  shadows,  passing  over  the  prepared  half  tint. 
An  improvement  upon  the  practice  of  Theophilus,  and  of  later  date. 


92  NOTES    TO    BOOK    I. 

black  colour;  a  second  lightens  the  face1.  Here  the  tint  pre- 
dominates,  and  the  tone  should  be  true.  The  painter  tries  the 
degree  of  colour  upon  the  nimbus,  which  is  traced,  but  not  yet 
painted,  and  which  serves  him  as  a  palette  under  these  circum- 
stances. 

"  After  these  two  couches  of  yellow,  one  which  kills  the  black, 
the  other  which  lightens  the  flesh,  you  perceive  the  flesh  appear. 
A  third  couch  of  this  clear  yellow,  thicker  than  the  two  first,  gives 
the  general  tone  of  the  carnations.  The  painter  has  not  made  the 
face  "  bit  by  bit,"  but  all  at  once ;  he  spreads  a  couch  over  all  the 
face  before  passing  to  another  colour.  The  eyes  alone  are  ex- 
cepted;  they  are  reserved  for  the  end.  Then,  with  a  pale  green, 
he  softens  the  black,  which  he  has  left  in  the  shaded  parts,  and 
which  he  had  already  enlivened  with  blue.  Then,  with  yellow,  he 
narrows  the  trespassing  (empietements)  of  the  green. 

"  This  green,  which  tempers  the  black,  gives  the  shadows.  The 
flesh  thus  apparent  is  made  to  live  :  he  passes  a  rose  colour  over 
the  cheeks,  the  lips,  the  eyelids,  to  lighten  them  and  show  the  cir- 
culation  of  the  blood  there.  Then  the  eyebrows  appear  under  a 
deep  brown,  also  the  hair  and  beard,  and  then  the  outline  of  the 
face  is  determined. 

"  The  eyes  have  remained  black,  under  the  two  first  and  general 
layers.  With  a  deeper  black  he  forms  the  pupil,  and  the  sclerotick 
with  white;  then  a  pale  and  fine  rose  colour  gives  the  little  lumi- 
nous  point  of  the  eye ;  the  eye  is  lit,  and  the  figure  sees. 

"The  lips  were  only  indicated,  the  drawing  of  the  mouth  was  too 
black;  the  painter  lightens  and  terminates  the  mouth  and  the  lips. 

"  He  then  surrounds  with  a  very  dark  line  the  entire  figure,  to 
make  it  stand  out.  With  us,  also,  at  the  Romane  epoch,  a  deep  line 
was  hollowed  out  round  a  sculptured  figure  to  give  it  relief. 

"  Then  a  few  strokes  of  the  pencil,  of  a  rosy  white,  are  given 
here  and  there,  to  subdue  the  vivacity  of  the  red  in  certain  parts 
of  the  flesh ;  then  a  few  strokes  of  brown  for  the  wrinkles  of  the 
aged ;  and  at  last  a  few  strokes  of  different  colours,  to  give  the 
last  touch  to  the  heads  and  to  finish  them. 

M  Two  heads  are  painted  together,  as  I  saw  Father  Joasaph  prac- 
tise;  he  was  scarcely  an  hour  in  doing  both.    In  five  days  Joasaph 

1  The  glycasm,  under  the  circumstances,  would  appear  to  M.  Didron  a  "blackish" 
colour,  and  the  flesh  tints,  different  degrees  of  "  yellow." 


NOTES    TO    BOOK    I.  93 

had  painted  a  Conversion  of  St.  Paul  in  fresco,  a  picture  of  three 
rnetres  in  breadth  and  four  in  height.  Twelve  personages  and 
three  large  horses  occupied  this  rather  extensive  field.  This 
painting  was  certainly  not  a  masterpiece,  but  it  was  better  than 
that  which  would  cost  one  of  our  painters,  of  the  second  order, 
from  six  to  eight  months.  I  even  doubt  that  our  great  painters, 
charged  with  a  religious  composition,  would  execute  it  more  uni- 
formly  well ;  there  would  be  more  excellencies,  but  more  faults 
also  in  their  work  than  in  the  fresco  of  Mount  Athos. 

"When  the  picture  is  finished,  they  wait  until  the  lime  has 
almost  entirely  dried;  they  then  finish  the  figures.  They  attach 
gold  and  silver  to  the  nimbus  and  to  garments,  they  enrich  the 
paintings  with  the  finest  colours,  particularly  Venetian  azure,  and 
they  make  the  flowers  and  ornaments  which  decorate  the  interior 
of  the  nimbus,  the  stufFs  of  habits,  the  ground  of  the  picture. 
For  this,  the  grosser  colours,  which  were  used  to  paint  the  figures, 
must  be  very  dry,  so  that  they  may  neither  spoil  the  precious 
colours,  nor  the  silver  or  gold.  The  figure  finished,  it  is  named. 
A  special  artist,  a  writer,  inserts  the  name  of  the  personage  in  the 
field  or  nimbus,  or  about  it :  he  traces  upon  the  cartel  which  the 
figure  holds,  patriarch,  prophet,  judge,  king,  apostle,  or  saint, 
the  consecrated  legend,  which  the l  '  guide  of  painting '  com- 
mands.     Afterwards  it  is  not  touched,  all  is  finished. 

"This  is  what  I  observed  with  the  greatest  care  in  the  church  of 
Esphigmenou,  of  Mount  Athos.  While  the  painter  was  at  work 
I  interrogated  him,  and  wrote  upon  the  spot,  and  as  under  his 
dictation,  what  I  saw  and  heard.  They  scarcely  ever  paint  in  oil, 
because,  said  Father  Joasaph,  to  paint  in  oil  we  must  wait  until  the 
plaster  has  become  dry,  and,  as  the  colour  would  not  penetrate 
into  the  lime,  it  would  be  less  solid." 


From  these  extracts  it  will  be  seen  that  sand  or  silica  is  dis- 
pensed  with  in  the  composition  of  the  stucco,  the  peculiar  action 
of  which,  by  hastening  the  setting  of  the  plaster,  so  much  annoys 
the  fresco  painter.  The  binding  of  the  lime  is  produced  by  me- 
chanical  means,  instead  of  the  chemical  action  which  the  process 
of  Vitruvius  and  the  later  Italians  undergoes  ;  this  would,  by  re- 
tarding  the  setting  of  the  cement,  obviate  the  necessity  of  piece- 
meal   work,    which   is   not    spoken   of  in   the  Athos    MS.     The 

1  'Hfif/.nvia  Trii  Z,tt)y£a<ptxris* 


94 


NOTES    TO    BOOK    I. 


picture  is  all  painted  at  once,  an  interval  of  three  days  being 
allowed  before  the  painting  is  commenced.  Care  is  taken  that 
the  first  layer  of  paint  is  applied  immediately  after  the  polishing 
of  the  plaster,  and  that  the  lime  or  chalk  used  for  painting  is  per- 
fectly  inert. 

Nigrum,  c.  12.  The  black  pigments  used  by  the  ancients  were, 
according  to  the  Greek  and  Roman  writers,  either  black  earths  or 
carbonised  vegetable  substances,  as  in  the  present  day1. 

In  the  "  Tab.  Voc  Syn."  we  find  "  Black  is  an  earth  which 
is  called  black  stone,  it  is  sufficiently  soft  for  drawing.  Black  is 
likewise  a  colour  from  charcoal,  ground,  or  it  is  made  from  the 
smoke  of  a  lamp  or  candle.  It  is  elsewhere  called  fuscus  and 
elsewhere  sanctonicus." 

"  Actramentum  is  also  used  in  painting,  when  it  is  made  from 
the  smoke  of  a  burning  candle  or  lamp,  or  from  the  charcoal  of  a 
soft  wood,  or  of  the  vine."     Idem. 

Eraclius 2  speaks  of  the  black  from  resin  burnt,  also  of  "  the 
charcoal  of  soft  wood  and  of  the  stones  of  peaches,  which  are  pro- 
fitable  ground  up  with  gluten  ;  nor  less  so  are  the  twigs  of  the 
vine  burnt."  He  adds,  "  but  vine  twigs  become  of  a  blacker  co- 
lour  if  steepedin  the  best  wine  and  afterwards  burnt,  gluten  being 
added." 

In  the  Sloane  MS.  1754,  of  the  fourteenth  century,  the  black 
directed  to  be  used  is  vine  black,  "  nigrum  optimum  ex  carboni- 
bus  vitis." 

Cennino  Cennini  speaks  of  blacks  of  many  kinds.  "  Negro,  egli 
e  una  pietra  negra,  tenera,  e'l  colore  e  grasso."  He  also  speaks  of 
vine  black  as  well  as  the  black  chalk,  and  of  peach-stoneblack  and 
of  black  made  by  burning  linseed  oil  in  a  recipient. 

Sir  H.  Davy  found  that  the  blacks  in  the  Baths  of  Titus,  the 
Baths  of  Liviaand  the  Aldobrandine  Marriage  all  deflagrated  with 
nitre,  having  all  the  properties  of  carbonaceous  blacks. 

Oleum  Lini,  c.  20.  Linseed,  walnut  and  poppy  oils  were  known 
to  Theophilus,  and  probably  all  of  them  to  the  Greek  painters, 
as  drying  oils  fit  to  be  used  in  painting.  Linseed  oil  could  not 
have  remained  long  unknown  to  the  Egyptians;  great  cultivators 

1  Pliny.     L.  35,  C.  25.     Dioscor.  L.  5,  cc  139  and  140. 
8  MS.  Le  Begue.     Paris,  Bib.  du  Roi,  No.  6741,  Art.  243. 


N0TE8    TO    BOOK    I.  95 

of  flax,  skilful  in  the  arts  and  in  medicine,  they  could  not  have 
overlooked  the  production  of  an  oil  from  the  linseed  nor  have 
been  ignorant  of  its  peculiar  properties. 

In  the  British  Museum  are  stone  sculptured  figures  which  are 
Egyptian,  and  have  been  painted  with  an  unctuous  vehicle  which 
appears  to  have  been  oil.  Two  seated  figures  painted  in  different 
colours,  one  of  them  red,  particularly  show  this.  Compared  with 
the  paintings  on  a  fragment  of  wall  opposite  to  these  figures,  and 
which  are  also  Egyptian,  the  difference  of  the  vehicle  can,  even 
at  this  lapse  of  time,  be  plainly  observed. 

Dioscorides,  and  the  Arab  writers  on  medicine  who  follow  him, 
speak  of  linseed  oil. 

The  corruption  of  the  word  "encaustic"  has  already  been  re- 
marked,  "  see  Incaustum  ;  "  and  the  signature  "  hUcttv"  l  or 
"  enecausen,"  of  the  Greek  artists,  might  well  lose  its  orignal  sig- 
nification  in  painting  also ;  the  term  remaining  while  the  process 
changed.  Pamphilus,  the  master  of  Apelles,  is  stated  to  have  in- 
troduced  many  novelties  into  the  art ;  he  is  asserted  by  Pliny  to 
have  painted  in  a  different  style  from  former  painters  and  to  have 
been  in  the  habit  of  painting  small  tablet  pictures  2.  These  re- 
marks,  however  vague,  coupled  with  the  invention  of  the  "  atra- 
mentum  "  of  his  pupil,  Apelles,  may  cause  us  to  enquire  whether 
"  oil  "  was  unknown  to  Pamphilus  ? 

The  first  mention  I  can  find  of  the  use  of  oil  in  painting  is  by 
Vitruvius  3,  who  directs  that  Punic  wax  be  mixed  with  oil  in  the 
preparation  of  walls  for  receiving  colours,  and  for  the  application 
of  colours,  which  will  not  bear  lime,  in  coating  walls.  This  is  an 
encaustic  process,  however. 

Pliny  gives  the  same  directions  as  Vitruvius 4.  This  author 
likewise  mentions  walnut  oil  by  the  Greek  term  "  Caryinum."5 

The  Roman  writers  drew  their  knowledge  upon  these  subjects 
from  the  Greeks,  who  were  their  masters  in  all  the  arts  of  luxury 
and  elegance  ;  more  inventive  and  theoretical  than  the  Romans, 
these  propagated  the  literature,  sciences  and  arts,  which  the  latter 
did  but  practically  adopt.     It  is  in  a  Greek  (Byzantine)  MS.  that 

1  Pliny.     N.  Hist.  L.  35,  c.  11. 
■  Id. 

3  Vitruv.  de  Archit.     L.  7,  c.  9. 

4  Pliny.     Nat.  Hist.     L.  33,  c.  7 
4  Id.     L.  24,  c.  14. 


(P. 


96  NOTES   TO    BOOK    I. 

the  first  positive  direction  for  the  use  of  linseed  oil,  as  a  vehicle 
for  paint  and  a  varnish,  is  found. 

This  MS.  is  stated  by  Muratori *  to  be  of  the  eighth  century  ; 
it  is  rather  carelessly  given  by  him,  contains,  directions  for  dyeing 
skins,  making  coloured  glass,  the  composition  of  colours,  varnishes, 
&C,  and  a  description  of  various  substances  used  in  the  arts. 
Linseed  oil  is  thus  noticed  in  it.  "Lineleon,  ex  semine  lini  fit," 
p.  372,  is  the  XtvnXtov  of  Dioscorides  and  the  >>ivo\a.lo»  of  the  mo- 
dern  Greeks  ;  linseed  oil. 
\_y'  The  recipe  for  a  composition  for  pigments  or  varnish  is  given. 
"  De  compositio  Linei,"  p.  380.  "  Compositio  ;  Lineileum  lb.  II. 
gumma  -7-  (sescuncia)  resina  suppini  -=-  I.  Omnia  trita,  de- 
coquantur  in  vaso  terrse." 

"  The  composition  of  Lineum."  Linseed  oil,  2lb.  ;  gum  san- 
darach,  \\"%.  ;  Larch  (or  Venice)  turpentine  resin,  \\%.  All 
ground,  they  are  cooked  in  an  earthen  vessel." 

There  is  no  doubt  here  of  an  oil  varnish,  or  vehicle  which  was 
used  by  the  Greek  painters.  Again,  "  De  Lineleo."  "  Lineleon 
ezauratione,  Lineleon  liber  II.  gumma  -f-,  resina  -j-  crocus  soli- 
dus  Il.lb.     Ista  trita  et  commisce,  quemadmodum  superius." 

"  Of  Lineleon."  "  Linseed  oil  inspissated,  (quasi  ab  exareo,  to 
wax  dry,)  or  boiled  linseed  oil,  2fb. ;  gum  sandarach,  1£3;  pine 
resin,  \\%  ;  solid  yellow,  2lb.  These,  ground  and  mixed  together 
as  above."  If  this  crocus  solidus  is  the  yellow  aloes,  it  is  a  var- 
nish  which  has  been  much  in  use  at  a  later  period  in  Italy.  It  may, 
however,  be  an  ochre,  and  the  composition  one  for  laying  on  gold ; 
it  proves,  however,  the  mixture  of  varnish  with  colours,  and  it  is 
a  very  curious  circumstance,  that  at  a  very  early  period  in  Eng- 
land  painters  were  called  "  gilders." 

The  composition  of  a  varnish  which  is  called  "  lucidis "  is  a 
singular  mixture,  some  of  the  ingredients  given  not  being,  under 
any  circumstances,  soluble  in  oil.  I  give  the  whole  chapter  for 
the  curious. 

"  De  lucide  ad  lucidare.  Super  colores  quale  fieri  debet." 
The  weights  are  in  sescuncise,  -7-,  or  1£  ounce.  "Lineleon  -J-  IV. 
terebentina  -7-  II.  galbanum  -7-  II.  larice  -f-  III.  libanum  -j-  III. 
murra  -j-  III.  mastice  -7-  III.  veronice  -f-  I.  gumma  cerasi  -7-  II. 
flore  puppli  -7-  II.  gumma  amygdalina  -7-  II.  resina  sappini  -7-  II- 
Quse   pisandse  sunt.      Pisa  et  grilela,  et  cum  superius   mitte  in 

1  Muratori,  Antiq.  Ital.  Medii  Mvi.     V.  2,  p.  269. 


N0TE8    TO    BOOK    I.  97 

gabata  auricalcha.  Et  mitte  in  fomaculiclo,  et  sine  flamma  coce, 
ut  non  exeat  foras,  et  post  cola  cum  linteo  mundum.  Et  si  rada- 
verint,  decoque,  ut  usque  dum  spissa  fiant,  et  qualibet  opera  picta 
aut  scarpilata,  inlucidare  super  debeas.  Et  pone  ad  solem.  De- 
sicca  illam." 

Eraclius,  the  next  author  upon  this  theme,  probably  of  the  ninth 
or  early  in  the  tenth  century,  speaks  of  linseed  oil,  and  of  its  use 
with  colours,  in  a  more  decided  manner,  in  the  MS.  of  John  Le 
Begue,  in  the  treatise  entitled  "  Liber  tertius  et  prosaicus  Eraclii 
antedicti,  de  coloribus  et  artibus  prsedictis." 

The  Le  Begue  collection  from  Eraclius,  however,  contains 
many  chapters  which  are  wanting  in  the  Cambridge  MS.,  which 
only  gives  one  chapter  not  to  be  found  in  the  Paris  MS.,  "  De 
plumbacione  auri  vel  Argenti."  p  24.  These  chapters  have  all  the 
proofs  of  authenticity,  and  are  the  source  from  which  many  of  the 
early  MS.  writers  have  drawn. 

"  De  oleo,  quomodo  aptatur  ad  distemperandum  colores."  "Cal- 
cem  in  oleo  mensurate  pone,  et  illud  despumando,  coque ;  cero- 
sium  in  eo  secundum  quod  de  oleo  fuerit  pone,  et  ad  solem  per 
mensem  vel  amplius  frequenter  removendo  pone ;  scito  quod 
quanto  diutius  ad  solem  fuerit  tanto  melius  erit.  Postea  cola  et 
serva,  et  colores  inde  distempera." 

"Put  lime  into  oil  by  degrees  and  boil  it,  skimming  it ;  put 
ceruse  into  it  according  to  the  quantity  of  oil,  and  place  it  in  the 
sun  for  a  month  or  more,  frequently  stirring  it;  know  that  the 
longer  it  has  been  in  the  sun,  so  much  better  it  will  be.  After- 
wards  strain  it  and  keep  it,  and  distemper  colours  with  it." 

This  is  a  very  curious  as  well  as  valuable  passage.  It  is  not 
only  a  proof  of  the  attainment  of  a  great  perfection  in  the  art  of 
painting  "  oil  "  as  a  material  for  tempering  colours  in  painting,  but 
it  is  almost  as  good  a  formula  for  the  preparation  of  a  drying  oil  as 
could  at  this  day  be  given.  A  patent  has  lately  been  taken  out  for 
treating  oil  with  fresh  slacked  lime  during  the  process  of  preparing 
a  drying  oil  with  the  per-oxide  of  lead  ;  we  here  find  the  same 
means  employed  during  the  ninth  or  tenth  century,  probably  long 
before  that  time,  for  it  was  impossible  that  the  Greeks  could  have 
overlooked  the  action  of  the  metallic  oxides  of  lead  or  zinc  upon 
oilof  linseed:  the  "plumbumcombustum  et  oleum/'  "  massicot,  or 
minium  and  oil,"  of  Cornelius  Celsus  and  the  other  Eoman 
writers  on  medicine,  produced  effects  which  could  not  have  been 
overlooked.     Marcellus,  who  wrote  under  the  empire  of  Marcus 

H 


"^5 


98  NOTES    TO    BOOK    I. 

Aurelius,  has  given  a  singular  recipe  for  a  "  drying  oil"  for  the 
time  in  which  he  wrote ;  although  not  intended  as  such : ' 

"  Oleum  vetus,  quantum  mittendum  fuerit  pro  modo  specierum 
supra  scriptarum,  mittes  in  ollam  novam,  et  calefacies  leni  flamma 
vel  potius  igne,  tunc  mittes,  sed  paulatim  et  manu  inspergens, 
lythargyrum  bene  tritum,  et  assidue  spathomela  agitabis,  postea 
aut  picem  brutiam  tritam  mittes,"2  &c. 

In  describing  the  method  of  painting  on  wood  or  stone,  Eraclius 
directs  that  the  wood  or  stone  be  well  dried  in  the  sun  or  at  the 
fire ;  after  this,  white  oil  colour  is  to  be  painted  over  it  two  or  three 
times  with  a  flat  brush  ;  afterwards  it  is  to  be  primed  with  the 
hand  or  brush  with  a  thick  white  oil  paint ;  this,  when  half  dry,  is 
to  be  smoothed  with  the  hand,  until  all  is  as  smooth  as  glass  :  he 
adds,  "  you  can  then  paint  upon  it  with  all  colours  distempered  with 
oil,"  "  tunc  vero  desuper  poteris  de  omnibus  coloribus  et  cum  oleo 
distemperatis  pingere."  Nothing  can  be  clearer  than  this ;  and 
that  pictorial  or  other  ornamental  work  is  intended,  is  evident,  for 
he  follows  with  a  direction  for  "  marbling,"  "  if  you  prefer  it ; "  the 
whole  afterwards  to  be  varnished  in  the  sun. 

Theophilus,  however,  who  professes  to  teach  "  all  that  Greece"~? 
knew  inthe  art  of  painting,"  ends  all  doubt  upon  the  subject  of  the 
employment  of  "oil  colours"  for  pictures  in  his    twenty-sixth    \ 
chapter.     Upon  a  varnished  ground  of  tin  leaf  fixed  upon  wood  he   i 
directs — "  Take  the  colours  which  you  wish  to  lay  on,  grinding  ' 
them  carefully  in  linseed  oil,  without  water,  and  make  the  tints  of 
countenances  and  draperies,  as  you  have  done  above,  with  water; 
and  you  will  vary  with  their  colours  beasts,  birds,  or  leaves,  as  it 
may  please  you."     The  reluctance  to  part  with  a  long  received 
impression  must  therefore  be  set  aside :  and  it  must  be  allowed  that 
the  Greeks  certainly,  most  probably  the  Egyptians,  knew  the  ad- 
vantage  of  oil  as  a  vehicle  for  pigments.  — 1 

In  the  MS.  from  Mount  Athos  a  recipe  for  preparing  a  drying 
oil  is  given.  The  oil  intended  is  most  likely  linseed,  but  I  have 
not  been  able  to  trace  the  origin  of  the  word  ne^jpt,  Peseri3. 
"  How  to  prepare  peseri : " 

"  Take  peseri  and  put  it  into  a  large  metal  basin ;  expose  it  to 
an  ardent  sun  forty  days.     Take  care,  however,  not  to  allow  it  to 

1  Medici  Antiqui.  fol.     See  Marcellus. 

*  Raspe. 

*  Manual  d'Iconogr.  Chret.  Didron,  p,  39. 


I 


NOTES    TO    BOOK    I.  99 

become  too  solid,  for  there  is  peseri  which  is  very  quickly  pre- 
pared,  and  other  more  slowly.  When  it  has  the  consistence  of 
honey  it  will  be  good ;  if  you  allow  it  to  thicken  more,  you  can 
neither  mix  it  with  other  substances,  nor  spread  it  over  pictures 
smoothly.  You  will  therefore  be  careful  to  cover  it  every  even- 
ing,  or  to  take  it  into  the  house,  for  the  dew  of  the  night  injures 
it.  When  it  has  arrived  at  a  suitable  state,  you  will  pass  it 
through  a  cloth  lo  free  it  from  hairs  or  insects  which  may  have 
soiled  it,  and  you  will  then  have  peseri  baked  in  the  sun." 

Peseri  is  likewise,  in  the  same  MS.,  directed  in  the  preparation 
of  a  ground  for  paintings. 

I  have  here  only  quoted  from  the  old  part  of  the  manuscript, 
the  different  recipes  at  the  conclusion  of  the  first  book  having 
been  added  from  time  to  time,  some  of  them  being  as  late  as  the 
sixteenth  century. 

TheSloane  MS.  1754,  "  De  coloribus  illuminatorum  sive  picto- 
rum,"  and  which  is  of  the  fourteenth  century,  speaks  of  oil  as  a 
vehicle  for  colours  upon  wood  or  plaster. 

In  the  Le  Begue  MS.,  also,  "  Frater  Dionysius,"  "  Johannes  de 
Modena,"  "  Petrus  de  Sancto  Audemaro,"  also  speak  of  oil  to  be 
used  with  certain  colours,  as  white,  greens,  blues,  blacks,  reds,  and 
yellow,  upon  wood  or  plaster. 

John  Le  Begue  himself,  who  was  born  in  1368,  who  finished  his 
collection  relating  to  the  arts  in  1431,  and  who  must  have  been 
forty-two  years  of  age  at  the  time  when,  according  to  Vasari,  the 
first  picture  in  oil  was  painted  by  the  inventor,  Van  Eyck,  gives 
directions  for  preparing  oil  for  painting.  I  give  the  old  French 
receipt:  "  Si  vous  voulez  appareiller  oile  pour  detremper  toutes 
manieres  de  couleurs,  prenez  chaux  vive,  avec  autant  de  ceruse 
comme  est  1'oile.  Puis  mettez  au  soleil  et  ne  le  mouvez  jusques 
a  un  mois  ou  plus,  car  quand  plus  y  sera  et  mieulx  vandra.  Puis 
le  coulez  et  gardez  tres  bien  1'oile,  et  de  cette  oile  gardee  et  ainsi 
preparee  pouvez  detremper  toutes  couleurs  ensemble  et  chacun 
par  soy." 

Also  Le  Begue  speaks  of  the  oils  of  linseed,  hempseed  and 
walnuts  as  fit  for  painting: 

"  Si  vous  voulez  rougir  tables  au  aultreschoses,  prennez  oile  de 
lin,  de  chauvre,  ou  de  noix,  et  melez  avec  mine  ou  sinope  sur  une 
pierre  et  sans  eau.  Puis  enluminez  aun  pincel  ceque  vous  voulez 
rougir."     Art.  335. 

Le  Begue  gives  a  curious  recipe  for   a  glutinous  preparation 

h    2 


100  NOTES    TO    BOOK    I. 

which  would  partake  of  the  quality  of  an  oily  vehicle,  and  which, 
or  something  very  like  it,  appears  to  have  been  used  by  some  of 
the  Venetian  artists  in  laying  in  their  pictures  at  a  later  period  : 

"  Aqua  in  qua  semen  lini  diu,  per  diem  et  noctem  saltirq, 
steterit,  recipit  ab  ipso  semine  glutinositatem  quse  ipsam  facit 
aptam  ad  distemperandum  colores."     Art.  347. 

"  Water,  in  which  linseed  has  remained  for  some  time,  for  a  day 
and  a  night  at  the  least,  receives  from  the  seed  a  glutinous  pro- 
perty  which  makes  it  fit  for  tempering  colours." 

Cennini,  who  mentions  oil  colours  for  painting  upon  walls,  and 
the  use  of  which  in  his  day  was  very  extended,  as  he  tells  us  that 
the  Germans  used  it  much,  "  che  1'usano  molto  i  tedeschi,"1  gives 
directions  for  the  preparation  of  oils  for  painting  both  by  the  sun  and 
by  boiling  over  the  fire  until  the  reduction  of  one  half  of  the  bulk2. 

The  Rev.  Mr.  Bentham  has  noticed,  under  the  title  of  "  Nova 
Pictura,"  in  the  Sacrist's  Roll  of  annual  expenses  for  the  cathedral 
church  of  Ely  for  the  year  1335,  that  items  for  the  purchase  of  oil 
for  the  painters  are  found.  The  instances  produced  by  Walpole, 
Pownall,  and  others,  likewise  place  beyond  a  doubt  the  fact  that 
painting  in  oil  was  practised  in  pictorial  decoration  in  our  own 
country  before  the  thirteenth  century;  and  Muratori3  concludes 
that  "  the  art  of  painting  was  never  wholly  lost  in  any  of  those 
countries  which  had  once  been  provinces  of  the  Roman  empire." 

Pallidus,  c.  1.  Pallidus  is  a  colour  not  strictly  white,  but 
somewhat  inclining  to  shadow.     Tab.  Voc.  Synon. 

Theophilus  uses  this  term  in  a  sense  approaching  to  that  of 
Catullus,  who  writes,  "  Statua  inaurata  pallidior,"  more  pallid  than 
a  gilt  statue. 

Posc,  c.  3.  Posc,  a  fuscus,  or  paios,  dark  or  dusky.  Scaliger 
dict.  quasi  (puTocmi»,  i.  e.  lucis  umbra,  a  (puo-xu,  luceo.  The  mixture  of 
deep  green  and  red,  in  order  to  form  this  shade  tint,  would,  united 
with  the  membrina,  form  a  graduated  warm  grey  tint,  calculated 
for  a  shadow  or  half  tint,  "  lucis  umbra." 

In  the  Romaic,  "n^fo?"  signifies  "  morella,"  a  species  of 
solanum  yielding  a  black  berry,  from  which  a  dark  colour  was  pro- 
cured  for  painting  and  dyeing.     This  was  the  "morello"  of  the 

1  Cennino  Cennini,  Trat.  della  Pittura.     Roma.     C.  89. 

"  Idem.     C.  91  and  92. 

!  Muratori,  Antiq.  Medii  M\i.     T.  ii.  p.  354. 


NOTES    TO    BOOK    I.  101 

Italians,  the  "  moreau"  of  the  French,  and  our  "  murrey."  Posc 
and  Tlvi-o:  are  therefore  derived  from  the  same  source. 

In  the  Tab.  Voc.  Syn.  vve  have  "  Morellus,  est  color  ex  rubeo 
et  nigro  factus;"  this  is  our  murrey.  The  puzos  or  morelle 
appears  to  have  disappeared  upon  the  introduction  of  indigo. 

The  yXvxaT(A.ot  or  "softening"  of  Pauselinos1  is  thus  composed: 
"  Glycasm."  "  Take  two  parts  of  flesh  colour,  and  one  part,  or  a 
little  less,  of  proplasm,  (a  dark  shade  colour,)  unite  them  ih  a  shell, 
and  you  will  have  a  glycasm  which  will  serve  you  for  making  the 
flesh  you  wish." 

In  the  same  MS.  the  "proplasm"  irpo  nty.otvpa.  of  Pauselinos2, 
which  is  correlative  with  the  second  "posc"  of  Theophilus,  is  thus 
composed:  "  Take  white,  ochre,  green,  black  (the  proportions  are 
left  to  the  judgmentof  the  artist).  Grind  all  this  together  upona 
marble,  and  gather  the  mixture  into  a  small  bottle,  to  imbue  the 
places  where  you  wish  to  paint  flesh." 

This  proplasm  of  Pauselinos  shows  that  he  painted  differently 
from  the  method  given  by  Theophilus,  who  superposes  the  shadow 
colours,  while  Pauselinos  painted  into,  or  upon,  his  shadows. 

Pauselinos  of  Thessalonica,  a  painter  of  the  twelfth  century,  was 
the  Raphael  or  Giotto  of  the  Byzantine  school3. 

Prasinus,  c.  1.  The  "prasious"  of  the  Greeks  was  a  green 
earth,  or  jasper  a  wpio-ov,  porrum ;  the  Catholicon  calls  "prasis" 
or"prasim"  "creta  viridis,"  a  green  chalk  or  clay,  and  prasius, 
"  lapis  viridis/'  a  green  stone.  St.  Isidore  writes  "prasina,"  that 
is,  green  clay,  which  is  produced  in  different  places,  the  best,  how- 
ever,  in  Lybia  Cyrenesi.  (Lybia  Cyrenea,  called  by  Ptolom.  Pen- 
tapolis,  from  the  five  cities  it  contained.     Africa.) 

The  prasinus  of  Theophilus  appears  to  be  an  acetate  of  copper, 
of  which  "  confection  "  he  gives  the  recipes  at  the  end  of  this  first 
book.  Theophilus  afterwards  mentions  "  succus,"  and  "  viridis," 
which  appears  to  be  "  terra  verte." 

In  the  Sloane  MS.  1754,  there  is  the  following  passage:  "  Viride 
bonum  est  quod  de  Grecia  venit.     Item  aliud  viride  est  quod  ter- 

'  Manuel  d'Iconographie  Chretienne  Grecque  et  Latine,  par  Didron  et  Durand. 
Paris,  1845,  p.  35.     Athos  MS. 
»  Idem,  p.  33. 
8  Idem,  p.  8. 


102  NOTES    TO    BOOK    I. 

restre  dicitur,  et  quod  terra  sit  et  de  monte  Galboe  affertur."     (A 
hill  in  Syria,  six  miles  from  Scythopolis,  or  Bethsan.) 

Probably  this  last  kind  is  our  "  mountain  green." 

"  The  "viride  Grecum"  is  an  acetate  of  copper  which  Theo- 
philus  calls  "  viride  Hispanicum." 

The  green  earth  was  likewise  called  "  theodote."  "  Theodote, 
Graece-Latine,  est  creta  viridis,  cujus  melior  nascitur  in  creta 
Cirina,  (Cyrene,)  et  aliter,  videlicet  in  Grseco  'theodoce'  dicitur." 
Tab.  Voc.  Syn. 

Another  acetate  of  copper  green  called  "  viride  rothomagense" 
was  made  in  the  same  manner  as  the  "  viride  salsum"  of  our 
author,  soap  being  used  to  anoint  the  copper  instead  of  salt  and 
honey1. 

Davy  states  that  "  the  greens  in  the  Baths  of  Livia  and  of  Titus 
are  oxides  of  copper,"  (probably  laid  on  in  the  state  of  acetate,) 
and  that  "  on  the  fragments  found  near  the  tomb  of  Caius  Cestius 
he  found  three  varieties  of  green :  one  approaching  olive  was 
Verona  green  earth;  a  pale  grass  green  was  carbonate  of  copper 
and  chalk;  a  sea  green  was  copper  mixed  with  blue  frit;"  (the 
Pozzuoli  caeruleum  of  Vitruvius,  doubtless.)  The  greens  in  the 
Aldrovandini  are  all  of  copper.     Probably  native  earths2. 

Cennino  Cennini,  from  observation,  does  not  recommend  the 
"  verde  rame,"  but  "  terra  verde;"  "  verde  azzurro;"  "  verde 
d'orpimento  e  d'indaco;"  in  secco,  "di  azzurro  e  giallorino." 
These  composed  greens  have  proved  more  permanent  than  the 
factitious  acetates  of  copper. 

Rubeum.  Theophilus  mentions  the  Rubeum  several  times  in 
this  book  ;  he  here  explains  the  kind  "  comburitur  ex  ochra,"  a 
factitious  bright  sinoper. 

Se  lljE  equestres  et  octoforos,  c.  22,  oxtw^oj o».  Lectica,  quse  ab  octo 
servis  gestatur,  a  litter  borne  by  eight  men.  Sueton.  This  luxury, 
it  is  seen,  emanated  from  the  Romans,  or  more  likely  from  the 
Greeks  of  the  Lower  Empire.  Walpole 3  tells  us  that,  at  the  time 
of  the  Conquest,  painting  was  not  confined  to  the  church,  or  to  the 

1  Liber  Petr.  de  Sancto  Audemaro,  de  coloribus  faciendis.  MS.  Le  Begue.  Art. 
156. 

*  Davy's  Works,  Inquiry  into  the  Colours  of  the  Ancients.     V.  vi.  p.  131. 
3  Walpole's  Anec.  V.  i.  p.  3. 


KOTES    TO    BOOK    I.  103 

portraits  of  great  men,  but  was  employed  for  various  other  pur- 
poses,  particularly  for  ornamenting  apartments,  furniture,  and 
shields,  &c,  of  persons  of  rank  and  fortune. 

As  this  chapter  immediately  follows  the  mention  of  colours 
ground  in  oil,  and  the  composition  of  an  oil  varnish,  it  is  more 
than  probable  that,  considering  also  the  nature  of  the  work,  these 
saddles,  &c,  were  painted  in  oil  colours,  and,  as  directed,  after- 
wards  varnished. 

In  the  reign  of  Henry  II.,  (1154  —  1189,)  Henry  de  Blois, 
archdeacon  of  Bath,  and  chaplain  to  the  king,  exclaims  against 
the  luxury  indulged  in  by  the  military  men  of  his  time,  and 
censures  the  ostentation  of  some  of  these  barons :  "They  carry 
shields  into  the  field  so  richly  gilded,  that  they  present  the  pros- 
pect  of  booty  rather  than  of  danger  to  the  enemy,  and  they  bring 
them  back  untouched,  and,  as  I  may  say,  in  a  virgin  state.  They 
also  cause  both  their  shields  and  saddles  to  be  painted  with  the 
representations  of  battles  and  equestrian  combats,  that  they  may 
please  their  imaginations  with  the  contemplation  of  scenes  in 
which  they  do  not  choose  to  engage." * 

Sinopis,  c  1 .  Theophrastus  tells  us  that  StKOTnxij*  or  Sinopic  earth 
was  dug  in  Cappadocia,  but  carried  to  Sinope  for  sale;  also,  "that 
there  were  three  kinds  of  the  Sinopic :  one  of  a  deep  red  colour ; 
another  pale  ;  the  third  of  a  middle  colour  between  the  two,  which 
was  called  the  pure  and  simple  kind,  because  it  was  used  without 
mixing,  whereas  they  mix  the  others."  2  He  adds,  "  there  is  also 
a  kind  of  sinoper  made  from  ochre,  by  burning,  the  invention  of 
Cidias,  who  observed  that  some  ochre,  in  a  house  on  fire,  when 
half  burnt  assumed  a  red  colour."  3  Sinopis  thus  became  a  gene- 
ral  name  for  all  the  red  ochreous  earths  or  reddles,  the  "  miltos  " 
of  the  Greeks,  and  "  rubrica  "  of  the  Romans. 

The  MiAto?  of  Theophrastus  is  certainly  no  other  than  the  red 
ochreous  earth  or  ore  which  owes  its  colour  to  iron.  He  gives 
the  different  varieties  of  miltos,  and  tells  us  that  "  the  best  came 
from  Cea  4,  particularly  that  which  was  taken  from  the  reddle  pits ; 

1  Op.  Petri  de  Blisensis,  Ep.  94,  pp.  146,  147. 

2  Theophr.  Hist.  of  Stones.     C.  94. 

3  Id.     C.  95. 

*  Id.   C.  92.     The  Ti%a,  of  the  modern  Greeks,  or  Lango,  an  island  in  the  Archi- 
pelago ;  the  country  of  Hippocrates,  Keia,  or  Koos. 


104  NOTES    TO    BOOK    I. 

for  it  is  also  sometimes  found  in  the  iron  mines.  There  are  also, 
besides  these,  the  Lemnian  and  Sinopic  miltos;  there  are  par- 
ticular  pits  in  Lemnos,  in  which  nothing  but  the  earth  is  dug."  l 

The  Lemnian  miltos  must  not,  however,  be  confounded  with 
the  "  atp^ctylq"  or  "  terra  sigillata."  The  sealed  earth,  used  in 
medicine,  was  an  unctuous  clay,  of  a  pale  red  colour,  which  was 
mixed  by  the  priests  alone,  with  the  blood  of  goats  sacrificed, 
and  then  sealed  by  them.  It  was  the  "Lemnian  reddle,"  not  the 
"Lemnian  earth,"  which  was  used  by  painters 2.  Pliny  con- 
founds  the  two  substances3. 

Salmasius  was  the  first  to  detect  an  important  error  in  the 
difFerent  editions  of  Pliny,  and  to  restore  a  passage,  according  to 
his  judgment,  to  the  original  intention  of  the  author4. 

The  passage  5,  "  Milton  vocant  Greeci  minium,  quidam  cinna- 
bari,"  "  the  Greeks  call  minium  miltos,  some  cinnabar,"  lias  been 
restored  by  him  to  "(Rubicam)  milton  vocant  Graeci,  minium  que 
cinnabari ; "  a  statement  which  would  be  certainly  correct,  and 
therefore  fairly  attributable  to  Pliny,  many  of  whose  "errors" 
have  been  more  the  mistakes  of  his  commentators  than  his  own. 

Salmasius  thus  restores  the  whole  passage :  "  Jam  enim  Tro- 
janis  temporibus  rubrica  in  honore  erat,  qui  naves  ea  commendat, 
alias  circa  picturas,  pigmentaque  rarus,  milton  vocant  Graeci, 
miniumque  cinnabari."  The  milton  certainly  relates  to  the  ru- 
brica.  Hill  remarks ",  that  "  Homer,  speaking  of  the  Grecian 
ships,  writes  '  Nw?  ^roTTu^ovi,'  and  that  it  is  impossible  he 
should  mean  by  it  that  they  were  stained  with  minium  or  cin- 
nabar,  which  was  not  known  till  after  his  time." 

This  correction  of  an  error  which  has  so  long  existed,  and 
been  variously  propagated,  is  certainly  important.  Sinoper  or 
miltos  has  been  used  as  a  colour  from  time  immemorial,  and  we 
have  proof  that  the  Egyptians  used  it :  the  Assyrians  likewise. 
Ezekiel,  c.  xxiii.,  v.  14,  speaks  of  "men  portrayed  upon  the  wall, 
the  likeness  of  the  Chaldeans  portrayed  with  sinoper."  The 
Hebrew  1^^,  'V'*T0  y§«?>»<V  coinciding  with  the  Greek  "miltos," 

1  Theophr.  Hist.  of  Stones.     C.  93. 

8  Galen.     L.  I.  de  Antidotis.     Dioscorides. 

3  Pliny,  Nat.  Hist.     L.  35.     C.  6.     Hill  on  Theophrast. 

4  Salmasius,  Plinianae  Exercitationes,  fol.Traj.  ad  Rhen.  1689. 

5  Pliny,  Nat.  Hist.     L.  33.     C.  7. 
0  Theophrast.  by  Hill,  p.  96. 


N0TE8    TO    BOOK    I.  105 

it  is  therefore  "  sinoper,"  not  "  vermilion,"  which  is  intended, 
and  which  latter  is  given  in  our  translation.  Jeremiah,  c.  xxii., 
v.  14,  "  It  is  ceiled  with  cedar,  and  painted  with  "vermilion;"  it 
should  be  rendered  "sinoper." 

Some  of  the  varieties  of  hsematite  outwardly  resemble  mineral 
cinnabar :  hence  another  source  of  error,  which  the  observant  have 
been  careful  to  point  out. 

Our  own  country  produces  as  fine  varieties  of  sinoper  as  any. 
Hill  states1,  that  the  reddle  sometimes  sold  in  London,  under  the 
name  of  Indian  red,  was  much  the  finest  he  had  ever  seen,  and 
was  from  among  the  iron  ore  in  the  forest  of  Dean,  and  not  from 
a  reddle  pit :  it  was  not  inferior  to  that  of  Ormuz  in  the  Persian 
Gulf,  so  much  valued  as  Indian  red. 

I  hope  to  have  an  opportunity  of  showing,  in  a  work  now  in 
progress,  that  this  English  colour  has  been  much  appreciated,  and 
was  famous  during  the  best  periods  of  the  art  in  the  fifteenth 
and  sixteenth  centuries. 

De  Boot  thus  notices  this  variety2:  "  Haematitis  a  sanguine 
nomen  habet,  Germanice  '  Bluet-stein  '  vocatur.  Quanquam  in- 
terdum  niger,  interdum  flavus,  interdum  ferri  colorem  habeat. 
Strias  antimonii  instar  habet.  Dum  uritur,  minii  colorem  imi- 
tatur.     Habet  cinnabari  similem  colorem." 

Theophrastus  describes  the  Haematite  3,  as  "  dense,  solid,  dry, 
or,  according  to  its  name,  seeming  as  if  formed  of  concreted 
blood  ; "  he  adds,  "  there  is  also  another  kind  of  it  called  xanthus, 
which  is  not  of  the  colour  of  the  former,  but  of  a  yellowish  white, 
which  colour  the  Dorians  call  xanthus." 

As  the  yellow  ochres  are  "  hydrates  of  iron,"  so  are  the  red 
ochres  "oxides  of  iron,"  and  in  proportion  to  the  quantity  of 
oxygen  contained  in  the  substance  the  deeper  does  the  colour 
become.  The  trit-oxide,  or  purple  oxide,  is  the  highest  point  of 
oxidation.  The  greater  proportion  of  clay  which  the  yellow  or 
red  ochres  possess,  the  brighter  will  be  the  colour.  Our  sinoper 
is  a  compact  heavy  substance  of  a  deep  red  colour,  soiling  the 
fingers  when  handled,  and  answering  to  our  Indian  red. 


1  Theophrast.  by  Hill.      Pp.  124,  125. 

a  Boethius  de  Boot.  Gemmarum  et  Lapidum  Hist.  Leyd.  1647.    C.  205. 

3  Theoph.  Hist.  of  Stones.     C.  66. 


106  NOTES    TO    BOOK    I. 

Succus,  c.  14.  Succus,  generally,  is  the  green  colour  or  "  sap  " 
of  plants,  to  which  other  colours  were  often  added  for  a  variety  of 
greens.  Tab.  Voc.  Syn.  "  Succus"  is  ordered  to  be  rnixed  with 
greens  and  black  for  shadow,  and  to  be  lightened  with  white.  "  Suc- 
cus"  is  also,  in  the  same  table,  described  as  "a  colour  resembling 
indigo;"  and  "  others  say  that  it  is  red,  darker  than  minium  and 
lighter  than  sinoper,  and  it  is  also  called  menesch."  Where,  how- 
ever,  these  colours  are  intended,  the  base  of  the  colour  is  named 
as  "  succus  folium,"  a  purple  or  violet;  for  the  drapery  for  which 
it  is  directed  is  called  "  violaticum."  "Succus  Sambuci,"  a  pur- 
ple  colour  made  from  the  berries  of  the  elder  tree  ;  Theophilus 
directs  this  to  be  used  as  indicum,  or  menesch,  with  orpiment. 

The  following  from  Eraclius  will  give  the  usual  process  pursued 
for  the  manufacture  and  use  of  succus  l« 

"DE  VTRIDI   OOLORE,   QUOMODO    FIERI    POSSIT   AD   QT70D   VOLUERIS 
DEPINGERE. 

"  Sic  poteris  viride  tibi,  pictor,  habere  colorem, 
Cum  foliis  albam  morellse  contere  cretam, 
Hoc  in  marmorea  pariter  quoque  contere  petra, 
Usus  ad  pene  liquidum  dum  fiat  utrumque 
Et  post  bunc  succum  pincello  sume  probandum. 
Hinc  quascumque  cupis  scripturas  conde,  colores 
Ne  cretee  nimium  ponas  tamen  ante  cavendo." 

Throni  Rotundi,  c.  16.  Throncs  were  represented  by  the  By- 
zantine  Greeks  as  wheels  of  fire  surrounded  by  wings.  The  cen- 
tre  of  these  wings  is  sprinkled  with  eyes,  and  the  appearance  of 
the  figure  represents  a  royal  throne.  MS.  de  Mont  Athos.  Di- 
dron.  Man.  dTconographie  Chretienne,  Paris,  1845. 

In  the  church  of  the  convent  of  Cesariani,  upon  Mount  Hy- 
mettus,  the  Trinity  is  represented  in  fresco.  The  Father,  as  an 
old  man,  the  Son,  as  a  man  of  thirty-five  years,  the  Holy  Ghost, 
as  a  dove,  are  all  figured  as  we  are  accustomed  to  see  them.  The 
nude  feet  of  the  Father  and  Son  are  placed  upon  a  circle  of  fire, 
winged  with  two  wings  of  flame  ;  it  is  thus  that  the  Greeks  figured 
the  chorus  of  angels,  to  which  they  gave  the  name  of  Thrones. 
This  winged  and  flaming  circle  is  as  the  throne  of  the  Divine  feet. 
Manuel  d'Iconographie  Chretienne,  2me  Partie. 

The  classification  of  angels  by  St.  Denys  1'Areopagite,  is  as 
follows  : — 

1  Eraclius  de  Artibus  Romanorum.  L.  2.     MS.  Le  Begue.    Bib.  Boyale,  Paris. 


NOTES    TO    BOOK    I. 


107 


First  Order. 

Seraphins. 
Cherubins. 
Thrones. 


Second  Order. 

Dominations. 

Virtues. 

Powers. 


Third  Order. 

Principalities. 

Archangels. 

Angels. 


This  division  into  three  great  classes,  again  subdivided  into 
three  sections,  has  been  adopted  by  the  two  churches,  Greek  and 
Latin.  St.  Gregorius  of  Niscia,  St.  Chrysostome,  St.  Ignatius, 
St.  Jerome,  Origenes,  Pope  St.  Gregory  (L.  2  Moral.),  St.  Ber- 
nard,  Denys  le  Petit,  Jaques  de  Vorage,  Dante,  and  others,  have 
employed  themselves  upon  this  hierarchy  of  celestial  spirits. 
Idem,  p.  75. 

Veneda.  Veneda,  a  grey  colour,  is  stated  to  be  "  a  colour 
made  from  the  mixture  of  black  with  a  little  white  lead ;  if  re- 
quired  for  a  wall,  lime  is  put  in  the  place  of  white  lead."  Tab. 
Voc.  Syn. 

This  is  the  berectinus  of  the  Lombards,  and  the  "  berettina " 
of  Cennini,  "  cioe  colore  bigio,"  o  ver  bigia.     C.  22. 

A  light  blue  colour  was  one  of  the  colours  of  the  factions  in  the 
circle.  White,  light  blue  or  watchet,  green,  and  red :  to  which 
were  added  by  Domitian,  yellow,  or  cloth  of  gold  and  purple. 
Sidonius  Apollinaris  upon  this  subject  has  "  micant  coloribus, 
albus  cum  Veneto,  virens,  rubeusque,"  Holyoke  ;  but,  "  Vene- 
tuos  occulos,  appel.  eos  qui  suffusione  affecti  sunt,"  grey. 
Berectinus  color,  so  called  in  Lombard  dialect,  is  a  colour  between 
white  and  black,  which,  in  the  Latin,  is  called  "elbus"  or  "  el- 
bidus,"  as  in  the  Catholicon  ;  and  by  the  Gauls  it  is  called  "  gri- 
sus."     St.  Isidore  writes  it,  "  elbum."     Tab.  Voc.  Syn. 


INCIPIT    LIBER    SECUNDUS. 
THE  BEGINNING  OF  THE  SECOND  BOOK. 


INCIPIUNT       CAPITULA. 


I.    DE    CONSTRUCTIONE     FURNI     AD 
OPERANDUM    VITRUM. 
II.    DE   PURNO    REFRIGERII. 
III.    DE      FURNO         DILATANDI         ET 

UTENSILUS   OPERIS. 
IV.   DE    COMMIXTIONE    CINERUM    ET 
SABULI. 
V.   DE    VASIS     OPERIS    ET     DE     CO- 
QUENDO    VITRO    ALBO. 
VI.    QUOMODO     OPERENTUR     VITREfi 
TABUL.fi. 
VII.    DE   CROCEO    VITRO. 
VIII.    DE   PURPUREO   VITRO. 

IX.   DE      DILATANDIS     VITREIS     TA- 
BULIS. 
X.    QUOMODO    FIANT   VASA    DE    VI- 

TRO. 
XI.    DE  AMPULLIS  CUM    LONGO  COLLO 
DE    OOLORIBUS    QUI    FIUNT    EX     CU- 

PRO    FLUMBO,    ET   SALE. 
DE    VIRIDI    VITRO. 
DE    VITRO    SAPHTREO. 
DE   VITRO       QUOD      VOCATUR      GAL- 
LIEN. 

(Haecquatuor  capitula  desunt  in  Codici- 
bus  Harlei,  Guelphi.  et  Vindobonensis.) 

XII.    DE    DIVERSIS    VITRI    COLORIBUS 
NON    TRANSLUCIDIS. 


XIII.    DE  VITREIS  CTPHI  S,   QUOS  GRfiCI 
AURO    ET    ARGENTO    DECORANT. 

XIV.  ITEM    UNDE   SUPRA. 

XV.  DE    VITRO     GRfiCO,    QUOD     MUSI- 

VUM    OPUS   DECORAT. 
XVI.   DE    VASIS    FICTILIBUS     DIVERSO 
COLORE    VITRI    PICTIS. 
XVII.    DE    COMPONENDIS    FENESTRIS. 
XVIII.    DE    DIVIDENDO    VITRO. 

XIX.    DE    COLORE     CUM     QUO     VITRUM 
PINGITUR. 
XX.    DE    TRIBUS     COLORIBUS    AD    LU- 
MINA    IN   VITRO. 
XXI.    DE     ORNATU     PICTURfi     IN     VI- 
TRO. 
XXII.    DE    FURNO    IN   QUO    VITRUM    CO- 
QUITUR. 

XXIII.  QUOMODO    COQUATUR   VITRUM. 

XXIV.  DE    FERRIS   INFUSORIIS. 
XXV.    DE    FUNDENDIS    CALAMIS. 

XXVI.    DE    LIGNO    INFUSORIO. 
XXVII.    DE    CONJUNGENDIS     ET   CONSOLI- 
DANDIS    FENESTRIS. 
XXVIII.    DE    GEMMIS      PICTO      VITRO     IM- 
PONENDIS. 
XXIX.    DE    SIMPLICIBUS    FENESTRIS. 
XXX.    QUOMODO    REFORMETUR   VAS    VI- 

TREUM    FRACTUM. 
XXXI.   DE   ANULIS. 


CHAPTERS. 


I,    OF    THE    CONSTRUCTION    OF    THE 
FURNACE  FOR  MAKING  OLASS. 
II.    OF  THE  COOLINO  OVEN. 
III.    OF     THE     DILATING    OTEN     AND 

WORK  TOOLS. 
IV.    OF  THE  MIXTURE  OF  ASHES  AND 
SAND. 
V.    OF    THE    WORK    VASES    AND    OF 
HEATING  WHITE  GLASS. 
VI.   HOW  GLASS  TABLETS  ARE  MADE. 
VII.    OF  YELLOW  GLASS. 
VIII.    OF  PURPLE  GLASS. 

IX.  OF     DILATING     THE    PLATES     OF 
GLASS. 
X.    HOW  VASES  ARE  MADE  OF  GLASS. 
XI.    OF       FLASKS       WITH       A       LONG 

NECK. 
"OF      THE      COLOURS     WHICH      ARE 
MADE     FROM     COPPER,     LEAD, 
AND  SALT." 
"   OF  GREEN   GLASS." 
"  OF  BLUE  GLASS." 
"  OF  THE  GLASS  CALLED  'GALLIEN.'" 

(Thcse  four  chapters  are  wanting.) 

XII.    OF    DIVERS    OOLOURS    OF    GLASS 
NOT    TRANSPARENT. 
XIII.   OF  THE  GLASS   CUPS  WHICH  THE 
GREEKS       ORNAMENT        WITH 
GOLD  AND  SILVER. 


XIV. 
XV. 


XVII. 

XVIII. 

XIX. 


XXIII. 
XXIV. 
XXV. 
XXVI. 
XXVII. 


XXIX. 
XXX. 


THE  SAME  AS  THE  PRECEDING. 
OF    GREEK   GLASS   WHIOH    ORNA- 

MENTS  MOSAIO  WORK. 
OF  EARTHENWARE  VASES 

PAINTED   IN    DIVERS  COLOURS 

OF  GLASS. 
OF   COMPOSING  WINDOWS. 
OF  DIVIDING  GLASS. 
OF    THE    COLOUR    WITH    WHICH 

GLASS  IS  PAINTED. 
OF    THE    THREE    TINTS    FOR    IL- 

LUMINATING  UPON  GLASS. 
OF    THE    EMBELLISHMENT    OF   A 

PICTURE  ON  GLASS. 
OF     THE     FURNACE     IN    WHICH 

GLASS  IS  BURNT. 
HOW  GLASS  MAY  BE  BURNT. 
OF  THE  IRON  MOULDS. 
OF  CASTING  THE  RODS. 
OF  THE  MOULDS  IN  WOOD. 
OF  UNITING  TOGETHER  AND  SOL- 

DERING  WINDOWS. 
OF  PLACING  GEMS  UPON  PAINTED 

GLASS. 
OF  PLAIN  WINDOWS. 
HOW  A   BROKEN   GLASS   VASE   IS 

REPAIRED. 
OF  RINGS. 


PROLOGUS  LIBRI  SECUNDI. 


INCIPIT    PROLOGUS 


LIBEUM    SECUNDUM. 


IN  prsecedenti  libello,  frater  karissime,  sincerse  dilec- 
tionis  affectu  non  me  piguit  tuse  indoli  insinuare, 
quanti  honoris  quantuique  perfectionis  sit,  otium  de- 
clinare,  et  inertiam  desidiamque  calcare ;  quamque  dulce 
ac  delectabile,  diversarum  utilitatum  exercitiis  operam 
dare,  juxta  vocem  oratoris  cujusdam  dicentis : 

"  Scire  aliquid  laus  est ;  culpa  est,  nil  discere  velle." 

Nec  pigritetur  quispiam,  eum,  de  quo  Salomon  ait,  qui 
addit  scientiam,  addit  et  laborem,  apprehendere ;  quia, 
quantus  ex  eo  procedat  animse  corporisque  profectus, 
diligens  meditator  poterit  advertere.  Nam  luce  clarius 
constat ;  quia,  quisquis  otio  studet  ac  levitati,  fabulis 
quoque  supervacuis  operam  dat,  ex  scurrilitati,  curiosi- 
tati,  potationi,  ebrietati,  rixae,  pugnae,  homicidio,  luxu- 
riae,  furtis,  sacrilegiis,  perjuriis  et  cseteris  hujusmodi, 
quae  contraria  sunt  oculis  Dei  respicientis  super  humi- 
lem  et  quietum  et  operantem  in  silentio  in  nomine 
Domini,  et  obedientem  prsecepto  B.  Pauli  apostoli : 
Magis  autem  laboret  operando  manibus  suis,  quod  bonum 
est,  ut  habeat  unde  tribuat  necessitatem  patienti.     Hujus 


PREFACE 

TO 

THE     SECOND     BOOK. 


IN  the  preceding  book,  dearest  brother,  through  a 
disposition  of  sincere  affection,  I  have  not  hesitated 
to  convey  to  your  virtuous  disposition  how  much  honour 
and  perfection  there  is  in  avoiding  indolence,  and  in 
contemning  ignorance  and  sloth;  and  how  sweet  and 
agreeable  it  is  to  indulge  in  the  exercise  of  divers  use- 
fulness  after  the  word  of  a  certain  author,  who  says : — 

"  To  know  anything  is  praiseworthy  ;  it  is  a  fault  to  be  unwilling 
to  learn." 

Nor  let  any  one  be  slow  to  understand  him,  concerning 
whom  Solomon  has  said,  "  He  that  increaseth  know- 
ledge  increaseth  labour,"  because  whoever  carefully 
meditates  may  mark  what  perfection  of  mind  and  body 
may  result  from  it. 

For  it  is  evident;  clearer  than  the  light;  because 
whoever  gives  his  mind  to  sloth  and  levity,  also  indulges 
in  vain  trifles,  and  slander,  curiosity,  drinking,  orgies, 
quarrel,  fight,  homicide,  excess,  thefts,  sacrileges,  per- 
jury,  and  other  things  of  this  kind,  which  are  repugnant 
in  the  eyes  of  God,  overlooking  the  humble  and  quiet 
man,  working  in  silence  in  the  name  of  the  Lord,  and 
obedient  to  the  precept  of  the  holy  Apostle  Paul: 
"  But  rather  let  him  labour,  working  with  his  hands  the 
thing  which  is  good,  that  he  may  have  to  give  to  him  that 
needeth." 

i  2 


116  PROLOGU8  IN  SECUNDUM. 

imitator  ego  desiderans  fore,  apprehendi  atrium  regiae ' 
Sophise  conspicorque  cellulam  diversorum  colorum  om- 
nimoda  varietate  refertam  et  monstrantem  singulorum 
utilitatem  ac  naturam.  Quo  mox  inobservato  pede  in- 
gressus,  replevi  armariolum  cordis  mei  sufficienter  ex 
omnibus,  quse  diligenti  experientia  sigillatim  perscru- 
tatus,  cuncta  visu  manibusque  probata  satis  lucide  tuo 
studio  commendavi  absque  invidia.  Verum  quoniam 
hujusmodi  picturse  usus  perspicax  non  valet  esse,  quasi 
curiosus  explorator  omnibus  modis  elaboravi  cognoscere, 
quo  artis  ingenio  et  cclorum  varietas  opus  decoraret, 
et  lucem  diei  solisque  radios  non  repelleret.  Huic  ex- 
ercitio  operam  dans  vitri  naturam  comprehendo,  ejusque 
solius  usu  et  varietate  id  effici  posse  considero,  quod 
artificium,  sicut  visum  et  auditum  didici,  studio  tuo 
indagare  curavi. 

1  "  agise,"  Cod.  Lipsiensis. 


EXPLICIT    PR^EFATIO. 


PREFACE    TO    THE    SECOND    BOOK.  117 

I,  desiring  to  be  the  imitator  of  this  man,  have 
approached  the  porcli  of  holy  Sophia,  and  beheld  the 
chancel  filled  with  every  variety  of  divers  colours,  and 
showing  forth  the  nature  and  utility  of  each.  From 
which,  having  forthwith  entered  with  unwatched  foot- 
step,  I  filled  up  the  storehouse  of  my  heart  fully,  out 
of  all;  which  I  have  set  forth  with  clearness,  having,  by 
careful  experiment,  thoroughly  examined  one  by  one 
for  your  study,  all  these  things  sufficiently  approved  by 
the  eye  and  hands,  without  jealousy.  But  since  the 
practice  of  this  kind  of  embellishment  cannot  be  of 
quick  apprehension,  like  a  diligent  inquirer  I  have 
greatly  laboured  to  inform  myself,  by  all  methods,  what 
invention  of  art  and  variety  of  colour  may  beautify  a 
structure  and  not  repel  the  light  of  day  and  the  rays  of 
the  sun.  Applying  myself  to  this  exercise,  I  comprise 
the  nature  of  glass,  and  I  consider  that  this  can  be 
eflfected  by  the  use  and  variety  of  it  alone.  This  art, 
as  seen  and  reported  I  have  learned,  I  have  laboured, 
for  your  observance,  to  fathom. 


END    OF   THE    PREFACE. 


INCIPIT    LIBER    SECUNDUS. 


CAPUT     I. 

DE    CONSTRUCTIONE    FURNI    AD    OPERANDUM    VITRUM. 

SI  sederit  in  animo  ut  vitrum  componas,  primum  incide 
ligna  faginea  multa  et  exsicca  ea.  Deinde  combure  ea 
pariter  in  loco  mundo,  et  cineres  diligenter  colligens,  cave 
ne  quicquam  terrse  commisceas.  Postmodum  compone  fur- 
num  ex  lapidibus  et  argilla,  longitudine  pedum  xv  et  latitu- 
dine  x,  in  hunc  modum. 

Primum  pone  fundamentum  in  utroque  longitudinis  latere 
spissitudine  unius  pedis,  faciens  larem  in  medio  firmam  et 
aequalem,  lapidibus  et  argilla,  dividens  eum  inter  tres  partes 
sequales,  ut  duse  per  se  sint,  et  tertia  per  se  divisa,  muro  in 
latitudine  posito.  Deinde  fac  foramen  in  utraque  fronte  lati- 
tudinis,  per  quod  possint  ligna  et  ignis  imponi,  et  sedificans 
murum  in  circuitu  usque  ad  latitudinem  quatuor  pedum,  fac 
iterum  larem  flrmam  et  sequalem  per  omnia,  et  sine  murum 
divisionis  aliquantulum  ascendere.  Post  quse  fac  in  majori 
spatio  quatuor  foramina  in  uno  latere  longitudinis,  et  quatuor 
in  altero  per  medium  laris,  in  quibus  ponantur  vasa  operis, 
duoque  foramina  in  medio  per  quae  fiamma  possit  ascendere, 
et  Eedificans  murum  in  circuitu,  fac  duas  fenestras  quadras  in 
longitudine  et  latitudine  unius  palmse,  in  utroque  latere  contra 
foramina  unam,  per  quas  vasa  imponantur  et  ejiciantur  cum 
his,  quse  in  illis  mittuntur.  Fac  etiam  in  minori  spatio  fora- 
men  per  medium  laris  juxta  parietem  medium,  et  fenestram 
ad  mensuram  palmi  juxta  parietem  frontis  exteriorem,  per 
quam  possit  imponi  et  assumi  quod  necessarium  est  operi. 


THE  BEGINNING 


THE    SECONI)    BOOK. 


CHAPTER  I. 

OF  THE  CONSTRUCTION  OF  THE  FURNACE  FOR  MAKING  GLASS. 

Siiould  you  intend  to  raake  glass,  first  cut  a  quantity  of 
beech-wood  logs  and  dry  them.  Then  burn  them  together  in 
a  clean  spot,  and,  carefully  collecting  the  ashes,  take  care 
that  you  mix  no  earth  with  them.  Afterwards  build  a  furnace 
of  stones  and  clay,  in  length  fifteen  feet  and  breadth  ten,  in 
this  manner. 

First  lay  the  foundation  on  both  sides,  a  foot  in  thickness, 
making  a  hearth  in  the  midst,  flrm  and  even,  of  stone  and 
clay,  dividing  it  into  three  equal  parts,  so  that  two  parts  may 
be  together,  and  the  third  divided  by  itself,  by  a  wall  placed 
across.  Then  make  an  opening  in  each  end  of  the  breadth, 
through  which  wood  and  fire  may  be  introduced,  and  build- 
ing  up  a  wall  around  at  the  distance  of  four  feet,  make  again 
a  firm  and  smooth  hearth  throughout,  and  allow  the  wall  of 
separation  to  surmount  a  little.  After  which  make,  in  the 
larger  space,  four  openings  on  one  side,  lengthwise,  and  four 
on  the  other,  through  the  midst  of  the  hearth,  in  which  the 
work  vessels  are  placed ;  also  two  openings  in  the  middle, 
through  which  the  flames  may  rise ;  and  building  a  wall  round 
about,  make  two  windows,  four  palms  in  length  and  one  in 
breadth,  one  on  each  side,  opposite  the  openings,  through 
which  the  vases,  with  those  things  put  into  them,  are  intro- 
duced  and  taken  out.  Make  also  an  opening  in  the  smaller 
space  through  the  middle  of  the  hearth  near  the  centre  wall 
of  separation,  and  a  window  of  the  measure  of  a  palm  near 
the  exterior  wall  of  the  front,  through  which  whatever  is  ne- 
cessary  for  the  work  can  be  placed  and  withdrawn.     After 


120  THEOPHILI    LIBER    II. 

Postquam  haec  ita  ordinaveris,  fac  partem  interiorem  cum 
muro  exteriori  in  similitudinem  fornicis  arcuari,  interius  alti- 
tudine  modice  amplius  dimidii  pedis,  ita  ut  superius  larem  fa- 
cias  aequalem  per  omnia,  cum  labro  altitudine  trium  digitorum 
in  circuitu  posito,  ut  quicquid  operis  vel  utensiliorem  super- 
ponitur  non  possit  cadere.    Iste  furnus  dicitur  clibanus  operis. 


CAPUT    II. 


DE    FURNO    REFRIGERII. 


■  AA.C  et  alium  furnum,  longitudine  x  pedum  et  latitudine 
-■-  vin,  altitudine  vero  iv.  Hinc  facies  in  una  fronte  fora- 
men  ad  imponenda  ligna  et  ignem,  et,  in  latere  uno,  fenestram 
unius  pedis  ad  inponendum  et  ejiciendum  quod  necessarium 
fuerit,  et  larem  interius  finnam  et  aequalem.  Iste  furnus  di- 
citur  clibanus  refrigerii. 


CAPUT    III. 

DE    FURNO    DILATANDI    ET    UTENSILIIS    OPERIS. 

FACIES  etiam  furnum  tertium  longitudine  pedum  sex, 
latitudine  quatuor,  altitudine  trium,  et  foramen  fenes- 
tramque  et  larem  sicut  superius.  Hic  furnus  dicitur  clibanus 
dilatandi  et  aequandi ;  utensilia  vero  ad  hoc  opus  necessaria 
sunt  fistula  ferrea  longitudine  duarum  ulnarum,  grossitudine 
pollicis  unius,  forcipes  duo  in  una  parte  ferri  percussi,  truUae 
ferreae  duae  atque  alia  lignea  et  ferrea,  quae  volueris. 


TRANSLATION.  121 

you  have  thus  arranged  these  things,  make  the  interior  part 
with  the  outer  wall  into  the  shape  of  an  arched  vault,  in 
height,  inside,  rather  more  than  half  a  foot,  so  that  you  make 
the  hearth  even  throughout,  outside,  with  a  border  three 
fingers  high  placed  round  it,  that  whatever  work  or  utensil  is 
placed  upon  it  cannot  fall  oflf.  This  furnace  is  called  the 
work  oven. 


CHAPTER  II. 


OF    THE    COOLING    OVEN. 


Make  also  another  furnace,  ten  feet  in  length  and  eight 
in  breadth,  but  in  height  four.  Here  make  in  one  end  an 
opening  for  introducing  wood  and  fire,  and  in  one  side  a 
window,  of  one  foot,  to  place  and  withdraw  whatever  may 
be  necessary ;  and  a  hearth  inside,  firm  and  smooth.  This 
furnace  is  called  the  cooling  oven. 


CHAPTER  III. 

OF    THE    DILATING    OVEN    AND    WORK    TOOLS. 

Make  also  a  third  furnace  six  feet  in  length,  four  in  breadth, 
three  in  height,  and  an  opening  and  window  and  hearth  as 
above.  This  furnace  is  called  the  dilating  and  flattening 
oven.  The  utensils  necessary  for  this  work  are,  an  iron  pipe 
of  two  yards  in  length,  of  the  thickness  of  a  thumb ;  two 
pincers  of  iron  beaten  (flat)  at  one  end ;  two  iron  trowels, 
and  other  wooden  and  iron  utensils  which  you  may  wish. 


122  THEOPHILI    LIBER    II, 


CAPUT    IV. 

DE    COMMIXTIONE    CINERUM    ET    SABULI. 

HIS  ita  compositis,  accipe  ligna  faginea  omnino  in  fumo 
exsiccata,  et  accende  ignem  copiosum  in  majori  furno 
ex  utraque  parte.  Deinde  tollens  duas  partes  cinerum  de 
quibus  supra  diximus,  et  tertiam  sabuli  diligentur  de  terra  et 
lapidibus  purgati,  quod  de  aqua  tuleris,  commisce  in  loco 
mundo.  Cumque  diu  et  bene  commixta  fuerint,  levans  cum 
trulla  ferrea  pone  in  minori  parte  furni  super  larem  superiorem 
ut  coquantur,  et  cum  coeperint  calefieri,  statim  eadem  trulla 
move,  ne  forte  liquefiant  a  calore  ignis  et  conglomerentur, 
sicque  facies  per  spatium  unius  noctis  et  diei. 


CAPUT    V. 

DE   VASIS   OPERIS    ET    DE   COQUENDO    VITRO   ALBO. 

IN  quo  spatio  accipe  lutum  album,  ex  quo  componuntur 
ollae,  et  exsiccans  tere  diligenter,  et  infusa  aqua,  macera 
cum  ligno  fortiter,  et  compone  vasa  tua,  quse  sint  superius 
lata,  inferius  vero  stricta,  habentia  circa  ora  labium  parvum 
interius  recurvum.  Quse  cum  sicca  fuerint,  accipe  cum  forcipe 
ponens  ea  in  foramine  furni  candentis  ad  hoc  aptata,  et  levans 
cum  trulla  cineres  coctos  sabulo  mixtos,  imple  omnia  vasa 
vespere,  et  per  totam  noctem  adde  ligna  sicca,  ut  vitrum  ex 
cineribus  et  sabulo  plenitur  liquefactum  coquatur. 


TRANSLATION.  123 

CHAPTER  IV. 

OF   THE    MIXTURE    OF    ASHE8    AND    SAND. 

These  being  thus  arranged,  take  beech-wood  logs,  completely 
dried  in  the  smoke,  and  light  a  large  fire  in  the  larger  furnace 
on  both  sides.  Then  taking  two  parts  of  the  ashes,  of  which 
we  have  before  spoken,  and  a  third  part  of  sand,  carefully 
purged  of  earth  and  from  the  stones  which  you  may  have 
brought  from  the  water,  mix  them  in  a  clean  place.  When 
they  have  been  long  and  well  mixed  together,  taking  them 
up  with  the  iron  trowel,  place  them  in  the  smaller  part  of  the 
furnace  upon  the  upper  hearth,  so  that  they  may  be  heated, 
and  when  they  have  begun  to  grow  hot  immediately  stir  them 
with  the  same  trowel  that  they  may  not  liquefy  and  be  formed 
into  a  mass  by  the  heat  of  the  fire ;  and  do  this  for  the  space 
of  one  night  and  day. 


CHAPTER  V. 

OF  THE  work  vases  and  of  heating  white  glass. 

During  which  time  take  white  clay,  of  which  jars  are  made, 
and,  drying  it,  grind  it  carefully,  and,  pouring  water  upon  it, 
beat  it  strongly  with  a  piece  of  wood,  and  make  your  vases, 
which  must  be  large  at  the  top  but  small  below,  having  a 
small  lip  round  the  mouth,  curved  inwardly.  When  they  are 
dry  take  them  with  the  pincers,  placing  them  in  the  opening 
of  the  glowing  furnace  adapted  for  this,  and  with  the  trowel 
taking  up  the  heated  ashes  mixed  with  sand,  fill  all  the  vases 
in  the  evening,  and  supply  dry  wood  during  the  whole  night, 
that  the  glass  from  the  ashes  and  sand,  being  fully  liquefied, 
may  be  cooked. 


124  THEOPHILI    LIBER    II. 


CAPUT   VI. 

QUOMODO    OPERENTUR    VITRE^E    TABULjE. 

MANE  autem  hora  prima  accipe  fistulam  ferream,  et  si 
tabulas  facere  volueris  vitreas,  pone  summitatem  ejus 
in  vas  unum,  vitro  plenum ;  cui  cum  adhseserit,  volve  ipsam 
fistulam  in  manu  tua  donec  conglomeretur  circa  eam,  quan- 
tum  volueris ;  moxque  ejiciens  appone  ori  tuo  et  suffla  modi- 
cum,  statimque  removens  ab  ore  tene  juxta  maxillam,  ne  forte, 
si  retraxeris  anhelitum,  trahas  flammam  in  os  tuum.  Habeas 
quoque  lapidem  sequalem  ante  fenestram  super  quem  modice 
percuties  ipsum  candens  vitrum,  ut  aequaliter  ex  omni  parte 
pendeat,  et  statim  cum  festinatione  crebro  sufflans,  totiens  ab 
ore  remove.  Cumque  videris  illud  quasi  vesicam  longam, 
adhibe  summitatem  ejus  ad  flammam,  et  statim  liquefacto 
apparebit  foramen,  acceptoque  ligno  ad  hoc  opus  apto,  fac 
foramen  amplum  sicut  est  in  medio.  Deinde  conjunge  oram 
ipsius,  superiorem  videlicet  partem  ad  inferiorem,  ita  ut  ex 
utraque  parte  conjunctionis  foramen  appareat.  Statimque 
cum  humido  ligno  continge  ipsum  vitrum  juxta  fistulam,  et 
excute  modicum  et  separabitur.  Mox  etiam  calefac  ipsam 
fistulam  in  flamma  fornacis,  donec  liquefiat  vitfum  quod  ei 
jungitur,  et  cum  festinatione  pone  super  oras  duas  vitri  con- 
junctas  et  adhaerebit.  Quod  continuo  elevans  mitte  in 
flamma  fornacis  donec  liquefiat  foramen  unde  prius  fistulam 
separasti,  et  accepto  ligno  rotundo  dilata  illud  sicut  alterum 
et  complicans  oram  ejus  in  medio  separansque  a  fistula  cum 
ligno  humido,  da  puero,  qui  inducto  ligno  per  foramen  ejus 
portabit  in  furnum  refrigerii,  qui  mediocriter  calefactus  sit. 
Hoc  genus  vitri  purum  est  et  album.  Eodem  modo  atque 
eodem  tempore  operare  similes  partes  vitri,  donec  vasa  ex- 
haurias. 


TRANSLATION.  125 


CHAPTER  VI. 

HOW    GLASS    TABLETS    ARE    MADE. 

In  the  morning,  however,  at  the  first  hour,  take  the  iron  tube, 
and,  if  you  wish  to  make  plates  of  glass,  place  the  end  of  it 
in  a  vase  full  of  glass ;  when  it  has  adhered  to  it,  turn  this 
tube  round  in  your  hand  until  as  much  as  you  may  wish  has 
accumulated  around  it ;  then,  withdrawing  it,  bring  it  to  your 
mouth  and  blow  slightly,  and  instantly  removing  it  from  the 
mouth,  hold  it  near  your  cheek,  unless,  in  drawing  breath, 
you  may  by  chance  attract  the  flame  into  your  mouth.  Have 
also  a  flat  stone  before  the  window  upon  which  you  beat  this 
glowing  glass  a  little,  that  it  may  hang  equally  on  every  side, 
immediately  and  with  quickness,  repeatedly  blowing,  so  often 
you  remove  it  from  the  mouth.  When  you  see  it  look  like  a 
long  bladder,  bring  the  end  of  it  towards  the  flame,  and, 
being  instantly  melted,  an  opening  will  appear,  and,  the  piece 
of  wood  fitted  for  this  work  being  taken,  make  the  opening 
as  wide  as  is  the  glass  in  the  middle.  Then  join  its  mouth 
together,  namely,  the  upper  to  the  lower  part,  so  that  on  both 
sides  of  the  junction  an  opening  may  appear.  Instantly 
touch  this  glass  near  the  tube  with  a  moist  piece  of  wood, 
shake  it  a  little,  and  it  will  be  separated.  Presently  also  heat 
the  tube  in  the  flame  of  the  furnace,  until  the  glass  attached  to 
it  liquefy,  and,  with  rapidity,  place  it  upon  the  two  conjoined 
borders  of  glass,  and  it  will  adhere ;  directly  taking  this  up, 
put  it  into  the  flame  of  the  furnace  until  the  opening,  whence 
you  formerly  separated  the  tube,  is  liquefied,  and  the  round 
piece  of  wood  being  taken,  dilate  it  as  the  other,  and  folding 
together  its  mouth  in  the  middle  and  separating  it  from  the 
pipe  with  the  moist  wood,  give  it  to  the  boy,  who,  introducing 
a  piece  of  wood  through  the  opening,  wiil  carry  it  to  the 
cooling  oven,  which  is  made  moderately  warm.  This  kind  of 
glass  is  pure  and  white.  In  the  same  manner,  and  at  the 
same  time,  make  simiiar  pieces  of  glass  until  you  exhaust  the 
vases. 


126  THEOPHILI    LIBER    II. 


CAPUT    VII. 


DE    CROCEO    VITRO. 


QUOD  si  videris  vas  aliquod  in  croceum  colorem  mutari, 
sine  illud  coqui  usque  horam  tertiam,  et  habebis  croceum 
leve,  et  operare  inde  quantum  volueris  ordine  quo  supra.  Si 
autem  vis  permitte  coqui  usque  ad  horam  sextam  et  habebis 
croceum  rubicundum ;  fac  etiam  inde  quod  libuerit. 


CAPUT    VIII. 

DE    PURPUREO    VITRO. 

SI  vero  perspexeris  quod  se  forte  vas  aliquod  in  fulvum  co- 
lorem  convertat,  qui  carni  similis  est,  hoc  vitrum  pro 
membrana  habeto,  et  auferens  inde  quantum  volueris,  reliquum 
coque  per  duas  horas,  videlicet  a  prima  usque  ad  tertiam,  et 
habebis  purpuream  levem,  et  rursum  coctum  a  tertia  usque  ad 
sextam,  erit  purpura  rufa  atque  perfecta. 


CAPUT   IX. 

DE    DILATANDIS    VITREIS   TABULIS. 

CUM  autem  ex  his  coloribus  operatus  fueris  quantum 
potueris,  et  vitrum  in  furno  refrigeratum  fuerit,  expone 
universum  opus  tuum,  et  fac  ignem  copiosum  accendi  in  furno 
in  quo  debet  dilatari  et  sequari.  Quo  candente  accipe  ferrum 
calidum,  et  findens  unam  partem  vitri,  pone  super  larem  can- 
dentis  furni,  et  cum  cceperit  molliri,  tolle  forcipem  ferreum  et 


TRANSLATION.  127 

CHAPTER  VII. 

OF    YELLOW    GLAS8. 

But  if  you  see  any  vase  changed  into  a  yellow  colour,  allow 
it  to  heat  until  the  third  hour,  and  you  will  have  a  light 
yellow,  and  work  from  it  as  much  as  you  wish  in  the  above- 
mentioned  order.  If,  however,  you  choose  to  allow  it  to  be 
heated  until  the  sixth  hour,  you  will  have  a  reddish  yellow ; 
make  also  from  it  what  you  please. 


CHAPTER  VIII. 

OF    PURPLE    GLASS. 


If  you  perceive  that,  by  chance,  any  vase  change  itself  into  a 
tawny  colour,  which  is  like  flesh,  keep  this  glass  for  flesh  tints, 
and  taking  from  it  as  much  as  you  want,  heat  the  rest  for  two 
hours,  namely,  from  the  first  until  the  third,  and  you  will  have 
a  light  purple ;  and  again  heated  from  the  third  until  the 
sixth,  it  will  be  a  red  purple  and  perfect. 


CHAPTER  IX. 

OF    DILATING    THE    PLATES    OF    GLASS. 

When  you  have  made  as  much  as  you  have  been  able  from 
these  colours,  and  the  glass  has  become  cold  in  the  furnace, 
place  out  all  your  work  and  cause  a  large  fire  to  be  lighted  in 
the  furnace,  in  which  it  should  be  dilated  and  made  flat. 
When  glowing,  take  a  hot  iron,  and,  separating  a  part  of  the 
glass,  place  it  upon  the  hearth  of  the  glowing  furnace,  and, 
when  it  has  begun  to  grow  soft,  take  the  iron  forceps  and 


128  THEOPHILI    LIBER    II. 

lignum  aequale,  aperiensque  in  ea  parte  qua  fissum  est,  dila- 
tabis  et  cum  forcipe  secundum  libitum  aequabis.  Cumque 
omnino  aequatum  fuerit,  mox  ejiciens  inde  mitte  in  furnum 
refrigerii  modice  calefactum,  sic  ut  non  jaceat,  sed  stet  ad 
parietem  ejus  tabula,  juxta  quam  statues  et  aliam  pari  modo 
aequatam,  ac  tertiam  et  reliquas  omnes.  Quae  cum  frigidae 
fuerint,  utere  eis  in  componendis  fenestris  findendo  particu- 
latim  qualiter  volueris. 


CAPUT   X. 

QUOMODO    FIANT    VASA    DE    VITRO. 

VASA  vero  facturus  compone  vitrum  ordine  quo  supra,  et 
cum  sufflaveris  secundum  quantitatem  quam  volueris, 
non  facies  foramen  in  fundo  sicut  superius,  sed  integrum  ita 
separabis  a  fistula  cum  ligno  aquae  intincto,  quam  fistulam 
mox  calefactam  adhaerere  facies  in  ipso  fundo.  Elevans  vero 
vas,  calefacies  in  flamma,  et  cum  ligno  rotundo  dilatabis  fora- 
men  illud  unde  fistulam1  secundum  libitus  tuds,  amplifica- 
bisque  circa  fistulam  fundum  ut  inferius  cavum  sit.  Quod  si 
volueris  ansas  in  eo  facere,  quibus  possit  pendere,  accipe 
gracile  ferrum,  et  mittens  illud  summotenus  in  vas  vitri,  cum  ei 
modicum  adhaeserit,  auferens  pone  super  vas,  in  quo  loco 
placuerit,  et  cum  adhaeserit,  calefacies  ut  firmiter  haereat. 
Fac  ex  his  ansis  quod  velis,  interim  tenens  vas  juxta  flam- 
mam  ut  calidum  sit  nec  tamen  liquescat.  Aufer  etiam 
modicum  vitri  a  furno  ita  ut  filum  post  se  trahat,  et  adponens 
vasi  in  quo  loco  volueris,  circumvolve  juxta  flammam  ut 
adhaereat.  Quo  facto  secundum  consuetudinem  amovebis 
fistulam,  mittens  vas  in  furnum  refrigerii ;  atque  hoc  modo 
operaberis,  quantum  velis. 

1  "  separasti,"  C.  Guelpher. 


TRANSLATION.  129 

smooth  piece  of  wood,  and,  opening  it  in  that  part  in  which  is 
the  division,  you  will  dilate  and  smooth  it  according  to  your 
will  with  the  pincers.  When  it  has  become  quite  smooth, 
immediately  taking  it  out,  place  it  in  the  cooling  oven, 
moderately  warmed ;  and  so  that  the  plate  may  not  lie  down, 
but  stand  against  the  wall,  next  to  which  you  will  place 
another,  also  flattened  in  the  same  manner,  and  a  third ;  also 
all  the  rest.  When  these  have  become  cold,  use  them  in 
composing  windows,  by  separating  them  into  pieces  as  you 
wish. 


CHAPTER  X. 

HOW    VASES    ARE    MADE    FROM    GLASS. 

In  order  to  make  vases,  compose  the  glass  in  the  furnace  in 
the  above  manner,  and  when  you  have  blown  according  to 
the  quantity  you  wish,  you  must  not  make  an  opening  at  the 
end,  as  before,  but  you  will  detach  it  from  the  tube,  entire  as 
it  is,  with  the  wood  moistened  with  water ;  then  make  the 
tube,  warmed,  adhere  to  the  bottom  itself.  Raising  the  vase, 
warm  it  in  the  flame,  and  you  will  diiate  that  opening, 
whence  you  separated  the  tube,  with  the  round  piece  of 
wood,  according  to  your  desire ;  you  will  also  enlarge  the 
bottom  around  the  tube  so  that  the  lower  part  may  be  hollow. 
But  if  you  wish  to  make  handles  to  it,  by  which  it  may  hang, 
take  a  thin  piece  of  iron,  and,  immersing  it  in  the  pot  of  glass, 
when  a  little  has  stuck  to  it,  raising  it,  place  it  upon  the  vase, 
in  whatever  place  it  may  please  you ;  and  when  it  has  adhered, 
heat  it,  so  that  it  may  fasten  firmly.  Make  of  these  handles 
what  you  please,  in  the  mean  time  keeping  the  vase  near  the 
flame,  so  that  it  may  be  hot,  yet  not  liquefy.  Take  also  a 
little  glass  from  the  furnace,  so  that  it  may  draw  a  thread 
after  it,  and  placing  it  upon  the  vase  in  what  place  you  wish, 
revolve  it  near  the  flame,  that  it  may  adhere.  Which  being 
done,  you  will  remove  the  tube  aecording  to  custom,  placing 
the  vase  in  the  cooling  oven ;  and  you  will  work  in  this 
fashion  as  much  as  you  desire. 

K 


130  THEOPHILI    LTBER    II. 


CAPUT    XI. 

DE   AMPULLIS    CUM    LONGO    COLLO. 

QUOD  si  volueris  ampullas  cum  longo  collo  facere,  sic 
age.  Cum  sufflaveris  calidum  vitrum  quasi  vesicam 
magnam,  obstrue  foramen  fistula?  pollice  tuo,  ne  forte  ventus 
exeat,  vibrans  ipsam  fistulam  cum  vitro,  quod  ei  appendet, 
ultra  caput  tuum,  eo  modo  quasi  velis  eam  projicere,  et  mox 
extenso  collo  ejus  in  longum,  elevata  manu  tua  in  altum,  sine 
fistulam  cum  vase  inferius  dependere,  ut  collum  non  curvetur, 
et  sic  separans  cum  humido  ligno  mitte  in  furnum  refrigerii. 


CAPUT    XII. 

DE    DIVERSIS    VITRI    COLORIBUS    NON   TRANSLUCIDIS. 

INVENIUNTUR  in  antiquis  aedificiis  Paganorum  in  mu- 
sivo  opere  diversa  genera  vitri ;  videlicet  album,  nigrum, 
viride,  croceum,  saphireum,  rubicundum,  purpureum,  et  non 
est  perspicax,  sed  densum  in  modum  marmoris,  et  sunt  quasi 
lapidi1  quadri,  ex  quibus  fiunt  electra  in  auro,  argento  et 
cupro,  de  quibus  in  suo  loco  sufficienter  dicemus.  Inve- 
niuntur  etiam  vascula  diversa  eorundem  colorum,  quae  colli- 
gunt  Franci  in  hoc  opere  peritissimi,  et  saphireum  quidem 
fundunt  in  furnis  suis,  addentes  ei  modicum  vitri  clari  et  albi, 
et  faciunt  tabulas  saphiri  pretiosas  ac  satis  utiles  in  fenestris. 
Faciunt  etiam  ex  purpura  et  viridi  similiter. 

1  In  codice  Gwlph.  "  lapilli." 


TRANSLATION.  131 

CHAPTER  XI. 

OF  FLASKS  WITH  A  LONG  NECK. 

But  if  you  wish  to  make  flasks  with  a  long  neck  act  thus. 
When  you  have  blown  the  hot  glass  in  the  form  of  a  large 
bladder,  close  the  opening  of  the  tube  with  your  thumb  so 
that  the  air  may  not  escape,  swinging  the  tube,  with  the  glass 
which  hangs  from  it,  above  your  head,  in  such  a  manner  as 
if  you  wished  to  throw  it  ofF,  and  presently,  its  neck  being 
extended  in  length,  your  hand  being  raised  upright,  allow  the 
tube,  with  the  vase  below  it,  to  hang  down,  that  the  neck 
may  not  become  curved ;  and  thus  separating  it  with  a  moist 
piece  of  wood,  place  it  in  the  cooling  oven. 


CHAPTER  XII. 

OF    DIVERS    COLOURS    OF    GLASS,    NOT    TRANSPARENT. 

In  the  ancient  edifices  of  the  Pagans,  dinerent  kinds  of  glass 
are  found  in  mosaic  work,  namely,  white,  black,  green, 
yellow,  sapphire,  red,  and  purple ;  it  is  not  clear,  but  opaque, 
like  marble,  and  they  are  like  square  stones;  from  which 
coloured  gems  are  made  in  gold,  silver,  and  brass  work,  of 
which  we  speak  fully  in  their  proper  place.  Divers  small 
vases  are  also  found,  of  the  same  colours,  which  the  French, 
most  intelligent  in  this  work,  collect,  and  some  melt  the 
sapphire  in  their  furnaces,  adding  to  it  a  little  clear  and  white 
glass,  and  make  costly  plates  of  sapphire,  and  very  useful  in 
windows.  They  work  also  from  the  purple  and  green  in  a 
similar  manner. 


k  2 


132  THEOPHILI    LIBER    II. 

CAPUT    XIII. 

DE*VITREIS     CYPHIS,      QUOS      GRJECI     AURO     ET     ARGENTO 
DECORANT. 

GRtECI  vero  faciunt  ex  eisdem  saphireis  lapidibus  pre- 
tiosos  cyphos  ad '  potandum,  decorantes  eos  auro  hoc 
modo.  Accipientes  auri  petulam,  de  qua  superius  diximus, 
formant  ex  ea  effigies  hominum,  aut  avium,  aut  bestiarum, 
vel  foliorum,  et  ponunt  eas  cum  aqua  super  cyphum  in  quo- 
cumque  loco  voluerint;  et  haec  petula  debet  aliquantulum 
spissior  esse.  Deinde  accipiunt  vitrum  clarissimum,  velut 
crystallum,  quod  ipsi  componunt,  quodque  mox,  ut  senserit 
calorem  ignis,  solvitur,  et  terunt  diligenter  super  lapidem  por- 
phiriticum  cum  aqua,  ponentes  cum  pincello  tenuissime  super 
petulam  per  omnia,  et  cum  siccatum  fuerit,  mittunt  in  furnum, 
in  quo  fenestrse  vitrum  pictum  coquitur,  de  quo  postea  dice- 
mus,  supponentes  ignem  et  ligna  faginea  in  fumo  omnia 
siccata.  Cumque  viderint  flammam  cyphum  tandiu  per- 
transire  donec  modicum  ruborem  trahat,  statim  ejicientes 
ligna,  obstruunt  furnum,  donec  per  se  frigescat,  et  aurum 
nunquam  separabitur. 


CAPUT    XIV. 


ITEM    UNDE   SUPRA. 


FACIUNT  et  alio  modo,  accipientes  aurum  in  molendino 
molitum,  cujus  usus  est  in  libris,  temperant  aqua,  et 
argentum  similiter,  facientes  inde  circulos  et  in  eis  imagines, 
sive  bestias,  aut  aves,  opere  variato,  et  liniunt  hsec  vitro  luci- 
dissimo,  de  quo  supra  diximus.  Deinde  accipientes  vitrum 
album  et  rubicundum  ac  viride,  quorum  usus  est  in  electris, 
terunt  super  lapidem  porphiriticum  unumquodque  per  se  diii- 
genter   cum    aqua,   et    inde   pingunt    flosculos    et     nodos, 

1  "  portandum,"  vitiosh  in  MS.  Harl.  in  cceteris,  ut  supra. 


TRANSLATION.  133 

CHAPTER  XIII. 

OF   THE    GLASS    CUPS    WHICH    THE    GREEKS    ORNAMENT   WITH 
GOLD   AND    SILVER. 

The  Greeks  indeed  make  from  the  same  sapphire  stones 
precious  drinking  cups,  decorating  them  with  gold  in  this 
manner.  Taking  gold  leaf,  of  which  we  have  before  spoken, 
they  form  from  it  the  likeness  of  men,  or  birds,  or  beasts,  or 
leaves,  and  place  them,  with  vvater,  upon  the  cup  in  whatever 
place  they  vvish,  and  this  leaf  should  be  somewhat  thicker 
(than  usual).  Then  they  take  a  very  clear  glass,  like 
crystal,  which  they  themselves  compose,  which  as  soon  as 
it  feels  the  heat  of  the  fire  dissolves,  and  grind  it  carefully 
upon  a  porphyry  stone  with  water,  laying  it  very  thinly  with 
a  pencil  over  all  the  leaf,  and,  when  it  is  dry,  they  place  it  in 
the  furnace  in  which  the  painted  glass  of  windows  is  heated, 
of  which  we  shall  speak  afterwards,  supplying  fire  from 
beechwood,  perfectly  dried  in  the  smoke.  And  when  they 
see  the  flame  penetrate  the  cup,  until  at  length  it  shows  a 
slight  red  colour,  instantly  withdrawing  the  wood,  they  close 
the  furnace,  until  it  cool  by  itself,  and  the  gold  will  never 
be  detached. 


CHAPTER  XIV. 

THE    SAME   AS    THE    PRECEDING. 


They  do  it  also  in  another  manner ;  taking  gold  ground  in  a 
mill,  which  is  used  in  books,  they  temper  it  with  water,  (and 
silver  likewise,)  painting  small  circles  with  it,  and  in  them 
figures,  or  animals,  or  birds,  in  varied  work,  and  they  cover 
these  with  the  very  clear  glass  of  which  we  have  previously 
spoken.  Then  taking  glass,  white,  red  and  green,  which  is 
used  in  artificial  gems,  they  grind  each  one  by  itself  upon  the 
porphyry  stone  carefully,  with  water,  and  then  they"paint 
little  flowers  and  flourishes  and  other  small  things  which  they 


134  THEOPHILI    LIBER    II. 

aliaque  minuta,  quae  voluerint,  opere  vario  inter  circulos,  et 
limbum  circa  oram ;  et  hoc  mediocriter  spissum,  coquentes 
in  furno  ordine  quo  supra.  Faciunt  quoque  cyphos  ex  pur- 
pura  sive  levi  saphiro,  et  fialasjnediocriter  extento  collo  cir- 
cumdantes  filis  ex  albo  vitro  factis,  ex  eodem  ansas  impo- 
nentes.  Ex  aliis  etiam  coloribus  variant  diversa  opera  sua 
pro  libitu  suo. 


CAPUT    XV. 

DE    VITRO    GR,ECO,    QUOD    MUSIVUM    OPUS    DECORAT. 

VITREAS  etiam  tabulas  faciunt  opere  fenestrario  ex  albo 
vitro  lucido,  spissas  ad  mensuram  unius  digiti,  findentes 
eas  calido  ferro  per  quadras  particulas  minutas,  et  co-operientes 
eas  in  uno  latere  auri  petula,  superliniunt  vitrum  lucidissimum 
tritum  ut  supra.  Hujusmodi  vitrum  interpositum  musivum 
opus  omnino  decorat. 


CAPUT    XVI. 

DE    VASIS    FICTILIBUS    DIVERSO    COLORE    VITRI    PICTIS. 

SCUTELLAS  quoque  fictiles  et  naviculas  faciunt,  aliaque 
vasa  fictilia,  pingentes  ea  hoc  modo.  Accipiunt  omnium 
genera  colorum,  terentes  ea  singillatim  cum  aqua,  et  ad  unum- 
quemque  colorem  miscentes  ejusdem  coloris  vitrum  per  se 
minutissime  tritum  cum  aqua,  quintam  partem,  inde  pingunt 
circulos  sive  arcus  vel  quadrangulos,  et  in  eis  bestias,  aut 
aves,  sive  folia  vel  aliud  quodcumque  voluerint.  Postquam 
vero  ipsa  vasa  tali  modo  depicta  fuerint,  mittunt  ea  in  furnum 


TRANSLATION.  135 

please,  with  varied  work,  within  the  circles,  and  a  border 
round  the  mouth ;  and  this  moderately  thick,  heating  in  the 
furnace  in  the  order  above  mentioned.  They  make  also  cups 
from  purple  or  light  sapphire,  and  small  bottles  with  a  neck 
moderately  long,  surrounding  them  with  threads  made  from 
white  glass,  placing  handles  of  the  sattie  upon  them.  They 
vary  also  their  divers  works  with  other  colours  according  to 
their  will. 


CHAPTER  XV. 

OF    GREEK    GLASS    WHICH    ORNAMENTS    MOSAIC    WORK. 

They  make  also  glass  tablets,  as  in  window  work,  from  trans- 
parent  white  glass,  of  the  thickness  of  a  finger,  dividing  them 
with  a  hot  iron  into  small  square  pieces ;  and  covering  them  on 
one  side  with  gold  leaf,  they  paint  over  it  the  very  clear  glass, 
ground,  as  above  mentioned.  This  kind  of  glass,  placed 
among  mosaic  work,  adorns  it  exceedingly. 


CHAPTER  XVI. 


OF   EARTHENWARE  VASES,   PAINTED   IN    DIVERS   C0L0UR8    OF 

GLASS. 

They  likewise  make  earthenware  basins  and  small  vessels  and 
other  fictile  vases,  painting  them  in  this  manner.  They  take 
all  kinds  of  colours,  grinding  them  singly  with  water;  and 
mixing  with  each  colour  a  fifth  part  glass  of  the  same  colour, 
very  finely  ground  by  itself  with  water,  they  paint  with  it 
circles  or  arches  or  squares,  and  in  them  beasts,  birds,  or 
leaves,  or  any  other  thing  they  may  wish.  After  these  vases 
have  been  painted  in  this  manner,  they  place  them  in  the  fur- 


136  THEOPHILI    LIBER    II. 

fenestrarum,  adhibentes  inferius  ignem  atque  ligna  faginea 
sicca,  donec  a  flammis  circumdata,  sicque  extractis  lignis 
furnum  obstruunt.  Possunt  etiam  eadem  vasa  per  loca  de- 
corari  auri  petula,  sive  molito  auro  vel  argento,  modo  quo 
supra,  si  voluerint. 


CAPUT    XVII. 


DE    COMPONENDIS    FENESTRIS. 


CUM  volueris  fenestras  componere  vitreas,  primum  fac 
tibi  tabulam  ligneam  sequalem  tantse  latitudinis  et  longi- 
tudinis,  ut  possis  unius  cujusque  fenestrae  duas  partes  in  ea 
operari,  et  accipiens  cretam  atque  radens  cum  cultello  per 
totam  tabulam,  asperge  desuper  aquam  per  omnia,  et  frica 
cum  panno  per  totum.  Cumque  siccata  fuerit,  accipe  men- 
suram  unius  partis  in  fenestra  longitudinem  et  latitudinem, 
pingens  eam  in  tabula  regula  et  circino  cum  plumbo  vel 
stagno,  et  si  vis  limbum  in  ea  habere,  pertrahe  cum  latitudine 
qua  tibi  placuerit,  et  opere  quo  volueris.  Quo  facto  pertrahe 
imagines  quot  volueris  in  primis  plumbo  vel  stagno,  sicque 
rubeo  colore  sive  nigro,  faciens  omnes  tractus  studiose,  quia 
necessarium  erit  cum  vitrum  pinxeris,  ut  secundum  tabulam 
conjungas  umbras  et  lumina.  Deinde  disponens  varietates 
vestimentorum,  nota  uniuscujusque  colorem  in  suo  loco;  et 
aliud  quodcumque  pingere  volueris  una  littera  colorem  sig- 
nabis.  Post  haec  accipe  vasculum  plumbeum,  et  in  eo  mitte 
cretam  cum  aqua  tritam,  fac  tibi  pincellos  duos  vel  tres  ex 
pilo,  videlicet  ex  cauda  mardi,  sive  grisii,  vel  spirioli,  aut  catti, 
sive  de  coma  asini ;  et  accipe  unam  partem  vitri  cujuscumque 
generis  volueris,  quse  ex  omni  parte  major  sit  loco  in  quo  po- 
nenda  est,  adhibens  eam  campo  ipsius  loci,  et  sicut  consider- 
averis  tractus  in  tabula  per  medium  vitrum,  ita  pertrahe  cum 


TRANSLATION.  137 

nace  used  for  window  (glass),  and  applying  a  fire  of  dry 
beech-wood  below  them  until  they  are  surrounded  by  the 
flame ;  and  thus,  the  wood  being  taken  out,  they  close  the  fur- 
nace.  The  same  vases  can  also  be  decorated  in  places  with 
gold  leaf,  or  with  ground  gold  or  silver,  if  they  wish,  in  the 
above  mentioned  manner. 


CHAPTER  XVII. 

OF    COMPOSING    WINDOWS. 


When  you  wish  to  compose  glass  windows,  first  make  for 
yourself  a  flat  wooden  table,  of  such  breadth  and  length  that 
you  can  work  upon  it  two  portions  of  the  same  window ;  and 
taking  chalk,  and  scraping  it  with  a  knife  over  all  the  table, 
sprinkle  water  everywhere,  and  rub  it  with  a  cloth  over  the 
whole.  And  when  it  is  dry,  take  the  dimensions  of  one  por- 
tion  of  the  window  in  length  and  breadth,  marking  it  upon 
the  table  with  rule  and  compass  with  the  lead  or  tin ;  and  if 
you  wish  to  have  a  border  in  it,  portray  it  with  the  breadth 
which  may  please  you,  and  in  the  pattern  you  may  wish. 
Which  done,  draw  out  whatever  figures  you  will,  first  with 
the  lead  or  tin,  then  with  a  red  or  black  colour,  making  all 
outlines  with  study,  because  it  will  be  necessary,  when  you 
have  painted  the  glass,  that  you  join  together  the  shadows  and 
lights  according  to  the  (drawing  on  the)  table.  Then  arrang- 
ing  the  different  tints  of  draperies,  note  down  the  colour  of 
each  one  in  its  place ;  and  of  any  other  thing  which  you  may 
wish  to  paint  you  will  mark  the  colour  with  a  letter.  After 
this  take  a  leaden  cup,  and  put  chalk,  ground  with  water, 
into  it :  make  two  or  three  pencils  for  yourself  from  hair, 
either  from  the  tail  of  the  marten,  or  badger,  or  squirrel,  or 
cat,  or  the  mane  of  the  ass,  and  take  a  piece  of  glass  of  what- 
ever  kind  you  like,  which  is  in  every  vvay  larger  than  the 
place  upon  which  it  is  superposed,  and  fixing  it  in  the  ground 
of  this  place,  so  that  you  can  perceive  the  drawing  upon  the 
table  through  the  glass,  so  portray  with  the  chalk  the  outlines 


138  THEOPHILI    LIBEH    II. 

creta  super  vitrum  exteriores  tractus  tantum.  Et  si  vitrum 
illud  densum  fuerit  sic  ut  non  possis  perspicere  tractus  qui 
sunt  in  tabula,  accipiens  album  vitrum  pertrahe  super  eum, 
atque  cum  siccum  fuerit  pone  densum  vitrum  super  album 
elevans  contra  lucem,  et  sicut  perspexeris,  ita  pertrahe.  Eo- 
dem  modo  designabis  omnia  genera  vitri  sive  in  facie,  sive  in 
vestimentis,  in  manibus,  in  pedibus,  in  limbo,  vel  in  quo- 
cumque  loco  colores  ponere  volueris. 


CAPUT     XVIII. 

DE    DIVIDENDO    VITRO. 


POSTEA  calefacies  in  foco  ferrum  divisorium,  quod  sit 
per  omnia  gracile,  sed  in  fine  grossius.  Quod  cum  can- 
duerit  in  grossiori  parte,  adpone  vitro,  quod  dividere  volu- 
eris,  et  mox  apparebit  initium  fracturae.  Si  vero  vitrum  du- 
rum  fuerit,  madefac  illud  digito  tuo  ex  saliva  in  loco,  ubi 
ferrum  posueras ;  quo  statim  fisso,  secundum  quod  dividere 
volueris,  trahe  ferrum  et  fissura  sequetur.  Omnibus  vero 
partibus  ita  divisis,  accipe  grosarium  ferrum,  quod  sit  longi- 
tudine  unius  palmi,  utroque  capite  recurvum,  cum  quo  sequa- 
bis  et  conjunges  omnes  partes,  unamquamque  in  suo  loco. 
His  ita  compositis  accipe  colorem  cum  quo  vitrum  pingere 
debes,  quem  tali  modo  compones. 


T 


CAPUT    XIX. 

DE   COLORE    CUM    QUO    VITRUM    PINGITUR. 

OLLE  cuprum  tenu£  percussum,  comburens  in  parvula 
patella  ferrea  donec  pulvis  oninino  sit,  et  accipe  parti- 


TRANSLATION.  139 

upon  the  glass.  And  if  the  glass  should  be  so  thick  that  you 
cannot  perceive  the  lines  which  are  upon  the  table,  taking 
white  glass,  draw  upon  it,  and  when  it  is  dry  place  the  thick 
glass  upon  the  white,  raising  it  against  the  light,  and  as  you 
look  through  it,  so  portray  it.  In  the  same  manner  you  will 
mark  out  all  kinds  of  glass,  whether  for  the  face,  or  in 
draperies,  in  hands,  in  feet,  in  the  border,  or  in  whatever 
place  you  intend  to  place  colours. 


CHAPTER  XVIII. 

OF    DIVIDING    GLASS. 


Afterwards  heat  in  the  fire  the  dividing  iron,  which  should 
be  thin  throughout,  but  thicker  at  the  end.  When  it  glows 
in  the  thick  part  apply  it  to  the  glass  which  you  wish  to  di- 
vide,  and  presently  the  commencement  of  a  small  fissure  will 
appear.  If,  however,  the  glass  be  hard,  wet  it  with  saliva, 
with  your  finger,  in  the  spot  where  you  place  the  iron ;  being 
instantly  cracked,  draw  the  iron  along  where  you  wish  to  di- 
vide,  and  it  is  followed  by  the  fissure.  All  the  portions  being 
thus  divided,  take  the  riesel  iron,  which  is  a  palm  in  length, 
curved  at  each  extremity,  with  which  you  will  equalize  and 
join  all  parts  together,  each  one  in  its  place.  These  things 
being  thus  arranged,  take  the  colour  with  which  you  should 
paint  the  glass,  which  you  compose  in  this  manner. 


CHAPTER  XIX. 

OF    THE    COLOUR    WITH    WHICH    GLASS    IS    PAINTED. 

Take  copper  beaten  thinly,  burning  it  in  a  small  iron  cup 
until  it  is  quite  in  a  powder,  and  take  particles  of  green  glass 


140  THEOPHILI    LIBER    II. 

culas  viridis  vitri,  et  saphiri  Graeci,  terens  singulariter  inter 
duos  lapides  porfiriticos,  et  commiscens  hsec  tria  simul,  ita  ut 
sit  tertia  pars  pulvis,  et  tertia  viride,  tertiaque  saphirum, 
teres  pariter  super  ipsum  lapidem  cum  vino  vel  urina  dili- 
gentissime,  et  mittens  in  vas  ferreum  sive  plurnbeum,  pinge 
vitrum  cum  omni  cautela  secundum  tractus,  qui  sunt  in 
tabula,  Quod  si  litteras  in  vitro  facere  volueris,  partes 
co-operies  omnino  ipso  colore,  scribens  eas  cauda  pincelli. 


CAPUT    XX. 

DE   TRIBUS    COLORIBUS    AD    LUMINA    IN    VITRO. 

UMBRAS  et  lumina  vestimentorum,  si  studiosus  fueris 
in  hoc  opere,  poteris  eodem  modo  facere,  sicut  in 
pictura  colorum,  tali  modo.  Cum  feceris  tractus  in  vesti- 
mentis  ex  colore  praedicto,  sparge  eum  cum  pincello  ita  ut 
vitrum  fiat  perspicax  in  ea  parte,  qua  luminam  facere  con- 
suesti  in  pictura,  et  idem  tractus  in  una  parte  sit  densus,  in 
altera  levis,  atque  levior  cum  tanta  diligentia  discretus,  quasi 
videantur  tres  colores  appositi.  Quem  ordinem  observare 
ita  debes,  infra  supercilia,  et  circa  oculos  atque  nares 
et  mentum,  ac  circa  facies  juvenum,  circa  pedes  nudos  et 
manus  et  reliqua  membra  corporis  nudi,  sitque  species 
picturae  composita  colorum  varietate. 


CAPUT    XXI. 

DE    ORNATU    PICTURJE    IN    VITRO. 


SIT  etiam  quidam  ornatus  in  vitro,  videlicet  in  vestibus, 
in  sedibus,  et  in  campis,  in  saphiro,  in  viridi  et  albo, 
purpureoque  colore  claro.  Cum  feceris  priores  umbras  in 
hujusmodi  vestibus,   et  siccae  fuerint,  quicquid  reliquum  est 


TBANSLATION.  141 

and  of  Greek  sapphire,  grinding  them  singly  between  two 
porphyry  stones,  and,  mixing  these  three  things  together,  so 
that  a  third  part  may  be  powder,  a  third  green,  and  a  third 
sapphire,  grind  them  together  upon  the  same  stone,  very  care- 
fully,  with  wine  or  urine,  and  putting  it  into  an  iron  or  leaden 
vessel,  paint  the  glass,  with  great  care,  according  to  the  lines 
which  are  upon  the  table.  But  if  you  wish  to  make  letters 
upon  the  glass,  cover  the  parts  all  over  with  this  same  colour, 
writing  them  with  the  handle  of  the  pencil. 


CHAPTER  XX. 

OF   THE   THREE   TINTS    FOR    ILLUMINATING    UPON   GLASS. 

If  you  would  be  earnest  in  this  work,  you  can,  in  the  same 
manner  as  in  a  coloured  picture,  make  the  shadows  and 
lights  of  draperies  in  this  way.  When  you  have  made  the 
drawing  in  the  drapery  of  the  aforesaid  colour,  spread  it  with 
the  pencil,  so  that  the  glass  may  be  made  clear  in  that  part 
in  which  you  are  accustomed  to  make  the  light  in  a  picture ; 
and  let  this  drawing  be  in  one  place  thick,  in  another  light, 
and  yet  lighter,  separated  with  such  care  that  three  tints 
may  seem  applied.  Which  arrangement  you  should  thus 
observe,  below  the  eyebrows  and  about  the  eyes,  the  nostrils 
and  chin,  and  about  the  faces  of  young  people,  about  the 
naked  feet  and  hands,  and  the  other  members  of  the  nude  : 
and  this  kind  of  picture  must  be  composed  with  a  variety  of 
tints. 


CHAPTER  XXI. 

OF   THE    EMBELLISHMENT    OF   A   PICTURE    IN   GLASS. 

There  is  likewise  a  certain  ornamenting  upon  glass,  namely, 
in  garments,  in  seats,  and  in  grounds,  in  sapphire,  green, 
white,  and  light  purple  colour.  When  you  have  made  the 
first  shadows  in  drapery  of  this  kind,  and  they  have  become 


142  THEOPHILI    LIBER    II. 

vitri,  co-operi  levi  colore,  qui  non  sit  tam  densus  sicut  se- 
cunda  umbra,  nec  tam  clarus  sicut  tertia,  sed  inter  has  me- 
dius.  Quo  exsiccato  fac  cum  cauda  pincelli  juxta  umbras 
priores,  quas  feceras,  subtiles  tractus  ex  utraque  parte, 
ita  ut  inter  hos  tractus1  umbras  illius  levis  coloris  sub- 
tiles  tractus  remaneant.  In  reliquo  autem  fac  circulos  et 
ramos,  et  in  eis  flores  ac  folia  eodem  modo,  quo  fiunt  in 
litteris  pictis ;  sed  campos  qni  coloribus  implentur  in  litteris, 
debes  in  vitro  subtilissimis  ramusculis  pingere.  Potes  etiam 
in  ipsis  circulis  interdum  bestiolas  et  avicolas,  vermiculos 
que  ac  nudas  imagines  inserere.  Eodem  modo  facies  campos 
ex  albo  clarissimo,  cujus  campi  imagines  vesties  cum  saphiro, 
viridi,  purpura,  et  rubicundo.  In  campis  vero  saphiri  et 
viridis  coloris  eodem  modo  depictis,  et  rubicundi  non  picti, 
facies  vestimenta  ex  albo  clarissimo,  quo  vestimenti  genere 
nullum  speciosius  est.  Ex  supra  dictis  tribus  coloribus  pinges 
in  limbis  ramos  et  folia,  flores  et  nodos,  ordine  quo  supra ;  et 
uteris  eisdem  in  vultibus  imaginum  et  manibus  ac  pedibus  et 
in  nudis  membris  per  omnia  pro  eo  colore,  qui  in  prsecedenti 
libro  dicitur  posc.  Croceo  vitro  non  multum  uteris  in  vesti- 
mentis  nisi  in  coronis  et  m  eis  locis  ubi  aurum  ponendum 
esset  in  pictura.  His  omnibus  ita  compactis  ac  depictis  co- 
quendum  est  vitrum  et  color  confirmandus  in  furno  quem 
compones  hoc  modo. 


CAPUT    XXII. 

DE    FURNO    IN    QUO    VITRUM    COQUITUR. 

\  CCIPE  virgas  flexibiles  infigens  eas  terrse  in  angulo 
-£*■  domus,  utroque  capite  aequaliter  in  similitudinem 
arcuum,  qui  arcus  habeant  altitudinem  pedis  et  dimidii,  lati- 

1  Cod.  Quelph.  "  et  priores  "  interpon. 


TRANSLATION.  143 

dry,  cover  whatever  of  the  glass  is  left  with  a  light  colour, 
which  must  not  be  so  dark  as  the  second  shadow,  nor  so 
light  as  the  third,  but  the  mean  between  these.  Which  being 
dry,  with  the  reverse  of  the  pencil  make,  next  the  first 
shadows  which  you  made,  fine  lines  on  each  side,  so  that, 
between  these  tints,  and  the  *  shadows,  fine  lines  of  that  light 
colour  may  exist.  But  upon  the  remainder  make  circles  and 
branches,  and  upon  them  flowers  and  leaves,  in  the  same 
manner  as  they  are  made  in  painted  letters ;  but  upon  grounds 
which  are  filled  with  letters  in  colours,  you  should  paint  upon 
the  glass  with  the  most  delicate  small  branches.  You  can 
also  sometimes  insert  in  the  same  circles  small  animals  and 
little  birds,  small  insects  and  nude  figures.  In  the  same 
manner  you  make  grounds  of  the  clearest  white,  the  figures 
of  which  grounds  you  ornament  with  sapphire,  green,  purple, 
and  red.  Also  in  grounds  of  blue  and  green  colour,  painted 
over  in  the  same  manner,  and  of  red  not  painted,  you  make 
draperies  of  the  clearest  white,  than  which  kind  of  garment 
none  is  more  beautiful.  From  the  above-named  three  colours 
you  paint  boughs  and  leaves  in  borders,  flowers  and  intri- 
cacies,  in  the  above  order ;  and  you  will  use  the  same  (colour) 
in  the  faces  of  figures  and  in  the  hands  and  feet,  and  every- 
where  in  the  nude  members,  for  that  colour  which,  in  the 
preceding  book  is  called  posc.  You  will  not  make  much  use 
of  yellow  glass  in  draperies,  unless  in  crowns  and  in  those 
places  where  gold  is  placed  in  a  painting.  All  these  things 
being  thus  composed  and  painted,  the  glass  is  to  be  heated, 
and  the  colour  fixed  in  the  furnace,  which  you  make  in  this 
manner. 


CHAPTER  XXII. 

OF    THE    FURNACE   IN    WHICH    GLASS    IS    BURNT. 

Take  flexible  rods,  fixing  them  in  the  earth  in  an  angle  of  the 
house  at  both  ends  equally  in  the  form  of  arches,  which 
arches  may  have  the  height  of  a  foot  and  a  half,  and  also  a 

1  In  the  codex  of  Wolfenbiittel  the  word  "  first  "  is  here  inserted. 


144  THEOPHILI    LIBER    II. 

tudinem  quoque  similem,  longitudinem  vero  modice  amplius 
duorum  pedum.  Deinde  macerabis  argillam  fortiter  cum 
aqua  et  fimo  equi,  ita  ut  tres  partes  sint  argilla,  et  quarta 
fimus.  Qua  optime  macerata,  miscebis  ei  foenum  siccum, 
faciens  inde  pastillos  longos  et  co-operies  arcum  virgarum  in- 
terius  et  exterius  ad  spissitudinem  unius  pugni,  et  in  medio 
superius  relinques  foramen  rotundum  per  quod  possis  manum 
tuam  imponere;  facies  etiam  tibi  tres  trabes  ferreos  grossitu- 
dine  unius  digiti,  et  longitudine  tanta  ut  possint  transire  lati- 
tudinem  furni,  quibus  facies  ex  utraque  parte  tria  foramina,  ut 
cum  volueris  possis  imponere  et  ejicere.  Tunc  pones  in 
furnum  ignem  et  ligna  donec  exsiccetur. 


CAPUT    XXIII. 


QUOMODO    COQUATUR   VITRUM. 

INTERIM  fac  tibi  tabulam  ferream  ad  mensuram  furni 
interius,  exceptis  duobus  digitis  in  longitudine  et  duobus 
in  latitudine,  super  quam  cribrabis  calcem  vivum,  sive  cineres 
spissitudine  unius  festucae,  et  cum  sequali  ligno1  ut  firmiter 
jaceant.  Habebit  eadem  tabula  caudam  ferream,  per  quam 
possit  portari  et  imponi  ac  extrahi.  Pones  autem  super  eam 
vitrum  pictum  diligenter  et  conjunctum,  ita  ut  in  exteriore 
parte  versus  caudam  ponas  viride  et  saphirum,  ac  interius 
album  croceum  et  purpureum,  quod  durius  est  contra  ignem, 
et  sic  immissis  trabibus  pones  super  eos  tabulam.  Deinde 
accipes  ligna  faginea  in  fumo  valde  sicca,  et  accendes  ignem 
modicum  in  furno,  postea  majorem  cum  omni  cautela,  donec 
videas  flammam  retro,  et  ex  utraque  parte  inter  furnum  et 
tabulam  ascendere,  et  vitrum  transiendo  atque  quasi  lingendo 
co-operire,  tamdiu  donec  candescat ;   et  statim  ejiciens  ligna 

1  MS.  Ouelpk.  "  compones  eos,"  addilur. 


TRANSLATION.  145 

similar  breadth  and  a  length  of  a  little  more  than  two  feet. 
You  will  then  beat  up  clay  strongly  with  water  and  horse 
litter,  so  that  three  parts  may  be  clay  and  a  fourth  dung. 
With  which,  being  well  beaten  together,  you  will  mix  dry 
hay,  making  of  it  long  flat  pieces,  and  you  will  cover  the 
arch  of  rods,  inside  and  outside,  to  the  thickness  of  a  fist,  and 
in  the  middle  above  you  leave  a  round  opening  through 
which  you  can  put  your  hand ;  make  for  yourself  also  three 
iron  bars  of  the  thickness  of  a  finger,  and  of  such  length 
that  they  may  traverse  the  breadth  of  the  furnace,  in  which,  on 
both  sides,  make  three  holes,  so  that  you  can  place  and  with- 
draw  them  when  you  wish.  Then  place  fire  and  wood  in  the 
furnace  until  it  is  dried. 


CHAPTER  XXIII. 


HOW    GLASS    MAY    BE    BURNT. 


In  the  mean  time  make  an  iron  tablet  for  yourself  of  the  size 
of  the  furnace  inside,  two  fingers  in  length  and  two  in  breadth 
excepted,  upon  which  you  will  sift  quick-lime,  or  (wood) 
ashes,  the  thickness  of  a  straw,  and1  (arrange  them)  with  a 
flat  piece  of  wood  that  they  may  lie  firmly.  The  same  tablet 
will  have  an  iron  handle  by  which  it  can  be  carried  and  placed 
and  withdrawn.  Lay  the  painted  glass  carefully  upon  it, 
joined  together  so  that  on  the  outer  part,  towards  the  handle, 
you  place  the  green  and  sapphire,  and  on  the  inner  the  white, 
yellow,  and  purple,  which  is  the  most  resisting  against  the  fire, 
and  thus,  the  bars  being  put  in,  place  the  tablet  upon  them. 
Then  take  beech  wood,  well  dried  in  the  smoke,  and  light  a 
small  fire  in  the  furnace,  afterwards  larger,  with  great  pre- 
caution,  until  you  see  the  flame  rise  at  the  back  and  on  both 
sides  between  the  furnace  and  the  tablet,  and  by  passing  over 
the  glass  cover  it,  as  if  in  licking  it,  until  at  length  it  glows ; 
immediately  withdrawing  the  wood,  carefully  close  the  moutli 

1  From  the  Wolfenbiittel  MS. 


146  THEOPHILI    LIBER    II. 

obstrues  os  fornacis  diligenter,  ac  superius  foramen  per  quod 
fumus  exibat,  usque  dum  per  se  refrigeret.  Ad  hoc  valet 
calx  et  cinis  super  tabulam,  ut  servet  vitrum,  ne  supernudum 
a  calore  confringatur.  Ejecto  autem  vitro  proba,  si  possis 
cum  ungue  tuo  colorem  erodere ;  si  non,  sufficit  ei,  sin  autem, 
iterum  repone.  Tali  modo  partibus  omnibus  coctis,  repone 
super  tabulam  singulas  in  suo  loco ;  deinde  funde  calamos  ex 
puro  plumbo  hoc  modo. 


CAPUT    XXIV. 

DE    FERRIS    INFUSORIIS. 

FAC  tibi  duos  ferros,  latitudine  digitorum  duorum  et  spis- 
situdine  unius  digiti,  longitudineque  unius  ulnse.  Hos 
copulabis  in  una  summitate  in  modum  cardinum  ut  sibi  ad- 
haereant,  et  uno  clavo  firmentur,  ita  ut  possint  claudi  et 
aperiri,  et  in  altero  capite  aliquantulum  latiores  et  tenuiores 
ita,  ut  cum  clauduntur,  sit  quasi  initium  foraminis  interius,  et 
exteriores  costae  aequaliter  procedant;  sicque  conjunges  eos 
cum  lima,  ut  nihil  luminis  inter  eos  perspicere  possis.  Post 
hsec  separabis  eos  ab  invicem,  acceptaque  regula  tua  facies  in 
medio  unius  partis  duas  lineas,  et  e  contra  in  medio  alterius 
duas,  a  summo  usque  deorsum  parva  latitudine,  et  fodies  eos 
ferro  fossorio,  quo  candelabra  fodiuntur,  quam  profunde 
volueris,  et  rade  interius  inter  duas  regulas  modicum  in  utro- 
que  ferro,  ut  cum  plumbum  in  eis  fuderis,  una  pars  fiat.  Os 
vero,  in  quod  funditur,  ita  ordinabis,  ut  una  pars  ferri  jungatur 
in  alteram,  ne  possit  in  fundendo  vacillare. 


TRANSLATION.  147 

of  the  furnace  and  the  upper  opening  through  which  the 
smoke  escaped,  until  it  cool  by  itself.  The  lirae  and  ashes 
upon  the  tablet  are  useful  for  this,  to  preserve  the  glass,  that 
it  may  not  be  broken  upon  the  bare  (iron)  by  the  heat.  The 
glass  being  taken  out,  assay  if  you  can  scrape  ofF  the  colour 
with  your  nail ;  if  not,  it  is  sufficient  for  it,  but  if  you  can, 
replace  it  again.  All  the  pieces  being  burnt  in  this  manner, 
relay  each  in  its  place  upon  the  table ;  then  found  the  rods 
from  pure  lead  in  this  manner. 


CHAPTER  XXIV. 


OF    THE    IRON    MOULDS. 


Make  for  yourself  two  irons,  in  breadth  two  fingers,  and  one 
finger  in  thickness,  and  a  yard  in  length.  You  will  join  these 
together  at  one  end  like  a  hinge,  that  they  may  adhere  toge- 
ther  and  be  fastened  by  a  nail,  so  that  they  can  be  shut  and 
opened ;  and  let  them  be  rather  wider  and  thinner  at  the  other 
end,  so  that  when  they  are  shut  there  may  be  like  the  begin- 
ning  of  an  inside  cavity,  and  let  the  outer  sides  project 
evenly,  and  so  join  them  together  with  the  file  that  you  may 
be  unable  to  perceive  any  light  between  them.  Afterwards 
you  will  separate  them  from  one  another,  and,  taking  your 
rule,  make  two  lines  in  the  middle  of  one  piece,  and  two  in 
the  middle  of  the  other  opposite,  small  in  breadth  from  top  to 
bottom,  and  hollow  them  out  with  the  chasing  iron,  with  which 
lamps  are  hollowed  out,  as  deep  as  you  wish,  and  rasp  a 
little  inside  between  the  two  lines  in  both  pieces  of  iron,  so 
that  when  you  pour  the  lead  into  them  one  piece  may  be 
made.  But  you  will  so  arrange  the  mouth  into  which  it  is 
poured,  that  one  part  of  the  iron  may  be  coupled  to  the  other, 
that  it  cannot  slip  during  the  casting. 


l  2 


148  THEOPHILI    LIBER    II. 

CAPUT    XXV. 

DE    FUNDENDIS    CALAMIS. 

POST  baec  fac  tibi  larem  ubi  plumbum  fundas,  et  in  lare 
fossam  in  quo  ponas  testam  ollse  magnam,  quam  linies 
interius  et  exterius  argilla  cum  fimo  macerata  ut  firmior  sit, 
et  super  eam  accendes  ignem  copiosum.  Cumque  siccata 
fuerit,  pone  plumbum  super  ignem  intra  testam,  ut  cum  lique- 
factum  fuerit  fluat  in  eam.  Interim  aperiens  ferrum  calami 
pone  super  carbones,  ut  calidum  fiat,  et  habeas  lignum  longi- 
tudinis  unius  ulnae,  quod  sit  in  uno  capite,  quo  manu  ten- 
ebitur,  rotundum,  in  altero  vero  planum  et  latum  ad  mensuram 
quatuor  digitorum,  ubi  incidatur  in  transverso  usque  in  me- 
dium  secundum  latitudinem  ferri,  in  quam  incisuram  ipsum 
ferrum  calidum  et  in  se  clausum  pones,  et  ita  in  superiori 
parte  manu  modicum  reflexa  tenebis,  ut'  inferiori  parte  super 
terram  stet,  acceptaque  parvula  patella  ferrea  calefacta,  hauri 
liquefactum  plumbum  et  funde  in  ferrum.  Et  statim  depone 
patellam  super  ignem  ut  semper  sit  calida,  ejectumque  ferrum 
a  ligno  super  terram  aperi  cum  cultello,  et  eiciens,  calamum 
rursum  claude  et  repone  in  lignum.  Si  autem  non  possit 
plumbum  ferro  funditus  influere,  calefacto  melius  ferro  iterum 
funde ;  sicque  temperabis  donec  plenum  fiat,  quia,  si  aequaliter 
temperatum  fuerit,  in  uno  calore  plus  quam  quadraginta  cala- 
mos  fundere  poteris. 


CAPUT    XXVI. 


DE    LIGNO    INFUSORIO. 


QUOD  si  ferrum  non  habueris,  perquire  tibi  lignum  abie- 
tinum  vel  aliud,  quod  sequaliter  findi  possit,  longitu- 
dinis,  latitudinis  et  spissitudinis  ut  supra,  quod  fissum  incide 


TRANSLATION.  149 

CHAPTER  XXV. 

OF    CASTING    THE    RODS. 

After  these  things  make  a  hearth  for  yourself  where  you  can 
melt  leacl,  and  in  the  hearth  a  hollow,  in  which  you  can 
place  a  large  earthen  vessel,  which  you  line  inside  and  out 
with  clay  beat  up  with  dung,  that  it  may  be  the  more  firm, 
and  light  a  large  fire  over  it.  And  when  it  has  become  dry 
place  the  lead  upon  the  fire  inside  the  pot,  that,  when  it  is 
liquefied,  it  may  flow  into  it.  In  the  mean  time,  opening  the 
rod-mould,  place  it  over  the  charcoal,  so  that  it  may  become 
warm ;  and  you  must  have  a  piece  of  wood  a  yard  in  length, 
which  is  round  at  the  end  which  is  held  in  the  hand,  but  at  the 
other  flat  and  wide,  to  the  size  of  four  fingers,  where  it  is  cut 
across  as  far  as  the  centre,  according  to  the  breadth  of  the 
iron,  in  which  incision  you  place  this  mould  hot  and  closed 
together,  and  you  will  so  hold  it  in  the  upper  part  with  the 
hand  slightly  bent  back,  that,  in  the  lower  part,  it  may  stand 
upon  the  ground,  and  taking  the  small  iron  spoon  warmed, 
take  out  the  liquefied  lead,  and  pour  it  into  the  mould  :  and 
immediately  place  the  spoon  upon  the  fire,  that  it  may  be 
always  warm,  and  casting  the  mould  from  the  wood  upon  the 
ground,  open  it  with  a  knife,  and  taking  out  the  rod  again, 
shut  it  and  replace  it  in  the  wood.  If,  however,  the  lead  is 
not  able  to  flow  in  the  mould  to  the  bottom,  cast  again  in  the 
better  warmed  mould,  and  you  will  regulate  it  so  that  it  may 
become  full,  because  if  it  becomes  all  of  an  equal  tempera- 
ture,  you  can  cast  more  than  forty  rods  with  one  heating, 


CHAPTER  XXVI. 

OF    THE    MOULD    IN    WOOD. 


But  if  you  have  not  iron,  seek  for  yourself  fir,  or  other 
wood  which  can  be  smoothly  divided,  of  the  length,  breadth, 
and  thickness  as  above,  which   being  cleft,  cut  the  outside 


150  THEOPHILI    LIBER    II. 

exterius  rotundum.  Deinde  ordinabis  duo  signa  parvula  ex- 
terius  in  utraque  utriusque  ligni  fronte,  secundum  quod  volu- 
eris  calamum  latum  esse  in  medio,  accipiensque  filum  lineum 
retortum  et  gracile,  madefac  illud  in  rubeo  colore,  disjunctis- 
que  lignis,  super  unam  partem  interius  appone  ipsum  filum,  a 
signo  quod  incidisti  superius,  usque  ad  signum  inferius,  ita  ut 
firmiter  extendatur,  et  adjungens  illi  alterum  lignum  fortiter 
comprime,  ita  ut  cum  separaveris  color  in  utrisque  partibus 
appareat.  Ejectumque  filum  et  rursum  colore  madidum 
affige  in  alterum  signum,  iterumque  super  pone  aliud  lignum 
et  comprime.  Cumque  in  utrisque  partibus  color  apparuerit, 
incide  cultello  calamum,  quam  latum  et  profundum  volueris, 
sic  tamen  ut  incisura  finem  non  pertranseat,  sed  superius,  ubi 
infundi  debet,  foramen  habeat.  Quo  facto  ligna  conjunge, 
ligans  cum  corrigia  a  summo  usque  deorsum,  et  tenens  cum 
ligno  infunde  plumbum,  solutaque  corrigia  eice  calamum. 
Rursumque  ligans  et  infundens,  hoc  tam  diu  facies,  donec 
ustura  usque  ad  finem  incisurae  perveniat ;  sicque  postea 
leviter,  quoties  et  quantum  volueris  infundere  poteris.  Cum- 
que  tibi  sufficere  calamos  videris,  incide  lignum  duobus  di- 
gitis  latum  et  tam  spissum  sicut  calamus  est  interius,  dividens 
illud  in  medio  ita,  ut  in  una  fronte  integrum  sit  et  in  altera 
incisum  ubi  calamus  inferatur.  Quem  impositum  incide  cum 
cultello  ex  utraque  parte,  et  plana  et  rade  sicut  placuerit. 


CAPUT    XXVII. 

DE    CONJUNGENDIS    ET    CONSOLIDANDIS    FENESTRIS. 

HIS  ita  compositis  accipe  stagnum  purum  et  commisce 
ei  quintam  partem  plumbi,  et  funde  in  supradicto 
ferro  sive  ligno  quot  calamos  volueris  cum  quibus  opus  tuum 
solidabis.  Habeas  quoque  clavos  quadraginta  longitudine 
unius  digiti,  qui  sint  in  uno  capite  graciles  et  rotundi,  in 


TRANSLATION.  151 

round.  You  will  then  fashion  two  srnall  marks  outside  at 
each  end  of  each  piece  of  wood,  according  to  the  width 
which  you  wish  the  rod  to  be  between,  and  taking  a  flaxen 
thread  thin  and  twisted,  moisten  it  in  red  colour,  and,  separat- 
ing  the  pieces  of  wood,  apply  this  cord  upon  one  inside  sur- 
face,  from  the  mark  which  you  cut  at  the  top  to  the  mark  be- 
low,  so  that  it  may  be  firmly  stretched ;  and  joining  the  other 
wood  to  it  press  them  together  strongly,  so  that  when  you 
have  separated  them  the  colour  may  appear  upon  both  pieces. 
The  thread,  being  taken  off  and  again  moistened  with  colour, 
is  fixed  upon  the  other  mark,  and  you  place  the  other  wood 
upon  it  and  compress  it.  When  the  colour  shall  have  ap- 
peared  upon  both  sides,  cut  the  groove  with  a  knife  as  wide 
and  deep  as  you  wish,  so,  however,  that  the  incision  may  not 
pass  through  the  lower  end,  but  at  the  top,  where  you  pour 
in,  it  may  have  an  opening.  Which  being  done,  join  the 
woods  together,  binding  them  with  a  strap  from  top  to  bot- 
tom,  and  holding  it  with  the  wood,  pour  in  the  lead,  and  the 
strap  being  loosened,  take  out  the  rod.  Again  binding  and 
casting,  do  this  until  at  length  the  burning  reaches  the  bottom 
of  the  incision;  and  so  you  can  afterwards  cast,  gently,  as 
often  and  as  many  as  you  wish.  When  you  see  that  you 
have  rods  enough,  cut  a  piece  of  wood  two  fingers  wide  and 
as  thick  as  the  groove  is  inside,  dividing  it  in  the  middle  so 
that  at  one  end  it  is  whole,  and  at  the  other  there  is  an  in- 
cision,  in  which  the  rod  is  inserted.  Cut  which,  placed  in  it, 
with  a  knife  on  both  sides,  and  smooth  and  scrape  it  as  it 
may  please  you. 


CHAPTER  XXVII. 

OF    UNITING    TOGETHER    AND    SOLDERING    WINDOWS. 

These  things  being  thus  arranged,  take  pure  tin  and  mix 
with  it  a  fifth  part  of  lead,  and  cast  in  the  above  mentioned 
iron  or  wood  as  many  rods  as  you  wish,  with  which  you  will 
solder  your  work.  Have  also  forty  nails  a  finger  in  length, 
which  are  at  one  end  fine  and  round,  at  the  other  square,  and 


152  THEOPHILI    LIBER    II. 

altero  quadri  et  recurvi  penitus,  ita  ut  foramen  appareat  in 
medio.  Deinde  accipe  vitrum  pictum  et  coctum  et  pone  se- 
cundum  ordinem  in  altera  parte  tabulaD  ubi  nulla  est  pictura. 
Post  hsec  tolle  caput  unius  imaginis,  et  circumvolvens  illud 
plumbo  repone  diligenter  in  suo  loco,  et  circumfige  ei  tres 
clavos  cum  malleo  ad  hoc  opus  apto,  adjungens  ei  pectus  et 
brachia  ac  reliqua  vestimenta ;  et  quamcumque  partem  stabi- 
lieris,  confirma  eam  exterius  clavis,  ne  moveatur  a  suo  loco. 
Tunc  habeas  ferrum  solidatorium,  quod  sit  longum  et  gracile, 
in  summitate  vero  grossum  ac  rotundum,  et  in  summo  ipsius 
rotunditatis  deductum  et  gracile,  limatum  et  superstannatum, 
ponaturque  in  ignem.  Interim  accipe  calamos  stagneos  quos 
fudisti,  et  perfunde  eos  cera  ex  utraque  parte,  et  radens  plum- 
bum  in  superficie  per  omnia  loca,  quae  solidanda  sunt.  Ac- 
cepto  ferro  calido  appone  ei  stagnum,  in  quocumque  loco  duae 
partes  plumbi  conveniunt,  et  cum  ferro  linies  donec  sibi  adhae- 
reant.  Statutis  vero  imaginibus  eodem  modo  ordinabis  cam- 
pos  cujuscumque  coloris  volueris,  et  sic  particulatim  com- 
pones  fenestram  tuam.  Perfecta  vero  fenestra  et  in  uno 
latere  solidata,  conversam  in  aliud  simili  modo  radendo  et 
solidando  firmabis  per  omnia. 


CAPUT    XXVIII. 

DE    GEMMIS    PICTO    VITRO    IMPONENDIS. 

IN  imaginibus  vero  fenestrarum  si  volueris  in  crucibus,  vel 
in  libris,  aut  in  ornatu  vestimentorum,  super  pictum 
vitrum  gemmas  facere  alterius  coloris  absque  plumbo,  vide- 
licet  iacinctos  et  smaragdos,  hoc  modo  agas.  Cum  feceris 
cruces  in  suis  locis  in  capite  majestatis,  aut  librum,  sive 
ornamenta  in  fine  vestium,  quae  in  pictura  fiunt  ex  auro  sive 
ex  auripigmento,  hsec  in  fenestris  fiant  ex  croceo  vitro  claro. 


TRANSLATION.  153 

quite  curved  back,  so  that  an  opening  may  appear  in  the 
middle.  Then  take  the  painted  and  burnt  glass,  and  place  it 
in  its  order  upon  the  other  part  of  the  table,  where  there  is  no 
drawing.  After  that  take  the  head  of  any  one  figure,  and 
surrounding  it  with  lead,  relay  it  carefully  iri  its  place,  and 
fasten  round  it  three  nails  with  a  hammer  proper  for  this 
work,  joining  to  it  the  chest  and  arms  and  the  remaining 
draperies ;  and  whatever  part  you  would  solder  fasten  outside 
with  nails,  that  it  may  not  be  moved  from  its  place.  Then 
have  a  soldering  iron  which  is  long  and  slender,  but  at  the 
end  thick  and  round,  and  at  the  end  of  this  round  part  di- 
minishing  and  small,  filed  and  tinned  over ;  this  is  placed 
in  the  fire.  In  the  mean  time  take  the  tin  rods  which  you 
have  cast,  and  anoint  them  over  on  both  sides  with  wax,  and 
rasping  lead  over  the  surface  in  all  places  which  are  to  be 
soldered.  Taking  the  hot  iron,  apply  the  tin  to  it  in  what- 
ever  place  two  pieces  of  lead  meet,  and  you  anoint  with 
the  iron  until  they  adhere  to  each  other.  The  figures  being 
set  up,  you  will  arrange  the  grounds  in  the  same  manner,  and 
of  whatever  colour  you  wish,  and  so,  piece-meal,  you  compose 
your  window.  The  window  being  finished  and  soldered  on 
one  side,  turned  upon  the  other  you  will  make  it  firm  every 
where  in  the  same  manner,  by  rasping  and  soldering. 


CHAPTER  XXVIII. 

OF    PLACING    GEMS    UPON    PAINTED    GLASS. 

In  figures  upon  windows,  in  crosses  or  books,  or  in  ornament 
of  draperies,  if  you  wish  to  make  gems  of  another  colour  upon 
painted  glass,  without  the  lead,  such  as  hyacinths  and  eme- 
ralds,  you  may  act  in  this  manner.  When  you  have  designed 
crosses  in  their  places,  upon  the  head  of  majesty  or  on  a 
book,  or  ornaments  upon  the  border  of  draperies,  which  in  a 
picture  are  made  with  gold  01  orpiinent,  these  in  windows  are 
made  with  clear  yellow  glass.     When  you  have  painted  which 


154  THEOPHILI    LIBER    II. 

Quae  cum  pinxeris  opere  fabrili,  dispone  loca  in  quibus  lapides 
ponere  volueris,  acceptisque  particulis  saphiri  clari,  forma  inde 
iacinctos  secundum  quantitatem  locorum  suorum,  et  ex  viridi 
vitro  smaragdos,  et  sic  age  ut  inter  duos  iacinctos  semper 
smaragdus  stet.  Quibus  diligenter  in  suis  locis  conjunctis  et 
stabilitis,  densum  colorem  trahe  circa  eos  cum  piucello,  ita  ut 
inter  duo  vitra  nihil  fluat,  sicque  cum  reliquis  partibus  in 
furno  coque  et  adhserebunt  sibi  ita  ut  nunquam  cadant. 


CAPUT  XXIX. 

DE    SIMPLICIBUS    FENESTRIS. 

SI  vero  volueris  simplices  fenestras  componere,  mensuram 
longitudinis  et  latitudinis  primum  fac  in  lignea  tabula, 
deinde  pertrahe  nodos  vel  aliud  quod  libuerit,  distinctisque 
coloribus  componendis,  finde  vitrum  grosa  et  conjunge, 
adhibitisque  clavis  include  plumbo,  et  solida  ex  utraque 
parte,  circumpone  ligna  clavis  firmata  et  confige  ubi  volueris. 


CAPUT    XXX. 

QUOMODO    REFORMETUR    VAS    VITREUM    FRACTUM. 

SI  forte  vas  vitreum  cujuscumque  generis  cadit  aut  percu- 
titur,  ita  ut  frangatur  vel  findatur,  hoc  modo  reparetur. 
Tolle  cineres  et  cribra  eos  diligenter  macerans  cum  aqua,  et 
inde  imple  vas  fractum  et  pone  ad  solem  ut  siccetur.  Cumque 
omnino  cineres  sicci  fuerint,  adjunge  vasi  partem  fractam, 
cavens  ne  in  junctura  cineruin  vel  aliqufe  sordes  remaneant, 


TRANSLATION.  155 

in  the  artistic  manner,  you  determine  the  places  in  which  you 
wish  to  lay  the  stones,  and  taking  small  pieces  of  clear 
sapphire,  form  with  them  hyacinths  according  to  the  size 
of  their  places,  and  emeralds  from  green  glass,  and  act  so 
that  an  emerald  may  always  stand  between  two  hyacinths. 
Which  being  carefully  joined  together  and  made  firm  in  their 
places,  paint  a  thick  colour  round  them  with  the  pencil,  so 
that  none  may  flow  between  the  two  glasses,  and  so,  with  the 
other  portions,  heat  them  in  the  furnace ;  and  they  will 
adhere  to  each  other  so  that  they  can  never  fall  off. 


CHAPTER  XXIX. 

OF    PLAIN    WINDOWS. 


If,  however,  you  wish  to  construct  plain  windows,  first  mark 
the  measure  of  the  length  and  breadth  upon  the  wooden 
table,  then  draw  the  flourishes  or  other  things  which  may 
please  you,  and,  composing  them  of  decided  colours,  divide 
the  glass  and  fit  it  together  with  the  riesel-iron,  and,  using 
the  nails,  enclose  it  with  lead,  and  solder  on  both  sides ;  place 
wood  round  it,  fastened  with  nails,  and  establish  it  where  you 
wish. 


CHAPTER  XXX. 

HOW    A    BROKEN    GLASS    VASE    IS    REPAIRED. 

If  by  chance  a  glass  vase  of  any  kind  should  fall  or  be 
struck,  so  that  it  be  broken  or  cracked,  it  is  mended  in  this 
manner.  Take  ashes  and  sift  them  carefully,  macerating 
them  with  water,  and  fill  the  broken  glass  vessel  with  them, 
and  place  it  in  the  sun  that  it  may  be  dried.  And  when  the 
ashes  are  quite  dry,  join  the  broken  part  to  the  vase,  taking 
care  that  no  cinders  nor  any  dirt  remain  in  the  join :  then 


156  THEOPHILI    LIBER    II. 

et  accipe  saphirum  ac  viride  vitrum  quod  a  calore  flammae 
levissime  liquefiat,  terens  diligenter  cum  aqua  super  lapidem 
porfireticum,  et  cum  pincello  linies  super  fracturam  subtilem 
tractum.  Deinde  pone  super  tabulam  ferream,  et  eleva  vas 
aliquantulum  ex  ea  parte  ubi  fractura  est,  ut  flamma  super 
eam  sequaliter  transeat,  sicque  mitte  in  furnum  fenestrarum, 
supponens  ligna  faginea  sicca  et  ignem  paulatim,  donec  vas 
calescat  et  cineres  in  eo,  statimque  auge  ignem  ut  flamma 
crescat.  Cumque  videris  quod  vix  rubescat,  ejectis  lignis 
obstrue  diligenter  os  fornacis  et  foramen  superius,  donec 
penitus  refrigeretur.  Ablato  vase  eice  cineres  absque  aqua, 
sicque  lavabis  illud  et  habebis  ad  quos  usus  volueris. 


CAPUT    XXXI. 


DE    ANULIS. 


TT^X  vitro  etiam  fiunt  anuli  hoc  modo.  Compone  tibi  fur- 
J-^  num  parvulum  ordine  quo  supra  et  vascula,  deinde 
acquire  tibi  cineres,  sal,  pulverem  cupri  et  plumbum.  Hisque 
compositis  distingue  colores  vitri  quos  volueris,  suppositoque 
igne  et  lignis  coque.  Interim  acquire  tibi  lignum  longitudine 
unius  palmi,  et  grossitudine  unius  digiti,  et  in  tertia  ejus  parte 
pone  rotulam  ligneam  latitudine  unius  palmee,  ita  ut  duas  partes 
ligni  teneas  in  manu,  et  rotula  super  manum  jaceat  firmiter 
ligno  conjuncta,  et  tertia  pars  ligni  super  rotulam  emineat. 
Quod  lignum  in  summitate  gracile  incidatur,  et  ita  in  ferro  jun- 
gatur  sicut  jungitur  in  hasta  lancea ;  quod  ferrumhabeat  longitu- 
dinem  unius  pedis ;  cui  lignum  inseratur,  ut  in  junctura  sequale 
sit  ligno,  et  ab  ipso  loco  gracilius  sit  in  finem  usque  deductum, 
ubi  omnino  sit  acutum.  Et  juxta  fenestram  fornacis  in  dextra 
parte,  hoc  est  in  sinistra  tua,  stet  lignum  grossitudine  brachii 


TRANSLATION.  157 

take  sapphire  and  green  glass,  which  melts  at  the  heat  of  a 
slight  flame,  grinding  carefully  with  water  upon  the  porphyry 
stone,  and  with  a  pencil  paint  a  thin  stroke  over  the  fracture. 
Then  place  it  upon  the  iron  slab,  and  raise  the  glass  a  little 
upon  that  side  where  the  fracture  is,  that  the  flame  may  pass 
over  it  equally,  and  so  place  it  in  the  oven  used  for  windows, 
laying  under  it  dry  beech-wood  and  fire,  by  degrees,  until  the 
vase  grows  hot  with  the  ashes  in  it,  and  immediately  augment 
the  fire  that  the  flame  may  increase.  And  when  you  see  that 
it  has  nearly  become  red,  removing  the  wood,  carefully  close 
the  mouth  of  the  furnace  and  the  upper  opening,  until  it  is 
altogether  cold.  The  vase  being  taken  out,  remove  the  ashes, 
without  water :  and  so  you  will  wash  it  and  keep  it  for  what- 
ever  service  you  may  wish. 


CHAPTER  XXXI. 

OF    RINGS. 


Rings  are  also  made  from  glass  in  this  manner.  Arrange  for 
yourself  a  very  small  furnace  in  the  above  fashion,  and  some 
small  cups;  then  procure  ashes,  salt,  powder  of  copper  and 
lead.  These  things  arranged,  choose  the  colours  of  the  glass 
which  you  wish,  and  fire  and  wood  being  placed  under,  heat 
them.  In  the  mean  time  procure  for  yourself  a  piece  of  wood, 
a  palm  in  length  and  a  finger  in  breadth,  and  upon  one-third 
part  of  it  place  a  wooden  wheel  the  breadth  of  a  palm,  so 
that  you  may  hold  two  parts  of  the  wood  in  your  hand,  and 
let  the  wheel  remain  above  your  hand  firmly  fastened  to  the 
wood,  and  let  a  third  part  of  the  wood  show  itself  above  the 
wheel.  This  wood  must  be  cut  thin  at  the  extremity,  and  be 
so  joined  in  an  iron,  as  a  lance  is  joined  in  its  pike,  and  this 
iron  must  have  the  length  of  a  foot,  to  which  the  wood  is 
joined,  so  that  at  the  junction  it  may  be  even  with  the  wood, 
and  from  this  place  it  may  be  more  slender,  diminishing  to- 
wards  the  end,  where  it  must  be  quite  pointed.  And  near 
the  window  of  the  furnace  on  the  right  side,  that  is,  on  your 
left,  let  a  piece  of  wood  stand,  the  thickness  of  an  arm,  dug 


158  THEOPHILI    LIBER    II. 

unius  in  terra  fossum,  et  pertingens  usque  ad  summitatem 
fenestrse;  in  sinistra  vero  fornacis,  hoc  est  in  dextra  tua, 
juxta  ipsam  fenestram,  sit  fossula  in  argilla  facta.  Deinde 
cocto  vitro,  accipe  lignum  cum  rotula  et  ferro,  quod  vocatur 
veru,  et  pone  summitatem  ejus  in  vas  vitri,  modicumque  quod 
ei  adhaeserit  extrahens  punge  fortiter  in  lignum,  ut  vitrum  trans- 
foretur,  statimque  calefac  in  flamma  et  percute  super  lignum 
bis,  ut  vitrum  dilatetur,  atque  cum  festinatione  volve  manum 
tuam  cum  eodem  ferro,  ut  anulus  in  rotundum  amplificetur ;  et 
ita  volvendo  fac  eum  descendere  usque  ad  rotulam,  ut  aequalis 
fiat.  Quo  statim  ejecto  in  fossulam,  eodem  modo  operare 
quantum  velis.  Quod  si  volueris  anulos  tuos  aliis  coloribus 
variare,  cum  acceperis  vitrum  et  transpunxeris  cum  gracili 
ferro,  eice  de  alio  vase  alterius  coloris  vitrum,  in  modum  fili 
circumdans  eo  vitrum  anuli,  deinde  calefactum  in  fiamma, 
sicut  superius,  simili  modo  perfice.  Potes  etiam  super  anulum 
alterius  generis  vitrum  ponere  sicut  gemmam,  et  calefac  in 
fiamma  ut  adhsereat. 


EXPLICIT    LIBER    SECUNDUS. 


TRANSLATION.  159 

into  the  ground,  and  reaching  to  the  top  of  the  windovv ;  and 
on  the  left  of  the  furnace,  that  is,  on  your  right,  near  the 
same  window,  let  a  small  trench  be  made  in  clay.  Then, 
the  glass  being  cooked,  take  the  wood  with  the  wheel  and 
iron,  which  is  called  the  spit,  and  place  the  end  of  it  in  the 
vase  of  glass,  and  taking  out  the  little  which  may  have  ad- 
hered  to  it,  prick  it  strongly  into  the  wood,  that  the  glass  may 
be  pierced  through,  and  instantly  warm  it  in  the  flame,  and 
strike  it  twice  upon  the  wood,  that  the  glass  may  be  dilated, 
and  with  quickness  revolve  your  hand  with  the  same  iron,  that 
the  ring  may  be  enlarged  in  the  circle;  and  so  revolving, 
make  it  descend  as  far  as  the  wheel,  that  it  may  become 
smooth.  This  being  instantly  thrown  into  the  trench,  make 
as  many  as  you  wish  in  the  same  manner.  But  if  you  wish 
to  vary  your  rings  with  other  colours,  when  you  have  taken 
and  transpierced  the  glass  with  the  pointed  iron,  take  from 
another  vase  glass  of  another  colour,  surrounding  the  glass 
of  the  ring  with  it  in  the  manner  of  a  thread;  then,  warmed 
in  the  flame  asabove,  finish  itin  a  similar  manner.  Youcan 
also  place  upon  a  ring  glass  of  another  kind,  as  a  gem,  and 
warm  it  in  the  flame  that  it  may  adhere. 


END    OF    THE    SECOND    BOOK. 


NOTES    TO    BOOK    II. 


"  SI  VIDERIS,"  ETC.,  C.  VII.,  VIII. 

Grains  of  sand  (or  silica,)  and  natron  (or  the  carbonates  of  potash 
and  soda,)  having  been  known  from  the  earliest  period,  it  is  pro- 
bable  that  the  origin  of  glass  would  date  from  the  highest  anti- 
quity. 

The  Egyptians  had  at  a  remote  period  heated  these  alkaline 
silicates  in  contact  with  the  metallic  oxides,  at  Thebes  and  Mem- 
phis,  and  in  their  temple  of  "  Ptha  "  or  Fire,  devoted  to  the  prac- 
tice  of  their  occult  chemical  arts  l. 

"  I  have  often  found  in  the  ruins  of  ancient  cities  of  the 
Thebaid,"  writes  M.  Roziere,  "  amongst  the  fragments  of  coloured 
glass  with  which  they  abound,  some  pieces  tinted  with  various 
colours.  Many  of  them,  affording  in  some  of  their  parts,  beautiful 
tints  of  purple,  were,  I  think,  remains  of  the  ancient  artificial 
"  vasa  murrhina  " — frits,  glasses,  enamels,  are  also  found,  coloured 
by  metallic  oxides2. 

The  Phcenicians  having  traded  in  the  glass  of  Thebes,  became 
themselves  famous  in  the  art  of  its  manufacture.  The  tale  of  the 
fortuitous  discOvery  of  glass  by  them,  related  by  Pliny3,  and  fre- 
quently  quoted,  is  stated  by  Merret,  upon  the  authority  of  the 
most  experienced,  to  be  impossible,  as  even  by  the  most  violent 
fire  glass  cannot  be  made,  in  any  quantity,  by  burning  substances, 
fit  for  its  composition,  in  the  open  air. 

1  Kircher,  CEdip.  (Egypt.  T.  2.     Rome,  1653.     Alchimia  Hieroglyphica. 
*  Rosiere,  Description  de  1'Egypte  pendant  1'Expedition  Franc,aise.     Paris,  1820. 
T.  6.  p.  249. 

»  Plinii  Secundi.     Hi»t.  Nat.     L.  36.  C.  26. 

M 


162  NOTES    TO    BOOK    II. 

The  sand  of  the  Belus  was  probably  found  purer  than  else- 
where,  and  fit  for  the  composition  of  fine  glass,  and  thus  the 
Phoenicians  first  became  the  producers  of  a  beautiful  and  cele- 
brated  white  glass,  the  most  difficult  of  all,  at  this  period,  to 
acquire.  For,  owing  to  the  presence  of  metallic  oxides  in  the 
alkaline  carbonate,  or  the  quartzous  fragments,  the  production  of 
a  coloured  glass  would  be  of  earlier  date  than  a  pure  and  colour- 
less  vitrification.  Theophilus  provides  for  the  casual  colouring 
of  the  "  metal "  through  the  mixture  of  metallic  oxides  with  its 
elements. 


The  divers  colours  of  glass  not  transparent,  which  Theophilus 
tells  us,  c.  xii.,  were  found  in  the  edifices  of  the  Pagans,  in  mosaic 
work,  were  doubtless  of  the  kind  which  were  seen  in  Egypt  by 
M.  de  Roziere,  and  the  art  of  making  which  was  transmitted  to 
the  Greeks.  Pliny1  remarks  upon  a  manufacture  imitating  the  ob- 
sidian  stone,  "  Obsidian  stone  is  also  made  in  stained  fashion,  for 
vessels  of  repast,  and  a  perfectly  red  glass  and  not  Not  Trans- 
lucent,  called  haematinon.  White  is  also  made  and  Murrhinum 
(purple),  or  Hyacinth  and  Sapphire,  and  imitation  in  All 
Other  Colours."  In  the  previous  chapter  Pliny  mentions  that 
pavements  and  other  ornaments  in  glass  were  used  by  Agrippa  in 
the  construction  of  his  baths.  This  kind  of  mosaic  work,  then, 
served  the  Byzantine  artists  in  the  construction  of  the  enamelled 
vases  which  were  so  beautiful  in  colour  and  are  now  so  rare. 
These  enamels  are  all  opaque,  and  present  the  appearance  of  the 
finest  mosaics.  Theophilus  tells  us  that  white,  black,  green, 
yellow,  blue,  red  and  purple  glass,  found  also  in  the  form  of 
utensils,  were  used  for  this  work  by  the  French,  who  were  al- 
ready  "  skilful  in  the  art  "  of  working  glass.  Pliny,  indeed, 
states  that  Italy,  Gaul,  and  Spain,  pursued  the  manufacture  of 
glass. 

This  opaque  glass  was,  doubtless,  the  Vitrum  Romanum  of 
Eraclius,  some  of  whose  chapters  are  quoted  by  Theophilus  at  the 
end  of  the  third  book. 

1  Plinii,  Nat.  Hist.  L.  36.  C.  26. 


NOTES    TO    BOOK    II.  163 


THE  I.OST  CHAPTERS. 


Chapters  xii.,  xiii.,  xiv.,  xv.,  of  the  Harleian  Manuscript, 
are  wanting.  They  have  evidently  never  formed  a  part  of 
this  manuscript,  as  the  chapter  which  forms  our  No.  xii.,  "  De 
Diversis  Vitri  Coloribus  non  Translucidis,"  is  marked  No. 
xvi.  in  the  index,  and  yet  is  a  consecutive  chapter  in  the  body  of 
the  work.  They  have  been  abstracted  from  the  original  manu- 
script,  now  lost,  as  it  is  seen  elsewhere  that  the  oldest  copy  of 
Theophilus  known,  that  in  the  Imperial  Library  at  Vienna,  also 
wants  them,  as  do  the  Wolfenbuttel  and  Nani  MSS.  Having  the 
titles  of  these  chapters  in  the  index  it  will  perhaps  be  possible  to 
replace  this  lacuna  with  the  matter,  if  not  in  the  words  of  Theo- 
philus,  by  consulting  the  preceding  or  cotemporaneous  Byzantine 
works,  in  which  this  subject  is  discussed. 

C.  xii.  "  Of  the  colours  which  are  made  from  Copper,  Lead,  and 
Salt."— c.  xiii.  "Of  Green  Glass."— c.  xiv.  "  Of  Blue  Glass."— 
c.  xv.  "  Of  the  glass  called  Gallien."  These  are  the  titles  of  the 
missing  chapters,  and  they  unfortunately  leave  a  great  void  in  the 
history  of  the  art  of  the  period  at  which  Th*ophilus  wrote.  It  is 
not  to  be  doubted  that,  notwithstanding  the  resources  of  the 
modern  artificer  in  the  advances  and  the  aid  of  science,  some  of 
the  compositions,  of  material,  of  the  ancients  are  in  vain  sought  in 
our  day,  although  a  portion  of  our  glass  painters  refuse  to  acknow- 
ledge  the  fact.  Where  is  to  be  seen  in  the  atelier  of  to-day  the 
finest  and  peculiar  "  blue  "  traceable  until  the  end  of  the  fifteenth 
century  ?  Cobalt  will  not  produce  this  colour ;  or  if  so,  of  what  use 
is  our  vaunted  advance  in  chemical  science,  if  it  yet  remains  a  pro- 
blem  ?  Should  one  novelty  be  produced  from  the  perusal  of  the 
following  extracts,  they  will  have  been  found  worthy  the  perusal 
of  the  artist,  and  they  will  repay  the  labour  of  research. 


OF  GREEN  GLASS. 

Olympiodorus  of  Alexandria,  who  wrote  at  the  commencement 
of  the  third  century,  and  a  manuscript  of  whom  upon  the  "  sacred 
art"  of  alchemy  is  in  the  Bibliotheque  Royale  at  Paris,  No.  2250, 
gives  us  the  mode  of  imitating  the  emerald. 

m  2 


164  NOTES    TO    BOOK    II. 

"  Take  two  ounces  of  fine  crystal  and  half  an  ounce  of  calcined 
copper,  <xjxh*.w  xexavphov,  grind  these  substances  in  a  raortar,  and 
melt  them  together  by  an  equal  fire,  "<ru  w^." 

In  the  Byzantine  MS.  given  by  Muratori,  already  referred  to, 
the  composition  of  a  green  glass  is  found,  p.  3701. 


"  DE    TINCTIO    VITRI   PRASINI. 

Tere  vitrum  bene,  limas  heramen  mundum,  et  mittes  in  libras 
de  viturum,  heramen  -7-  III,  et  coques  per  dies  III. — "  Grind 
glass  well,  file  clean  bronze,  (or  copper,)  and  put,  to  a  pound  of 
glass,  three  '  sesuncise,'  (a  sesuncia  is  about  \\  ounce,)  and  cook 
for  three  days." 

ALIA    TINCTIO. 

"  Teres   vitrum  bene.     Mitte  per heramen,  -j-  1  : 

halumbi  Hegiptii,  -J-  1  :  et  quoques  per  dies  III. — "  Grind  glass 
well,  put  to  (a  pound  of  glass?)  1  sesuncia  of  copper,  1  sesuncia 
of  Egyptian  alum  —  and  cook  for  three  days. 

This  "  halumbum  "iEgyptum  "  should  be  a  native  carbonate  of 
soda.  See  Pl.  1.  31,  c.  7.  It  may  be  borax,  for  the  writings  of 
the  Arab  alchemists  were  already  exerting  their  influence.  lf 
lead  be  used  in  the  manufacture  of  this  glass,  which  is  ground 
and  afterwards  mixed  with  the  salt  and  copper,  we  have  here  the 
xiith  cap.  of  Theophilus. 

All  the  ancient  green  glass  was  produced  from  copper  alone. 
Eraclius,  the  next  in  rotation  upon  this  theme,  affbrds  no  further 
knowledge,  as  copper  and  bronze,  "  auricalchum  "  are  the  ingre- 
dients,  mixed  with  lead. 


'    "  HOW  GLASS  IS  MADE  FROM  LEAD,  AND  HOW  IT  IS  COLOURED. 

"  Take  the  best  and  bright  lead  and  put  it  into  a  new  pot  and 
burn  it  on  the  fire  until  it  become  a  powder.     Then  take  it  from 

1  Muratori,  Antiquitates  Ital.  Medii  vEvi.     Vol.  ii.  p.  370. 

*  Taken  from  the  Eraclius  in  the  Paris  Manuscript,  No.  6741;  it  somewhat  dif- 
fers  from  the  chapter  given  by  Easpe  from  the  MS.  of  Trinity  Col.  Cambridge,  now 
in  the  British  Museum. 


NOTES    TO    BOOK    II.  165 

the  fire  that  it  may  cool.  Afterwards  take  sand  and  mix  it  with 
this  powder,  so  however  that  two  parts  may  be  lead  and  the  third 
sand,  place  it  in  an  earthen  vessel  and  act  as  is  written  above  for 
making  glass,  and  place  this  vessel  in  the  furnace  and  continually 
stir  it  until  the  glass  is  made.  If,  however,  you  wish  to  act  so  as 
to  make  a  green  glass,  take  filings  of  bronze  (auricalcum)  and  put 
them  in  together  with  the  lead  glass,  as  much  as  appears  right ; 
then  if  you  wish  to  make  any  vessel,  do  so  with  the  iron  tube. 
Afterwards  take  out  the  vessel  with  the  glass,  and  allow  it  to  be- 
come  cold." 

Two  chapters  found  at  the  end  of  this  Harleian  MS.  in  a  book, 
**.  De  Unguentis,"  and  which  is  a  compilation  of  medical  recipes, 
treatof  green  glass;  orpiment  is  the  colouring  metal  of  one.  In 
p.  142  of  theMS. 

"  SHOULD    YOU    WISH    TO    MAKE    A    CHRYSOLITE    OF    GLASS." 

"  Take  crystal  and  place  it  in  alum  (Qu.?  potash  or  soda)  for 
eleven  days,  then  cook  it  with  orpiment  and  it  will  be  a  chryso- 
lite." 


"  SHOULD    YOU    WISH    TO    MAKE    AN    EMERALD    FROM    GLASS. 

"  Place  crystal  in  alum  for  twelve  days,  then  cook  it  with  green 
copper,  and  it  will  be  an  emerald."  These  have  not  been  written 
later  than  the  commencement  of  the  thirteenth  century. 


OF  SAPPHIRE  GLASS. 

Theophilus,  in  c.  xii.  tells  us  that  the  Greak  mosaic  sapphire 
stones  were  melted  with  white  glass  in  order  to  form  costly  plates 
of  sapphire,  for  windows ;  and  in  c.  xiii.  that  the  Greeks  made 
drinking  cups  from  the  same  stones,  which  they  ornamented  with 
gold.  Having  already  remarked  upon  what  may  be  regarded  as 
the  sapphire  of  the  Greeks,  in  a  note  to  the  first  book  (p.  77, 
et  seq.),  I  do  no  more  than  call  the  attention  of  the  reader  to  the 
opinion  there  expressed  that  the  Law^i^o?  of  the  ancient  Greeks 
was   our   lapis  lazuli.     The   sapphire  of  Theophrastus   which   is 


166  NOTES    TO    BOOK    II. 

spotted  with  gold  *,  and  which  is  of  a  dark  dye,  and  not  very  dif- 
ferent  from  the  male  Cyanus2,  is  no  other  than  that  stone. 

That  the  Sapphire  (or  lapis  lazuli)  was  employed  in  order  to 
colour  glass  of  a  rich  blue,  I  hope  to  be  enabled  to  show,  and  that 
this  was  the  substance  which  produced  the  fine  and  peculiar  tints 
both  in  glass  and  enamel,  there  will  be  no  reason  in  many  instances 
to  doubt ;  may  the  artist  succeed  in  reproducing  these,  and  in  re- 
covering  a  lost  branch  of  his  art. 

The  Byzantine  MS.  given  by  Muratori  is  silent  upon  the  sub- 
ject  of  a  blue  glass. 

Eraclius  informs  us,  after  having  directed  the  manufacture  of  a 
glass  of  silica  fluxed  with  lead,  "  De  isto  vitro  plumbeo,  ille  sci- 
licet  qui  coeruleus  est,  qui  de  duobus  coloribus  potest  fieri,  poteris 
si  vis  cum  pulvere  saphireo  miscere  ad  pingendum  in  vitro." — 
"  From  this  lead  glass,  that  one  namely  which  is  blue,  which  can 
be  made  of  two  colours,  you  can  mix,  if  you  wish,  sapphire 
powder  for  painting  upon  glass."3     Again, 

"quomodo  pingitur  in  vitro." 

"  Dicendum  quo  modo  pingere  debes  in  vitro.  Accipe  gros- 
sinum  de  saphiro  et  palliam  quae  excutitur  de  calido  ferro  super 
incudem  fabri,  cum  grossino  tertiam  partem  pones,  et  plumbeum 
vitrum,  judicatim  scilicet,  misces,  et  super  marmorem  ferreum 
fortiter  teres,  sicque  pingere  potest." 

"  HOW    A    PAINTING    IS    MADE    UPON    GLASS." 

"  It  must  be  told  how  you  should  paint  in  glass.  Take  a  piece 
of  sapphire,  and  the  rust  which  is  struck  from  the  hot  iron 
upon  the  smith's  anvil,  you  put  a  third  part  with  the  piece  (of 
sapphire),  and  you  mix  lead  glass,  with  judgment,  and  you  grind 
it  strongly  upon  an  iron  slab,  and  it  can  thus  be  painted  with." 

Eraclius  mentions  "  Lazur  "  in  a  composition  for  colouring 
earthenware  vases  of  a  dark  hue  ;  this  is  noticed  elsewhere  as  pro- 
bably  a  preparation  from  copper  or  cobalt. 

1  Theophrastus,  <rtg<  rm  xidm.  XLIII.     Translated  by  Hill. 
*  Idem.  LXV. 

3  These  extracts  are  taken  from  the  Eraclius  in  the  Le  Begue  MS.,  Paris,  which 
somewhat  differs  from  the  Trinity  College  MS.,  although,  in  substance,  similar. 


NOTES    TO    BOOK    II.  167 

Suger,  who  was  employed  by  Louis  le  Gros  to  direct  the  works 
at  St.  Denis  in  the  embellishment  of  the  Abbey,  tells  us  that  "  the 
workmen  pounded  '  sapphires  '  in  abundance,  and  burnt  them  in 
(or  upon)  the  glass,  to  give  it  the  colour  of  azure."' 

In  the  Sloane  collection  of  MSS.  in  the  British  Museum, 
No.  1754,  of  the  early  part  of  the  fourteenth  century,  is  a  short 
treatise  on  colouring  crystal.  After  directing  that  the  crystal  be 
several  times  heated  and  well  washed,  it  proceeds — 

"  Vous  prendrez  un  pot  de  terre  plumbe  de  dens,  et  pus  si 
pernez  une  livre  de  vostre  poudre  de  cristas  et  de  mye  lyvre  de 
vostre  sel  niter  et  de  sans  de  verre,  vi  medlez  ove  vostre  poudre 
de  cristal,  vous  le  criblez  bien  ensemble  vi  les  metez  en  vostre  pot 
vi  covrierez  cel  pot  de  un  covercel  ke  seyt  en  milu  perce.  Vi 
devez  avez  un  tuel  de  fer  ke  pus  entrez  en  cel  perce,  par  ou  la 
fumosite  puse  isser,  et  ce  pot  deyt  byen  estre  arsilez  tot  en 
viroun."  This  is  placed  in  the  fire  for  a  day  and  night.  It  then 
continues : 

"  Who  wishes  to  make  a  precious  green,  clear  and  bright 
stone  from  the  crystal  here  composed,  must  take  calcined  lead 
(prenge  cendres  de  plumb  ars  mult  menu  criblez),  and  grind 
it  very  fine.  I  will  tell  you  how  you  must  make  this  calcined 
lead.  Melt  the  lead  in  a  round  pot,  take  powder  of  orpiment  finely 
pulverized,  you  throw  it  upon  the  lead  when  it  is  melted,  stir  it 
well  until  the  lead  is  burnt  to  powder  and  becomes  a  cinder,  then 
take  this  cinder  and  grind  it  in  a  mortar."  (This  is  a  litharge,  the 
protoxide  of  lead.) 

100  drachms  of  this  "  cristal"  and  two  drachms  and  a  half  of 
this  "  calcined  lead"  are  then  ground,  sifted  and  washed,  and 
dried  in  the  sun.  "  Then  you  take  1 00  drachms  of  this  cristal 
and  two  and  a  half  of  the  finely  sifted  lead,  place  these  in  an 
earthen  pot  which  can  sustain  a  great  fire,  you  cook  a  day  and  a 
whole  night,  then  extinguish  the  fire  and  you  will  find  a  beautiful 
and  bright  stone,  and  green  as  an  emerald." 

"  If  you  wish  to  make  sapphire  (Safir)  from  this  »  cristal/  take 
of  the  cristal  100  drachms,  and  of  the  calcinedlead  five  drachms, 
you  cook  them  (vi  les  quisez)  a  whole  night  and  day;  when  melted 
you  break  it  up  in  a  mortar  and  sift  (saciez)  it  small  and  take  five 

1  Histoire  de  St.  Denys,  par  Doublet.     Paris,  1625,  p.  242. 


168  NOTES    TO    BOOK    II. 

drachms  of  good  azure,  fine,  which  can  sustain  fire  without  losing 
its  colour ;  grind  it  fine  with  the  cristal  powder,  put  it  in  a  pot  and 
allow  it  to  cook  three  days  and  three  nights,  then  extinguish  the 
fire  and  allow  it  to  cool,  and  you  will  find  the  glass  melted  and  well 
coloured  like  a  sapphire." 

Paul  de  Canotanto1  places  this  beyond  a  doubt,  for  he  mentions 
"  lapis  lazuli "  as  the  substance  to  be  employed  for  tinging  glass 
of  a  sapphire  colour. 

Paul  de  Canotanto  appears  to  have  lived  early  in  the  fifteenth 
century ;  the  writing  is  of  this  epoch,  and  he  tells  us  he  was  a  native 
of  Tarento.  His  book  is  entitled  "  Theoria  ultra  estimationem 
peroptima  ad  cognitionem  totius  alkimiae  veritatis."  In  the  second 
or  practical  part  is  a  notice  upon  the  fabrication  of  gems. 

"  Si  Smaragdum  habere  volueris,  apponas  viride  aes  ;  si  vero 
Sapphir  ponas  satis  de  lapide  lazuli :  si  Jacinthum  violaceum,  ponas 
vel  minus  vel  plus  lapidis  dicti :  si  Jacinthum  Granatum,  ponas  de 
pulvere  Malachitis;  si  Chrysolithum,  pone  Arsenicum :  si  Topa- 
sium,  mediocriter  ponas  arsenicum." 

"  Should  you  wish  to  have  an  Emerald,  use  green  copper  (the 
bi-acetate)  :  if  a  Sapphire  add  enough  '  lapis  lazuli  ' ;  if  a 
violet  coloured  Hyacinth,  put  less  or  more  of  the  same  stone :  if  a 
Garnet  hyacinth,  put  powder  of  malachite  :  if  a  Chrysolite,  use 
arsenic :  if  a  Topaz,  use  arsenic  moderately. 

Alexius  2,  Mizaldus,  Babtista  Porta,  Neri,  De  Piles,  and  other 
authorities  mention  the  lapis  lazuli  as  an  ingredient  in  the  compo- 
sition  of  glass  of  difFerent  shades  of  blue. 


C.  XV.  "  OF  THE  GLASS  CALLED  GALLIEN." 

Theophilus  having  taught  the  processes  for  making  varieties  of 
green  and  a  blue  glass,  would  proceed  to  describe  the  manufacture 
of  a  red.  The  origin  of  the  term  "  Gallien,"  as  applied  to  a  red 
glass,  is  open  to  conjecture,  whether  from  the  Greek,  "  xaAoj," 
beauty ;  or  from  "  Galienus,"  under  whose  reign  the  arts  were 
cultivated,  and  in  whose  time  arabesque  and  other  architectural 

1  No.  7159.     Bibliotheque  Royale,  Paris. 

*  Alexius  de  Secretis,  4°  Lucca,  1557,  i»  the  best  edition  of  this  author. 


NOTES    TO    BOOK    II.  169 

ornaments  were  introduced  into  Rome ! ;  probably  from  the  latter 
cause. 

Eraclius,  "  De  Artibus  Romanorum,"  is  the  only  author,  with 
the  exception  of  Theophilus,  who  makes  mention  of  "vitrum 
gallienum;"  and,  fortunately,  his  chapter  upon  this  subject  is  not 
lost  to  us2.  After  describing  the  manufacture  of  white  glass, 
Eraclius  proceeds  to  direct  the  colouring  of  it. 

"  Si  vero  vis  ut  efficiatur  rubeum  de  cinere  tamen3  bene  cocto 
sic  facies." 

"  But  should  you  wish  to  make  a  red  from  the  •  ashes,'  well 
cooked,  however,  you  act  thus.  Take  the  filing  of  copper,  and 
burn  it  until  it  becomes  povvder,  and  place  it  into  the  small  vessels 
of  glass,  and  it  will  become  a  red  glass,  which  we  call  Gallien : " 
"  quem  Gallienum  vocamus." 

The  "  Gallien,"  then,  was  the  deep  carmine-coloured  glass  pro- 
cured  from  a  protoxide  of  copper,  which  is  now  generally  flashed 
upon  a  white  glass,  as.,  unless  worked  as  soon  as  the  red  colour 
appears,  it  becomes  of  a  tint  too  intense,  to  be  serviceable. 

The  MS.  Sloane,  1754,  already  quoted,  fol.  153,  contains  a 
recipe  for  a  red  glass. 

"  If  you  wish  to  make  beautiful,  clear,  and  shining  red  stones, 
take  100  drachms  of  your  cristah"  and  two  and  a  half  drachms  of 
black  oxide  of  iron,  (magnesia  ferrea,)  this  is  the  magnetic  stone 
which  attracts  iron  ;  (ce  est  une  pyere  ke  est  aymant  si  tret  fer ;) 
place  it  to  cook  for  five  days  and  five  nights  in  the  pot,  then  with- 
draw  the  fire  and  allow  it  to  cool." 

Pliny  also  mentions  this  protoxide  of  iron  for  the  purpose  of 
staining  glass.  "  Caeptus  addi  et  magnes  lapis ;  quoniam  in  se 
liquorem  vitri  quoque,  ut  ferrum,  trahere  creditur."4 


1  Emeric  David.    JDiscours  Hist.  sur  la  Peinture,  p.  17. 

2  Raspe.   "  Eraclius  de  Artibus  Romanorum,"  p.  112 ;  et  "  Liber  Tertii  Eraclii." 
MS.  Bibliotheque  Royale,  Paris,  No.  6741. 

*  I  quote  from  the  Cambridge  MS.  itself,  (Kaspe  reads  it,  "  non  bene  cocto,")  a» 
the  "cinis"  of  Eraclius  is  the  heated  mixture  of  sand  and  potash. 
4  Plinii.     Nat.  Hist.     L.  36,  C.  26. 


170 


NOTES    TO    BOOK    II. 


C.  XIII.  AND  C.  XIV.  «  VITRUM  CLARISSIMUM,  VELUT 
CRYSTALLUM,  QUOD  IPSI  COMPONUNT." 

The  "  very  clear  glass  like  crystal "  used  by  the  Greeks,  in 
order  to  attach  gold  leaf  to  vases,  and  which  in  C.  xiv.  is  employed 
upon  an  ornament  of  gold,  or  silver,  previously  laid  upon  glass,  is 
no  other  than  a  flux  capable  of  retaining  and  combining,  by  the 
action  of  fire,  with  the  various  vitreous  colouring  substances  after- 
wards  superposed.  This  last  chapter  indeed  proves  that  the 
Byzantine  Greeks  practised  the  art  of  Painting  upon  Glass,  an 
art  which  all  the  French  writers,  from  Le  Viel  to  M.  E.  Thibaud, 
with  perhaps  a  laudable  partiality,  labour  to  prove  of  French 
origin,  and  of  the  twelfth  or  thirteenth  century. 

Emeric  David1  indeed,  in  exception,  mentions  that  the  historian 
of  the  monastery  of  St.  Begnine,  who  wrote  about  1052,  declares 
that  there  existed,  yet  in  his  time,  in  the  church  of  the  monastery, 
a  very  ancient  glass  window,  representing  the  martyrdom  of  St. 
Paschasie,  and  that  this  painting  had  been  taken  from  the  old 
church,  restored  by  Charles  the  Bald,  (a.  d.  850,)  "  ut  qu^dam 
vitrea  antiquitus  facta,  et  usque  ad  nostra  perdurans  tempora, 
eleganti  praemonstrabat  pictura." 

The  Benedictines  have  ascribed  this  invention  to  the  period  of 
Charlemagne,  T.  6,  p.  66,  and  with  more  reason.  For  Theo- 
philus  not  only  describes  the  ornamenting  of  cups,  vases,  and 
other  utensils,  by  means  of  coloured  glass  fluxed  upon  a  white 
ground;  but  in  C.  21  are  found  clear  directions  for  painting  upon 
glass.  "  In  the  same  manner  you  make  grounds  of  the  clearest 
white,  the  figures  of  which  grounds  you  ornament  with  sapphire, 
green,  purple,  and  red."  The  dark  colour  is  to  take  the  place  of 
posc  in  marking  the  nude,  &c. 

Traces  of  a  flux  for  the  purpose  of  ornamenting  vases,  whether 
of  glass  or  earthenware,  are  found  scattered  through  the  books  of 
Eraclius.  The  art  of  rendering  glass  more  fusible  by  means  of 
litharge  was  well  known  to  that  writer. 

A  very  curious  Manuscript  in  the  Sloane  collection,  No.  3661, 
which  encloses  the  practice  of  an  anonymous  alchemist  of  the  four- 

1  Emeric  David,  loc.  cit.,  p.  151. 


NOTES    TO    BOOK    II.  171 

teenth  century,  with  a  variety  of  other  matters,  contains  also  a  trea- 
tise  upon  colouring  glass.  The  MS.  is  written  in  the  sixteenth  cen- 
tury,  and  is  a  copy  from  an  older  work.  It  contains  the  following 
notice : — "  This  booke  pertayneth  to  me  John  Elyot,  which  was 
written  out  of  an  old  copye  (by  William  Belyngslie,  oon  of 
the  costmers  of  the  port  of  Bristowe)  in  anno  1572  :  which 
copye  seemeth  to  be  above  200  yers  old." 

As  this  MS.  contains  the  practice  of  ornamenting  glass  during  a 
period  of  which  we  have  few,  if  any,  records  of  the  art,  I  have 
collected  some  fragments  which  may  be  acceptable  to  the  reader. 


A    BLUE    COLOUR. 

P.  4.  "  Color  Blavum."  Blavus  color  is  said  to  be  of  a  purple, 
or  blue,  in  the  Catholicon  and  the  Tabula  de  Voc.  Synon.  of  Le 
Begue  ;  it  is  a  Byzantine  term. 

Purified  crystal  glass,  10  tt» :  ground  and  pulverized  ZaflFer,  1 
drachm.  (Cobalt,  sometimes,  which  took  that  name  during  these 
periods  from  resemblance  to  the  colour  of  the  Greek  sapphire, 
when  combined  with  a  silicate.)  These  materials  are  to  be  ground 
and  placed  in  the  furnace. 


"  A    VIOLET    COLOUR."       "  COLOR   VIOLETUS. 

Purified  crystal  glass,  10  fb. 

Project  into  it  1  lb  of  manganese,  ground.     "  Magnesia." 

Grind  and  place  it  in  the  furnace. 


"  AN    EMERALD    COLOUR."       "  COLOR    SMARALDl 

Prepared  crystal  glass,  1  tb. 

Calcined  lead,  1  lb. 

Scales  of  copper,  prepared,  2  tb.     (Qu.  ?  2  oz.) 

Green  glass,  1  ft». 

Scales  of  iron,  1  oz. 

Grind  all  together  and  place  it  in  the  furnace. 


172  NOTES    TO    BOOK    II. 

"  A    PALE    RUBY    COLOUK."       "  COLOR    BALASSII." 

Prepared  crystal  glass,  10  ib. 

Scales  of  copper,   1  part  by  weight  to  20  parts  by  weight  of 

crystal. 
1  oz.  yellow  oxide  of  iron.     (croci  ferri.) 
Grind,  and  place  it  in  the  furnace. 

"  A    RUBY    COLOUR."       "  COLOR    RUBINI." 

Take  the  tartar  of  red  wine,  thick,  and  hard  to  break,  8  parts. 

Prepared  crystal  glass,  2  parts. 

Grind  and  melt  this. 

Then  take  20  parts  by  weight  of  this,  and  1  part  by  weight 

of  scale  of  copper. 
Yellow  oxide  of  iron,  \  an  oz.     (croci  ferri.) 
Grind  this  together  with  red  wine,  place  it  in  the  furnace, 
withdraw  and  powder  it ;  replace  it  four  times. 
This  bi-tartrate  of  potash,  which  was  used  as  extensively  as  the 
borate  of  soda  is  now,  in  the  composition  of  a  flux  for  glass,  and 
in  the  preparation  of  pigments,  here  serves  to  deoxidize  the  "scale," 
or  red  oxide  of  copper1,  and  the  red  colour  is  evolved.     Other 
substances  containing  carbon  are  serviceable  for  this  purpose. 

"  THE  MODE  OF  PREPARING  SOME  INGREDIENTS  BELONGING  TO  THE 
ABOVE  WORK." 

"  The  scale  of  copper  is  thus  prepared.  Take  as  much  copper 
scale  as  you  wish,  and  grind  it  well,  and  dissolve  it  in  vinegar,  (in 
aceto,)  and  pass  it  through  a  filter,  (distilla  per  filtrum 2,)  and  you 
can  do  this  again,  as  above,  and  that  which  is  strained  you  inspis- 
sate,  and  grind  it  well  to  your  fancy.  And  you  can  do  thus  with 
scales  of  iron  ;  and  yellow  of  iron  is  treated  in  a  similar  manner." 

"  Zaffer  (Zaffira)  is  thus  purified : — Take  2  oz.  of  it  and  grind 
it  well  upon  porphyry,  with  acidulous  water,  after  the  fashion  of 
the  above  colours,  for  four  hours,  and  lay  it  out  to  dry ;  add  water 
when  it  is  wanted  in  grinding." 

1  The  "  aes  ustum  "  of  the  ancients. 

*  Numerous  errors  appear  to  have  arisen  from  not  distinguishing  the  phrase  "  dis- 
tillare  per  filtrum "  from  "  distillare/'  by  which  latter  was  intended  "  distillare  per 
alembicum,"  or  to  distil. 


XOTES    TO    BOOK    II.  173 

"  The  calcination  of  tartar  of  red  and  white  wine  is  thus  made. 
Wash  hard  tartar  often  in  water,  and  place  it  to  be  calcined  in  a 
reverberatory  furnace,  with  littlefire  at  first ;  augment  it  afterwards 
until  it  grows  white  inside.  Then  cast  it  into  hot  water  in  a  clean 
vessel,  and  dissolve  it  with  a  clean  spatula,  and  when  it  has  become 
dissolved,  allow  it  to  cool.  Afterwards  pass  it  through  a  filter,  then 
bear  it  upon  the  fire  and  inspissate  that  which  is  strained,  and  after- 
wards  grind  it  and  put  it  into  an  uncovered  pot  to  calcine,  until  the 
pot  is  red  hot,  for  one  hour,  perhaps  ;  afterwards  extract  and  grind 
and  dissolve  it  in  hot  water  and  expose  it  to  cool ;  afterwards 
filter  and  evaporate,  again  calcine  it  as  before  another  hour ;  dis- 
solve,  evaporate,  and  calcine  it :  when  it  runs  upon  a  plate  or  the 
furnace  without  fume  it  is  then  proper  for  melting  crystal." 


"  THE    METHOD    OF    MELTING    GLASS    IS    QUICK    AND    EASY. 

"  Take  clear  crystal,  as  much  as  you  please,  and  in  large  stones, 
so  that  it  may  be  the  size  of  a  hen's  egg,  or  half,  and  place  these 
pieces  in  a  brass  or  iron  vessel,  extra-luted,  in  a  coal  fire,  and 
when  they  shall  become  glowing,  quench  these  stones  of  crystal  in 
good  oil  of  tartar,  (in  oleo  bono  tartari1,)  white  and  pure,  and 
do  the  like  seven,  or  more,  times ;  afterwards  grind  it  very  fine  in 
a  mortar,  and  pulverize  it  well  and  sift  it;  afterwards  put  the 
powder  into  an  iron  pot,  (caryfia,)  and  place  it  upon  a  coal  fire ;  it 
is  then  quickly  and  easily  melted.  Know  that  when  the  crystal  is 
soft  over  the  fire,  you  should  throw  oil  of  tartar  into  it  drop  by 
drop,  and  it  will  be  easily  melted ;  and  when  it  has  become  fused 
cast  it  upon  plates  of  iron." 

"ANOTHER    FLUX    OF    CRYSTAL    GLASS."      "  ALIA    FUSIO    CHRYSTALLI." 

"  Take  crystal  very  finely  powdered  and  calcined,  1  part :  sal 
alkali,  2  parts  :  mix  them  in  a  proper  vessel,  and  place  it  in  the 
glass  furnace,  and  when  fused  add  the  colours  mentioned  below." 

"  ANOTHER    FLUX    FOR   CRYSTAL." 

"  Take  crystal,  and  well  purified  oil  of  tartar,  project  the  lattcr 

1  Is  this  the  tartrate  of  potash  1  or  the  carbonate  of  potash  in  a  deliquescent 
state  ?    Probably  the  former. 


174  NOTES    TO    BOOK    II. 

drop  by  drop  upon  the  former  upon  the  fire  until  it  commences  to  be 
fused  ;  this  being  done  and  pulverized  upon  the  marble,  add  nitre 
(sal  aoni,  s  afronitri,  or  nitrate  of  polash,)  and  place  it  in  a  glazed 
vessel  to  dissolve." 


"  ANOTHER    FLUX." 

"  Take  the  glass  you  wish,  and  place  it  in  a  crucible,  or  an  iron 
vase,  upon  a  strong  fire,  until  it  is  made  quite  red,  and  afterwards 
throw  it  into  cold  water,  then  withdraw  and  dry  it,  and  grind  it 
well,  and  sift  it  very  fine,  and  grind  it  upon  a  marble  until  it  is 
made  impalpable.  Then  place  the  powder  in  an  earthen  crucible 
(+bo-)>  ana"  Put  tne  said  glass  powder  and  sal  alkali  (carb.  of  pot- 
ash),  equal  parts,  or  even  Alexandrian  Nitre,  (d'i  sale  nitro  Alex- 
andrino,  Borax1,)  powdered  and  mixed  together  in  the  crucible, 
and  place  the  crucible  in  a  flaming  furnace,  and  it  is  melted,  and 
the  salt  will  be  evaporated  and  the  crystal  will  remain  fused,  which 
you  can  colour  as  you  please." 

The  same  manuscript  contains  the  method  of  making  false 
gems,  the  recipes  for  the  colours  for  which  will  be,  perhaps,  worth 
perusal.  The  whole  book  upon  glass  manufacture  is  of  interest, 
as  it  appears  to  contain  the  processes  of  this  branch  of  art  em- 
ployed  in  our  own  country  at  a  period  when  we  were  inferior  to 
none  in  the  science  of  glass  decoration,  only  equalled  by  the 
French,  whose  monuments  have  but  partially  suffered  during  the 
momentous  convulsions  which  at  the  close  of  the  last  century  agi- 
tated  their  country,  while  we  have  to  deplore  an  extreme  loss 
effected  through  the  virulence  of  iconoclastic  barbarity. 

It  is  worthy  of  remark  that  these  signs  which  follow,  in  some 
places,  are  all  of  the  Byzantine  Greek  period,  and  frequently  met 
with  in  the  manuscripts  of  this  school  concerning  "the  sacred  art," 
alchemy. 

FOL.    61.       "  IF    YOU    WISH    TO    MAKE    THE    CARBUNCLE. 

"  Take,  $  (gold,)  finely  calcined,  which  you  have  separated  from 
all  salt,  1  part :  sal  alkali,  2  parts :  and  melt  in  the  glass  fur- 
nace." 

1  La  Borace  dagli  antichi  si  chiama  "  Chrisocolla,"  e  gli  Arabi  scrittori  "  Nitro 
Alessandrino." — Alexius  de  Secretis.     Lucca,  1557,  p.  179. 


NOTES    TO    BOOK    II.  175 


IF    YOU    WISH    TO    MAKE    RUBY. 


"  Take  1  part  yellovv  oxide  of  iron,  and  2  parts  salis  alkali," 
(carb.  ofpotash). 


IF    YOU    WISH    TO    MAKE    SAPPHIRE. 


"  Take  1  part  atzurii  arm.  (This  must  either  rnean  the  lapis 
armenus,  or  the  lapis  lazuli,  the  •  sapphiros  '  of  the  Greeks ;  they 
were  confounded  one  with  the  other  during  the  middle  ages :  the 
latter  stone  is  certainly  intended1,)  and  2  parts  salis  alkali." 


IF    YOU    WISH    HYACINTH. 


"  Take  1  part  salis  alkali,  half  a  part  protoxide  of  gold,  (calcis 
©is.  =)  and  half  a  part  ground  iron." 


"  IF    YOU    WISH    EMERALD. 


"  Take  2  parts  salis  alkali,  and  a  little  oxide  of  copper  (calcis 
cupri),  well  prepared." 


"  IF    YOU    WISH    A    TOPAZ. 


"  Take  2  parts  sal  alkali,  a  little  oxide  of  gold,  and  a  little 
calcis*  "5  ni.  (protoxide,  or  per-oxide  of  lead.) 

"  IF    YOU    WISH    A    GARNET. 

"  Take  2  parts  sal  alkali,  and  a  little  oxide  of  gold,  and  a  little 
haamatite."     (Lapidis  sanguinariae.) 

"  IF    YOU    WISH    A    CHRYSOLITE." 

"  Take  2  parts  salis  alkali  and  one  part  of  prepared  calamine  of 
zinc."     (Tutiae  calaminaris  preparatae.) 

1  Leviel,  however,  who  informs  us  that  he  writes  from  "  old  family  recipes,"  tells 
us  that  "  bleu  de  montagne,"  and  "  grains  de  rocaille,"  are  used  to  manufacture  a 
blue  glass.  The  "  bleu  de  montagne,"  as  the  Armenian  stone,  is  coloured  by  carbo- 
nate  of  copper.     This  mixture  alone  would  not  produce  a  blue  glass. 


176 


NOTES    TO    BOOK    II. 


IF    YOU    WISH    A    TURQUOISE. 


"  Take  %  parts  salis  alkali  and  half  a  part  oxide  of  gold  (cal- 
cis  ©is.),  and  half  a  part  azurii  de  arm.     (sapphire.)" 


IF    CARNF.LIAK. 


"  Take  2  parts  salis  alkali  and  half  a  part  oxide  of  tin,  cal- 
cis  5 H,  (this  mark,  or  one  analogous,  was  sometimes  used  for 
mercury,)  and  half  a  part  of  golden  marcasite,  and  half  a  part  oak 
ashes.     (cineris  balanytiae,  »  /3«;\ai<*&»."    Qu.f) 

P.  6.     "  for  making  sapphire."     "  Zaphiros." 

Take  crystal  1  lib.  grind  it  very  fine  and  sift  it,  afterwards  put 
\  fb  of  the  powder  of  stag's  bones  burnt,  if  you  can  procure  them, 
if  not  of  other  animals,  or  sal  alkali  lib.  |,  grind  all  very  fine,  and 
mix  them  well  together  ;  take  this  powder  and  put  it  into  a  strong 
pot,  and  covered  and  luted  outside  ;  when  you  have  cooked  this  in 
the  glass-maker's  furnace,  allow  it  to  remain  five  or  seven  days,  which 
is  better,  and  it  is  there  melted  like  glass.  Afterwards  place  good 
ultramarine  blue1  ("  azurio  ultramarino")  and  being  mixed  to- 
gether  it-will  make  the  celestial  colour  for  making  sapphires." 

This  would,  owing  to  the  presence  of  phosphate  of  lime,  produce 
an  opaque  glass. 

In  a  manuscript  of  the  fourteenth  century  in  the  Bibliotheque 
Royale  at  Paris  is  the  following  practice  of  making  a  flux  for  glass. 
MS.  7147.     Fol.  69. 


"  TO    MELT    GLASS    AND    SIMILAR   THINGS." 

"  Take  •  salis  petrae,'  (probably  bitartrate  of  potash,  rather 
than  the  nitrate,)  "  borrax,"  "  ceruse,"  equal  quantities ;  mix 
them  well  together,  pulverized  with  oil  of  eggs  :  thus,  as  a  paste 

1  Beckmann  writes  that  the  first  mention  of  the  word  ultramarine,  as  made  from 
the  lapis  lazuli,  is  found  in  Camillus  Leonardus,  1502.  It  is  to  be  found  in  the  book 
of  John  of  Modena,  "  pictoris  habitantis  in  Bononia."  From  which  the  mode  of 
preparation  was  copied  in  1410,  for  Jobn  Le  Begue.  This  method  is  similar  to  that 
now  employed.     The  term  appears  to  have  been  used  in  Roman  art. 


NOTES    TO    BOOK    II.  177 

and    dry,    this    powder   will    cause    crystal    and    other    things    to 
melt." 

The  oil  of  eggs  was  supposed  to  possess  great  virtues  in   the 
middle  ages. 


C.  XVI.  "  DE  VASIS,  ETC,  PICTIS." 

For  painting  earthenware  vessels  the  Greeks  were  accustomed 
to  use  coloured  fluxes  mixed  with  different  pigments  suitable  to 
the  purpose.  This  art  would  naturally  lead  to  that  of  painting 
upon  glass,  the  transition  would  likewise  be  immediate.  In  chap. 
xv.  Theophilus  informs  us  that  the  same  people  made  "  glass 
tablets,  as  in  window  work,"  which  they  ornamented  with  gold, 
laying  a  flux  behind  the  leaf  in  order  to  protect  it.  This  was 
principally  used  in  mosaic  work :  the  decoration  of  vases  with 
gold  leaf  and  coloured  ornamental  work,  having  been  applied  to 
glass,  as  well  as  fictile  vases  and  cups,  became  transferred  to  the 
glass  plates,  and  thus  were  introduced  into  window-work. 

Eraclius,  who  is  quoted  by  Theophilus  in  the  third  book,  gives 
a  chapter  upon  this  subject. 

It  would  not,  perhaps,  be  uninteresting  to  the  artist  were  I  to 
give  an  extract  from  a  manuscript  of  Sir  T.  De  Mayerne,  upon  the 
Arts,  which  I  am  preparing  for  publication  with  the  consent  of  the 
Trustees  of  the  British  Museum.  Sir  T.  D.  Mayerne  was  the 
physician  successively  of  Henry  IV.  and  Louis  XIII.  of  France, 
of  James  I.  and  Charles  I.  of  England  ;  be  was  a  great  lover  of 
art,  and  being  one  of  the  most  scientific  men  of  his  age,  had  access 
to  the  ateliers  of  all  the  principal  artists  of  the  period  in  Italy, 
Flanders,  France,  and  England. 

An  extract  taken  from  the  book  of  "  Mr.  Colladon." 

"  Couleurs  des  Esmaulx  ou  vernix  de  la  Poterie  de  Faience. 
Copie  de  1'original  d'un  Maistre  potier  Anglais." 

The  English  artificer  was,  as  well  as  the  artist,  eminent  at  this 
period;  these  colours  were  used  either  upon  porcelain  or  glass,  as 
will  be  seen  below.     The  recipes  appear  to  be  of  Italian  origin. 


178  N0TE8    TO    BOOK    II. 

■*'  TRANSPARENT    WHITE. 

"  Borax,  10  parts.  Lead,  8.   Flint,  7.  Cristall  10.  Sand  7." 

"  BLUE. 

"  Cristall,  18.  Azur,  4.  Zafer,  1.   Lead,  4. 

"  VIOEET. 

"  Borax,  18.  Zafer,  6.  Flint,  8." 

"  BLACK. 

"  Borax,  20.    Zafer,   4.   Manganese,  3.     Sand,   2.    Crystal,   2. 
Lead,  10." 

"  YELLOW. 

"  Lead,  15.  Antimony,  1|.  Cristall,  2.  Sand,  2." 

"gold. 
"  Lead,  15.  Minerall,  5.  Flint,  5.  Cristall,  5.  Iron  rust,  li." 

"  GREENE. 

"Crystall,  5.   Sand,  5.    Lead,  15.  Verditer,  5.    Flint,  5.  Pin- 
dust,  1±" 

"  ANOTHER   GREENB. 

"  Buros,  18.   Lead,  4.  Bisgreen,  12.  Flint,  8." 


JSOTES    TO    BOOK    II.  179 


OTHER    GREENE. 


"Cristall,  5.  Lead,  15.  Pindust,  1.  Flint,  5.  Sand,  5. 


SKIE    COLOR. 


"  Buros,  18.  Lead,  18.  Zafer,  4." 


"  TANY. 


Sand,  5.  Cristall,  5.  Lead,  15.  Manganese,  1$.  Flint,  5. 


ANOTHER    BLUE. 


**  Cristall,  18.  Lead,  6.  Buros,  18.  Zafer,  4|.  Azure,  4." 


"  OTHER    BLUE. 


"  Lead,  6.    Cristall,  18.    Azure,  10.    Buros,  4.    Manganese,  \y 
i  » 


or  f . 

"  ASH    COLOUR. 

"  Borax,  18.  Lead,  8.  Zaffer,  4.  Manganese,  1,  or  \,  or  \J" 

"  PALE  GREY. 

"  Buros,  18.  Lead,  8.  Azure,  4." 

"  GREY    HAIR. 

"Lead,  15.    Azure,  6.    Flint,  3.    Zafer,  3.    Cristall,  3.    Man 
ganese,  \." 

n   2 


180  NOTES    TO    BOOK    II. 

"  CARNATION. 

"  Buros,  20.     Lead,  8.     Flint,  12.     Manganese,  5." 

"  WATER    COLOUR. 

"  Buros,  18.     Lead,  6.     Zafir,  6.     Flint,  6." 

"  PALE    GREY. 

"  Blue,  1.     Tany  1." 

"  gali  colour,  red."     (From  Gctllien  ?  .') 
"  Lead,  2.     Rust,  2.     Antimony,  1,  or  \.     Tartar,  1,  or  |." 

"  greene. 
"  Sand,  2.     Pin-dust,  3.     Lead,  2.     Antimony,  1." 


"  Lead,  2  tb.  Antimony,  1 1  tb.  Argall,  1|  ft».  Rust,  2  oz. 
Calemenare,  2  oz. 

"  BLANC    D'lTALIE. 

"  Sable  blanc,  v.  tb.  Sande,  1  fb.  (Sandiver.)  calcine :  Lead, 
iii.tb.     Tin,  1  ib...  calcine  to  whiteness." 

"  Bouras  "  is  that  of  the  goldsmiths.  (The  Chrysocolla  of  the 
middle  age,  or  Borax.) 

"  Lead,"  is  lead  calcined  without  addition. 

"  Cristall,"  is  very  clear  glass  of  Venice. 

"  Azur,"  that  which  is  used  in  starch. 

Flints  are  calcined  to  whiteness.  Manganese  is  a  stone  which 
comes  from  Spain.     Antimony  is  used  without  preparation.     Iron 


NOTES    TO    BOOK    II. 


181 


rust  is  that  found  upon  the  old  anchors  of  ships.  Bis-greene  is 
the  spume  of  glass.  Gali  colour  is  a  dark  red.  Argal  is  white 
tartar.  Calaminares  is  not  the  lapis  calaminaris,  but  a  white  matter 
very  pungent  in  the  taste.  (This  is  the  spodium  qf  the  ancients  ; 
the  oxide  qf  Zinc.) 

Gali  colour  red ;  Water-colour,  Green  and  Yellow  are  only  ap- 
plied  upon  the  Blanc  d'Italie. 


"  A    RED    FOR    GLASS    OR    PORCELAINE,    UPON    WHITE. 

"  Iron  ruat,  2  fb.     Lead,  8  tb.     Calcine  three  times,  grinding 
them  to  a  pcwder  each  time." 


"  ANOTHER    RED. 

"  Antimony,  8  fb.     Litharge,  8  tb.      Iron  rust,   8  tb.    Calcine 
three  times." 


"  GREEN. 

"  Antimony,  8  tb.     Calcined  lead,  D  tb.    Copper  filings,  9  fb. 
Calcine  three  times." 


"   BLANC    D'lTALIE. 

"  White  sand,  5  tb.  Soda,  1  fb.  Calcine  in  form  of  a  light 
pumice  stone.  This  is  called  '  Fread  '  (Frit  ?).  Then  take  3  tb. 
lead  and   llb.  tin  ;  calcine  these  two  substances  to  whiteness. 

"  You  will  make  the  above  white  by  taking  20  tb.  of  '  Fread ' 
and  12  fb.  of  calcined  lead  and  tin.  Calcine  and  grind  very  fine 
upon  Porphyry." 


Ashes,  salt,  powder  of  copper  and  lead  are  all  that  Theophilus 
directs  in  the  composition  of  a  soft  glass  for  rings.  These  are 
mixed  with  a  coloured  glass.     C.  31. 


182  NOTES    TO    BOOK    II. 


C.  XIX.    "  TERES  CUM  VINO,"  etc. 

"  The  mode  of  introducing  a  salt  into  the  colour  with  which 
'  glass  is  painted  '  is  perhaps  worth  remark.  The  pigments  were 
ground  with  wine  or  urine,  an  addition  of  salt  to  the  flux  was  thus 
obtained,  in  the  shape  of  either  the  alkaline  phosphates,  or  the 
tartrate  of  potash." 


C.  XXI.    •'  CROCEO  VITRO  NON  MULTUM  UTERIS." 

The  recommendation  of  Theophilus  to  avoid  the  introduction  of 
yellow  glass  in  windows,  unless  in  ornaments,  or  where  gold  is 
placed  in  paintings,  is  worthy  of  remark  ;  the  unpleasant  and  hot 
appearance  of  many  of  our  modern  specimens  attest  the  value 
of  the  recommendation.  The  French  artists  have  noticed  this 
efFect;  they  also  observe  that  such  a  custom  if  abused  "  fait  trou" 
in  the  composition. 


C.  XXVIII.    "  CRUCES  IN  CAPITE  MAJESTATIS." 

At  an  epoch  when  the  painters  and  other  artists,  employed  in 
the  decoration  of  sacred  edifices,  were  either  belonging  to,  or 
under  the  influence  of  the  church,  the  laws  of  religious  icono- 
graphy  were  faithfully  observed;  the  nimbus  or  glory,  by  which  the 
heads  of  Divine,  or  sainted,  personages  were  surrounded,  was  em- 
blematical  of  the  sacred  character.  M.  Didron,  in  the  "  Icono- 
graphie  Chretienne,"  informs  us  that  when  a  figure  is  without  the 
nimbus,  it  may  certainly  be  said  that  it  is  no  representation  of  a 
saint. 

A  more  sacred  character  still  was  given  to  the  Divinity,  the 
Angels  and  Apostles  ;  these  were  alone  represented  with  the  feet 
uncovered.  Neither  the  Virgin  nor  other  saints  were  thus  repre- 
sented  at  this  epoch. 

Every  figure  with  the  nimbus  is  a  saint,  every  saint  with  nude 
feet  is  at  the  least  an  apostle ;  every  figure  with  a  nimbus  orna- 


NOTES    TO    BOOK    II.  183 

mented  with  a  cross  can  be  but  one  of  the  three  Divin«  personages : 
this,  adds  M.  Didron,  is  the  invariable  rule. 

Until  the  eleventh  century  the  Latin  church,  as  well  as  the  Greek, 
fraternized  with  the  Jewish  religion.  An  enamelled  cross  of  the 
Abbey  of  Saint  Bertin,  a  romaic  cross  of  the  eleventh  century, 
gives  the  nimbus,  the  character  of  saint,  to  Moses,  to  his  brother 
Aaron,  to  the  prophet  who  marks  the  elect  with  the  "  thau,"  to 
Isaac,  to  Joshua  and  Caleb.  But  at  the  moment  of  the  consum- 
mation  of  the  schism,  this  respect,  which  the  Latin  church  formerly 
entertained  for  the  personages  of  the  Old  Testament,  sensibly  di- 
minished ;  the  Byzantine  influence,  alone,  partially  preserved  it, 
but  in  the  fourteenth  century  the  Christian  saints  only  kept  this 
attribute.     The  Greeks  continue  the  practice  unto  this  day l. 


C.  XXX.     QUOMODO    REFORMETUR   VAS    VITREUM 

FRACTUM. 

This  invention  appears  to  have  been  made  in  the  reign  of 
Tiberius  Csesar,  and  to  have  led  to  the  fable  of  malleable  glass. 
Pliny,  who  has  been  quoted  by  St.  Isidore,  mentions  an  invention 
of  a  composition,  or  tempering,  which  rendered  glass  tender,  and 
that  Tiberius,  fearing  this  would  depreciate  the  value  of  the 
precious  metals,  abolished  the  workshop  of  the  artificer.  This 
story  has  been  wonderfully  improved  by  St.  Isidore,  who  adds  a 
hammer  to  the  tale,  and  converts  the  "tender"  or  "  tractable  glass" 
mentioned  by  Pliny  into  one  which  is  "  malleable."  Eraclius 
quotes  from  St.  Isidore,  rather  than  from  Pliny,  whose  version  is 
too  plain  to  admit  of  the  marvellous. 

Pliny  writes,  "  Ferunt,  Tiberio  principe,  excogitatum  vitri  tem- 
peramentum,  ut  flexibile  esset :  et  totam  officinam  artificis  ejus 
abolitam,  ne  seris,  argenti,  auri,  metallis  pretia  detraherentur  : 
eaque  fama  crebrior  diu,  quam  certior  fuit."  2 

St.  Isidore,  disregarding  the  doubt  expressed  by  Pliny,  that 
glass  could  even  be  rendered  more  tractable,  writes  3 — "  It  is  re- 
lated  that,  under  Tiberius  Caesar,  an  artificer  invented  a  tempering 
for  glass,  which  rendered  it  tender  and  ductile  (Jlexibile  et  ductile)< 

1  Manuel  dlconographie  Chretienne,  p.  134. 

2  Pliny.     L.  36.  C.  26. 

8  Opera  S.  Isidori.     h,  16.  C.  16.     Raspe,  Lib.  Eraclii.  3.  p.  111. 


184  NOTES    TO    BOOK  II. 

When  admitted  to  Caesar  he  held  out  the  jar  to  him,  who,  angry, 
threw  it  upon  the  pavement,  where  it  bent  like  a  brass  vase.  The 
artificer  raised  the  jar  from  the  floor,  thrust  a  small  hammer  into 
the  cavity,  and  mended  the  jar.  This  done,  Caesar  asked  the 
artificer  whether  any  other  person  knew  this  tempering  for  glass, 
and  when  he  denied,  with  an  oath,  that  any  other  knew  of  ft, 
Csesar  ordered  him  to  be  decapitated;  lest,  this  known,  gold  and 
silver  might  become  as  clay,  and  the  value  of  all  metals  be  debased. 
For,  in  truth,  did  glass  vessels  not  break  they  would  be  better 
than  gold  or  silver." 

We  see  that  the  relation  of  Pliny  has  been  much  improved,  and 
that  Isidore  has  perpetrated,  or  perpetuated,  an  error  which  gave 
much  trouble  to  many  an  alchemist  of  the  middle  ages. 

Pliny,  L.  29,  c.  3,  gives  us  the  process  usually  followed  in  his 
time  for  cementing  broken  glass,  "  candidum  ex  his  (ovis)  admis- 
tum  calci  vivae  glutinat  vitri  fragmenta;  "  "  white  of  an  egg,  mixed 
with  quick-lime,  glues  together  the  fragments  of  glass." 


DE  COMPONENDIS  FENESTRIS. 

Of  the  use  of  coloured  glass  by  the  ancients  it  has  been  shown 
that  we  have  proof.  The  enamelled  charms,  (abracadabra,)  and 
the  "  abaculi  "  of  the  Greeks  and  Romans,  yet  in  existence,  show 
this.  The  Romans  employed  glass  in  the  embellishment  of  their 
apartments,  and  Seneca  appears  to  intend  that  mirrors  were  em- 
ployed  for  this  purpose,  as  at  the  present  day.  "  Pauper  sibi  vi- 
detur  ac  sordidus,  nisi  parietes  magnis  et  pretiosis  orbibus  refulse- 
runt,  nisi  vitro  absconditur  camera."     Epist.  86  '. 

1  See  Diodorus  Siculus.  Vol.  1,  p.  163.  II.  Wesseling.  Who  tells  us  that  in  a 
country  near  Egypt  variously  coloured  crystal  is  made  by  "  divine  fire."  (vtri 
tiicv  rv£os.) 


NOTKS    TO    BOOK    II.  185 

Dutens  states  that  during  the  excavations  at  Pompeii  in  1778, 
the  windows  of  some  chambers,  attached  to  the  baths,  were  found 
glazed  with  as  fine  glass  as  that  of  the  moderns.  Lactantius  '  and 
St.  Jerome2,  writers  of  the  third  and  fourth  centuries,  both  speak 
of  glazed  windows.  The  employment  of  coloured  glass  arranged 
in  Mosaic  fashion,  the  "  fenestra  simplex,"  c.  29  of  Theophilus, 
would  soon  give  place  to  the  use  of  painted  glass  as  the  art  ad- 
vanced.  Observant  of  the  effects  of  colour  productive  of  such 
admiration  during  the  early  efForts  of  art,  new  exertions,  in  order 
to  unite  the  beauty  of  pictorial  efFect  with  the  previous  richness  of 
decoration,  would  doubtless  soon  be  made  to  call  to  aid  the  talents 
of  the  Christian  artist. 

In  the  sixth  century,  when  Fortunatus  of  Poitiers  3  lauds  the 
bishops  who  ornamented  their  churches  with  large  windows  of 
glass,  and  the  efFect  which  they  produced  by  the  rays  of  the  sun ; 
he,  by  this,  evidently  intends  a  coloured  glass. 

Sidonius  Apollinaris4,  in  his  letter  to  Hesperius,  speaks  positively 
of  coloured  glass  having  been  used  in  the  windows  of  the  church 
erected  by  Patiens,  at  Lyons. 

"  Ecclesia  nuper  constructa  est  Lugduni,  quae  studio  papae  Pa- 
tientis  ad  summum  ccepti  operis  accessit,  viri  sancti,  strenui,  &c. 


"  Intus  lux  micat,  atque  bracteatum 
Sol  sic  sollicitatur  ad  lacunar, 
Fulvo  ut  concolor  erret  in  metallo, 
Distinctum  vario  nitore  marmor 
Percurrit  cameram,  solum,  fenestras. 
Ac  sub  versicoloribus  figuris 
Vernans  herbida  crusta  saphiratos 
Flectit  per  prasinum  vitrum  lapillos." 

Fortunatus  and  Paul  the  hermit,  as  well  as  Theophilus,  de- 
scribe  the  admirable  effect  which  the  rising  sun  produced  through 
the  windows  of  St.  Sophia  at  Constantinople.  (See  Preface  to  this 
Book,  p.  117.) 

It  is  more  than  probable  that  all  these  early  ornamental  windows 
were  in  the  Mosaic  style  of  art,  and  that  the  various  glass  was 
coloured  by  the  combination  of  the  metallic  oxides  with  the  glass 

1  De  opificio  Dei.  2  St  Jerome.     Glossary.     "  Vitra." 

J  "  Carmin."     L.  2.  4  "  Epist."  10.     L.  2. 


186  NOTE8   TO    BOOK  II. 

itself  in  the  pot,  and  that  the  invention  we  are  called  upon  to 
notice,  as  next  in  rotation,  is  the  method  of  colouring  white  glass 
by  means  of  a  flux,  "  vitri  lucidissimi."  In  c.  12  and  13,  Theo- 
philus  does  not  neglect  the  mention  of  this  process,  whereby  he 
tells  us  that  "  the  French  made  costly  plates  of  sapphire,  purple 
and  green,  very  useful  in  windows,"  and  in  c.  13,  he  informs  us 
that  the  "vitrum  clarissimum,"  used  as  a  flux,  was  composed  by  the 
Greeks.  Theophilus,  who  asserts  that  he  has  "  embraced  the  na- 
ture  of  glass,"  subsequent  to  his  visit  toSt.  Sophia,  and  his  admir- 
ation  of  the  effect  produced  by  the  different  hues  thrown  upon 
the  chancel,  is  the  first  practical  author  who  enters  minutely  into  a 
description  of  the  processes  of  the  glass  painter,  and,  as  a  prac- 
tical  artist,  is  the  more  worthy  of  our  serious  attention.  The 
art  of  enamelling  glass  was  then  known  to  the  Byzantine  Greeks ; 
the  statement  of  the  historian  of  the  monastery  of  St.  Begnine  is, 
therefore,  most  credible,  although  attacked  by  the  later  French 
writers  in  order  to  support  their  pretensions,  and  the  opinion  of 
the  Benedictines,  that  pictorial  representation  upon  glass  dates 
from  the  period  of  Charlemagne,  is  supported.  The  art  of  pro- 
ducing  apicture  by  means  of  gradation  of  shadow,  thereby  forming 
combinations  of  light,  shade,  and  colour  with  the  plate  of  stained  or 
enamelled  glass  subjected  to  this  process,  was  the  first  and  great 
step  taken  in  the  art  of  glass  painting.  It  is  the  process  of  Theo- 
philus,  who,  however,  appears  to  have  entertained  the  idea  of  paint- 
ing  objects  upon  glass  with  coloured  fluxes,  in  imitation  of  the 
ornaments  upon  vases  and  cups. 

That  this  process  was  more  congenial  to  the  production  of  ex- 
cellence  in  window  work  than  any  other,  the  remains  of  church 
windows,  executed  from  the  beginning  of  the  eleventh  to  the  end  of 
the  fifteenth  century,  are  in  evidence  to  attest. 

Reasons  for  this  are  not  wanting  ;  they  have  lately  been  brought 
forward  with  great  happiness  by  the  later  writers  upon  the  art,  and 
who  attempt  to  prove  that  in  order  to  return  to  the  excellence 
shown  at  the  periods  above  referred  to,  the  same  simplicity  of 
shadows  and  breadth  and  purity  of  colour  must  be  returned  to. 

The  care  of  the  painters  of  these  later  periods  in  the  taste  and 
purity  of  outline  is  another  cause  of  the  excellence  of  their  works. 
Outline  and  arrangement  of  colour  were  the  points  to  which  all 
other  considerations  properly  yielded,  in  this  mode  of  decoration, 
viewed   by  the  means  of  transmitted  light  alone ;   which   trans- 


NOTES    TO    BOOK  II.  187 

mission,  while  it  was  found  to  blend  and  harmonize  the  rays  of 
coloured  lightbefore  they  reached  the  observer,  rendered  nugatory, 
or  poor,  the  greys l  introduced  by  yet  later  artists  in  order  to 
blend  their  colour  with  shadow,  or  light,  as  practised  in  pictures 
seen  by  the  means  of  reflected  light. 

The  fact,  as  related  by  Bede,  the  Saxon  chronicler,  of  the  im- 
portation  from  France  and  Italy,  into  our  own  country,  of  arti- 
ficers  in  glass,  (a.d.  674,)  by  Wilfrid,  Bishop  of  York,  and  Biscop 
his  friend,  had  an  important  influence  upon  this  branch  of  art  in 
England.  "  When  the  work  (of  St.  Peter's)  was  far  advanced," 
writes  Bede,  "  he  sent  agents  to  France  to  procure,  if  possible, 
some  glass  makers,  a  kind  of  artificers  quite  unknown  in  England, 
and  to  bring  them  over  to  glaze  the  windows  of  his  church  and 
monastery.  These  agents  were  successful,  and  brought  several 
glass  makers  with  them,  who  not  only  performed  the  work  re- 
quired  by  Benedict  Biscop,  but  instructed  the  English  in  the  art 
of  making  glass  for  windows,  lamps,  drinking  vessels,"  &c. — 
Bede,  Hist.  Abbot.  Weremuthen. 

Emeric  David  states  that  the  English,  in  their  turn,  instructed 
the  Germans  in  this  art. 

While  the  influence  of  the  style  of  the  preceding  ages  was  sens- 
ibly  felt  during  the  14th  century,  the  remarkable  progress  in  the 
arts  of  painting  and  design  before  the  close  of  that  era  greatly  af- 
fected  this  art,  while  at  the  same  time  the  route  previously  fol- 
lowed  was  not  much  deviated  from.  The  Florentine  and  other 
schools  of  art  had  arisen  in  Italy. 

Still  the  coloured  and  ornamented  grounds  prevailed,  the  painted 
windows  in  the  cathedrals  of  Bourges,  Clermont,  Chartres,  &c, 
show  that  the  circles,  flourishes,  and  other  ornaments  of  the  llth 
century,  described  by  Theophilus,  yet  held  their  places,  but  the 
subjects  were  better  portrayed;  to  the  experience  of  the  past  was 
added  the  new-born  genius  of  Italy,  and  the  art  which  the  Byzan- 
tine  Greeks  had  transmitted  to  Western  Europe  approached  the 
summit  of  excellence. 

I  am  not  aware  that  the  history  of  the  processes  of  this  period 
have  been  at  all  inquired  into;  in  the  little  space  affbrded,  in  a 
work  of  this  nature,  I  have  endeavoured  to  collect  a  few  practical 
directions  from  the  manuscripts  of  the  period.   Bernard  de  Palissy, 

1  See  Thibaud,  Considerations  sur  les  Vitraux  anc.  et  mod.  Paris,  1842.  P. 
105. 


188  NOTES    TO    BOOK    II. 

Leviel,  de  Piles,  and  other  French  writers  are  of  a  much  later 
period,  but  will  perhaps  afford  information  if  required.  Neri  ap- 
pears  to  be  the  source  from  which  most  of  these  authors  have 
drawn. 

The  relations  which  the  Venetians  held  at  a  very  early  period 
with  the  East,  and  the  constant  intercourse  they  maintained  with 
the  Greeks  of  the  lower  empire,  gave  facilities  in  this  art  at 
a  comparatively  early  period.  The  commerce  they  monopolized 
in  white  and  coloured  glass  became  an  important  feature  in  their 
statistics ;  this  branch  of  industry  and  art  might,  with  the  com- 
mand  we  possess  of  material  and  facilities,  be  developed  to  a  great 
extent  in  this  country. 

There  are  many  processes  here  described  which  will  repay  the 
trouble  of  perusal  to  the  most  scientific  of  our  artists ;  those, 
however,  are  not  of  the  class  which  would  turn  from  any  inquiry 
upon  the  subject  during  the  present  state  of  conflicting  opinions, 
when  the  very  principles  of  the  art  which  formerly  led  to  its  per- 
fection  are  questioned,  or  neglected. 

The  principles  laid  down  by  Theophilus  must  be  studied  by  the 
glass  painter  and  again  placed  as  the  foundation  of  his  labours  ; 
modern  chemistry  has,  doubtless,  supplied  him  with  means,  in 
many  instances  far  beyond  what  his  predecessors  have  enjoyed,  in 
the  pursuit  of  this  art,  but  there  are  yet  conditions  to  be  fulfilled 
which  principally  depend  upon  himself.  The  glass  painter  should 
well  weigh  the  propriety  of  striving  to  rival  the  grey  demi-tints 
of  the  oil  painters,  or  aiming  at  the  production  of  effects  to  which 
the  nature  of  his  art  is  in  opposition  l.  It  was  from  careful  con- 
sideration  and  long  experience  that  the  art  of  glass  painting  be- 
came  digested  into  the  excellence  of  the  15th  and  16th  centuries  ; 
impotency,  assuredly,  had  no  share  in  principles  followed.  That 
the  apparent  simplicity  of  the  methods  of  the  Byzantine  and 
Gothic  glass  painters,  the  powerful  and  harmonious  effects  re- 
sulting  from  a  skilful  arrangement  and  breadth  of  colour,  to  which 
Theophilus  directs  the  attention  of  the  artist,  although  allied 
to  meagre  invention,  poor  drawing,  and  incomplete  execution,  car- 
ried  them  triumphantly  through  their  ordeal,  the  remains  of  the 
works,  executed  under  the  influence  of  this  school,  attest.      When 

1  In  offering  these  remarks  the  writer  has  only  in  view  the  grand,  or  church  de- 
coration ;  to  the  small  subjects,  calculated  for  our  habitations,  they  will  not  univer- 
sally  apply,  as  these  are  viewed  from  a  nearer  point. 


NOTES    TO    BOOK    II.  189 

upon  this  foundation  were  superadded  the  pure  and  vigorous 
outline,  and  simple,  elegant  conception  of  the  early  Italian  artists, 
the  art  appears  to  have  reached  a  climax  vvhich  it  must  have 
required  an  influence,  as  powerful  as  perverse,  to  depress. 

The  unfortunate  rivality  which  existed  between  the  glass  and 
the  oil  painters  appears  to  have  had  no  small  share  in  this  ;  anxious 
to  excel  and  emulative  of  accomplishing  what  had  previously  been, 
apparently,  unattempted,  the  glass  painters  wandered  from  the 
legitimate  conditions  of  their  art  in  striving  to  rival  the  delicacy 
and  gradations  of  the  air  tints,  vvhich  they  so  much  admired  in  the 
productions  of  their  brother  artists,  totally  forgetting  that  the 
means  by  which  their  works  were  rendered  visible,  a  transmitted 
light,  demanded  a  treatment  so  widely  difFerent.  The  experience 
of  the  past  was  neglected,  and  the  art  gradually  sank,  only  to  be 
revived  by  a  return  to  the  practice  which  elevated  it. 


LIBER    TERTIUS. 


INCIPIT    LIBER    TERTIUS. 
THE  BEGINNING  OF  THE  THIRD  BOOK. 


INCIPIUNT       CAPITULA. 


I.    DE  CONSTRUCTIONE  FABRICS!. 
II.    DE  SEDE  OPERANTIUM, 
IH.    DE  FORNACE  OPERIS. 
IV.    DE  FOLLIBUS. 

V.    DE  INCUDIBUS. 
VI.    DE  MALLEIS. 
VII.    DE  FOROIPIBUS. 
VIH.    DE  FERRIS    PER   QUjE    FILA    TRA- 
HUNTUR. 
IX.    DE    INSTRUMENTO    QUOD    ORGAN- 
ARIUM  DICITUR. 
X.    DE  LIMIS  INFERIUS  FOSSIS. 
XI.    DE  FERRIS  FOSSORIIS. 
XII.    DE  FERRIS  RASORIIS. 

XIII.  DE     FERRIS     AD     DUCTILE    OPUS 

APTIS. 

XIV.  DE  FERRIS  INCISORIIS. 

XV.    DE  FERRIS  AD  FACIENDOS  CLAVOS. 
XVI.    DE  FERRIS  INFUSORIIS. 
XVII.    DE  LIMIS. 
XVIII.    DE  TEMPERAMENTO  LIMARUM. 
XIX.    ITEM  UNDE  SUPRA. 

XX.    DE  TEMPERAMENTO  FERRI. 
XXI.    ITEM  DE  EODEM. 
XXII.   DE    VASCULIS    AD    LIQUEFACIEN- 
DUM  AURUM  ET  ARGENTUM. 
XXIII.    DE  PURIFICANDO  ARGENTO. 
XXIV.    DE  DIVIDENDO  ARGENTO  AD  OPUS. 
XXV.    DE  FUNDENDO  ARGENTO. 
XXVI.    DE  FABRICANDO  MINORE  CALICE. 
XXVII.    DE  MAJORE  CALIOE  ET  INFUSORIO 
EJUS. 
XXVIII.    DE  NIGELLO. 

XXIX.    DE  IMPONENDO  NIGELLO. 
XXX.    DEFUNDENDISAURICULISCALICIS. 


XXXI. 

DE  SOLIDATURA  ARGENTI. 

XXXII. 

ITEM  DE  IMPONENDO  NIGELLO. 

XXXIII. 

DE  COQUENDO  AURO. 

XXXIV. 

ITEM  UNDE  SUPRA. 

XXXV. 

DE  MOLENDO  AURO. 

XXXVI. 

ITEM  ALIO  MODO. 

XXXVII. 

ITEM  UNDE  SUPRA. 

XXXVIII. 

DE     INVIVANDIS    ET    DEAURAN- 

DIS  AURICULIS. 

XXXIX. 

DE  POLIENDA  AURATURA. 

XL. 

DE  COLORANDO  AURO. 

XLI. 

DE  POLIENDO  NIGELLO. 

XLII. 

DE  ORNATU  VASIS  CALICIS. 

xuni. 

DE  PEDE  CALICIS. 

XLIV. 

DE  PATENA. 

XLV. 

DE  FISTULA. 

XLVI. 

DE  AURO  TERB-E  EVILATH. 

XLVII. 

DE  AURO  ARABICO. 

XLVIII. 

DE  AURO  YSPANICO. 

XLIX. 

DE  AURO  ARENARIO. 

L. 

DE  FABRICANDO  AUREO  CALICE. 

LI. 

DE  SOLIDATURA  AURI. 

LII. 

DE      IMPONENDA      SOLIDATURA 

AURO. 

LIII. 

DE      IMPONENDIS     GEMMIS     ET 

MARGARITI8. 

LIV. 

DE  ELECTRO. 

LV. 

DE  POLIENDO  ELECTRO. 

LVI. 

DE    PEDE    CALICIS    ET    PATENA 

ATQUE  FISTULA. 

LVII. 

DE  COLATORIO. 

LVIII. 

DE  AMPULLA. 

LIX. 

DE  CONFECTIONE  QUjE    DICITUR 

TENAX. 

CHAPTERS. 


I. 

OF    THE    CONSTRUCTION    OF    THK 

XXXI. 

WORK-BUILDING. 

XXXII. 

II. 

OP  THE  SEAT  OP  THE  WORKMEN. 

III. 

OF  THE  WORK  FURNACE. 

XXXIII. 

IV. 

OP  THE  BELLOWS. 

XXXIV. 

V. 

OP  ANVILS. 

XXXV. 

VI. 

OF  HAMMERS. 

XXXVI. 

VII. 

OF  PINCERS. 

XXXVII. 

VIII. 

OF         INSTRUMENTS        THROUGH 
WHICH  WIRES  ARE  DRAWN. 

XXXVIII. 

IX. 

OP     THE      INSTRUMENT     CALLED 

XXXIX. 

THE  ORGANARIUM. 

XL. 

X. 

OF  FILES  HOLLOWED  INSIDE. 

XLI. 

XI. 

OP  SCULPING  INSTRUMENTS. 

XLII. 

XII. 

OP  SCRAPING  INSTRUMENTS. 

XIII. 

OP    INSTRUMENTS    FOR    MALLEA- 

XLIII. 

BLE  WORK. 

XLIV. 

XIV. 

OP  CUTTING  INSTRUMENTS. 

XLV. 

XV. 

OF     INSTRUMENTS    FOR   MAKING 
NAILS. 

XLVI. 

XVI. 

OF  IRON  MOULDS. 

XLVII. 

XVII. 

OP  FILES. 

XLVIII. 

XVIII. 

OF  TEMPERING  FILES. 

XLIX. 

XIX. 

THE  SAME. 

L. 

XX. 

OF  TEMPERING  IRON. 

XXI. 

OP  THE  SAME. 

LI. 

XXII. 

OF     CRUCIBLES       FOR      MELTING 
GOLD  AND  SILVER. 

LII. 

xxni. 

OP  PURIFTING  SILVER. 

LIII. 

XXIV. 

OF  THE  DIVISION  OP  SILVER  FOR 

THE  WORK. 

LIV. 

XXV. 

OF  MELTING  THE  SILVER. 

LV. 

XXVI. 

OF  MAKING  THE    SMALLER   CHA- 

LICE. 

LVI. 

XXVII 

OF    THE    LARGER    CHALICE     AND 
ITS  MOULD. 

XXVIII 

OP  NIELLO. 

LVII 

XXIX 

OF  APPLYING  THE  NIELLO. 

LVIII. 

XXX 

OP    CASTING     THE     HANDLES     OF 
THE  CIIALICE. 

LIX. 

OF  THE  SOLDER  OP  SILVER. 
ALSO     OP       LATING      ON      THE 

NIELLO. 
OP  HEATING  THE  GOLD. 
THE  SAME. 
OF  GRINDING  GOLD. 
THE  SAMEINANOTHERMANNER. 
THE  SAME  AS  ABOVE. 
OF      REVIVING      AND     GILDING 

THE  HANDLES. 
OF  POLISHING  THE  GILDING. 
OF  COLOURING  THE  GOLD. 
OF  POLISHING  THE  NIELLO. 
OP  ORNAMENTING  THE  CUP   OF 

THE  CHALICE. 
OF  THE  FOOT  OF  THE  CHALICE. 
OF  THE  PATENA. 
OP  THE  PIPE. 

OF  THE  GOLD   OF  THE   LAND  OF 
HEVILATH. 
,    OF  ARABIAN  GOLD. 
OF  SPANISH  GOLD. 
,   OF  SAND  GOLD. 
OF  MAKING   THE   GOLDEN  CHA- 

LICE. 
OF  THE  SOLDER  OP  GOLD. 
OF  APPLTING  THE   SOLDER  UP- 
ON  GOLD. 
,   OP  THE   APPLICATION  OF   GEMS 

AND  PEARLS. 
,    OF  COLOURED  GLASS  STONES. 
,    OP    POLISHING    THE    COLOURED 
STONE. 
OF  THE   FOOT  OF  THE  CHALICE, 
AND    OF    THE    PATENA     AND 
THE  PIPE. 
.    OF  THE  STRAINER. 
.    OF  THE  VIAL. 

.    OF    THE  COMPOSITION   (CALLED 
TENAX). 

o  2 


196 


INCIPIUNT   CAPITULA. 


LX.    DE  THIJRIBULO  DUCTILI. 
LXI.    DE  THURIBULO  FUSILI. 
LXII.    DE  CATENIS. 
LXIII.    DE  CUPRO. 
LXIV.    DE  FORNACE. 
LXV.    DE  COMPOSITIONE  VASORTTM. 
LXVI.    DE  COMPOSITIONE  .ERIS. 
LXVII.    DE  PURIFICATIONE  CUPRL 
LXVIII.    QUALITER     DEAURETUR      AU- 
RICALCUM. 
LXIX.    QUALITER      SEPARETTR      AU- 

RUM  A  CUPRO. 
LXX.   QUOMODO   SEPARETUR  AURUM 
AB  ARGENTO. 
LXXI.    QUOMODO      DENIGRETUR      CU- 
PRUM. 
LXXII.    DE  OPERE  INTERRASILI. 
LXXIII.    DE  OPERE  PUNCTILI. 
LXXIV.   DE  OPERE  DUCTILI. 
LXXV.    DE       OPERE      QUOD     SIGILLIS 
IMPRIMITUR. 
LXXVI.    DE  CLAVIS. 
LXXVII.    DE    SOLIDA.NDO   AURO   ET    AR- 

GENTO  PARITER. 
LXXVIII.    DE      OPERE       DUCTILI,     QCTOD 
SCULPITUR. 
LXXIX.    DE  PURGANDA  ANTIQUA  DEAU- 

RATURA. 
LXXX.    DE    PURGANDO     AURO    ET     AR- 
GENTO. 
LXXXI.    DE  ORGANIS. 
LXXXII.    DE  DOMO  ORGANARIA. 
LXXXIII.    DE  CONFLATORIO. 
LXXXIV.    DE    DOMO  CUPREA    ET  CONFLA- 

TORIO  EJUS. 
LXXXV.    DE   CAMPANIS    FUNDENDIS    ET 
DE  MENSURA  CYMBALORUM. 
LXXXVI.    DE  CTMBALI8  MUSICIS. 
LXXXVII.    DE  AMPULLIS  STAGNEIS. 
LXXXVIII.    QUALITER     STAGNUM     SOLIDE- 
TUR. 
LXXXIX.    DE  FUNDENDO  EFFUSORIO. 
XO.    DE  FERRO. 
XCI.    DE  SOLIDATURA  FERRI. 
XOII.    DE     CULPIURA  OSSIS. 


XCIII.    DE  RUBRICANDO  OSSE. 
XCIV.    DE  POLIENDIS  GEMMIS. 

XCV.    DE  MARGARITIS. 
XCVI.    DE  AUREA  SCRIPTURA. 
XCVII.    DE  FLORIBUS  AD  SCRIBENDUM. 
XCVIII.    DE  HEDERA  ET  LACCA. 
XCIX.   DE  VIRIDI  COLORE. 
C.    DE  EODEM. 
CI.    ITEM. 
CII.    DE  SCULPTURA  VITRI. 
CIII.    DE  PICTURA  EX  VITRO. 
CIV.    DE  VIRIDI  VITRO. 
CV.    DE  PICTURA  CUM  VITFO. 
CVI.    DE  ALBO  VITRO. 
CVII.    DE  SCULPENDIS  GEMMIS. 
CVIII.    DE  PRETIOSIS  GEMMIS. 
OIX.    DE  SCULPENDIS  GEMMIS. 
CX.    DE       EBORE        PETULA       AURI 
DECORANDO. 
CXI.    DE  CUPRO  FELLIS  PINGUEDINE 
DEAURANDO. 
'  Capitula  sequentia  non  videntur  in  ta- 
bula  in  libro  tertio  praefixa." 

DE  TEMPERAMENTO  VESICJE 
ESOINI. 

de  signis  investigand.k 
aqus:. 

de  temperamento  minii  et 
vermiculi  et  lazurii. 

eodem  modo  molendum  est 
viride  de  gr.ecia. 

de  ligno  brisillio. 

de  sinoplo. 

de  ligno  brisillio. 

de  temperamento  colorum. 

de  mixtura  colorum. 

si  vis  facere  literas  aureas 
vel  argente  as  vel  cupreas 
vel  jereas  aut  ferreas. 

si  vis  facere   vermiculum 

BONUM. 
SI      VIS       FACERE       AZURIUM 

OPTIMUM. 
SI        VIS         ALIUD       AZURIUM 

FACERE. 


CHAPTERS. 


197 


LX. 

LXI. 

LXII. 
LXIII. 
LXIV. 

LXV. 


LXVII. 

LXVIII 

LXIX 


LXXI. 

LXXII, 
LXXIII, 
LXXIV. 

LXXV. 

LXXVI. 
LXXVII. 


LXXIX. 
LXXX. 

LXXXI. 

lxxxii. 

LXXXIII. 
LXXXIV. 


LXXXVI. 

LXXXVII. 

LXXXVIII. 

LXXXIX. 

xc. 

XCI. 

XCII. 

XCIII. 


OF  THE  BEATEN  CENSER. 

OP  THE  CAST  CENSER. 

OF  THE  CHAINS. 

OF  COPPER. 

OF  THE  FURNAOE. 

OF    THE    COMPOSITION  OF  THE 

CRUCIBLES. 
OF      THE       COMPOSITION        OF 

BRASS. 
OF  PURIFYING  COPPER. 
HOW  BRASS  IS  GILT. 
HOW      GOLD       IS      SEPARATED 

FROM  COPPER. 
HOW      GOLD       IS     SEPARATED 

FROM  SILVER. 
HOW  COPPER  IS  MADE  BLACK. 
OF  PIERCED  WORK. 
OF  PUNCHED  WORK. 
OF  BEATEN  WORK. 
OF     WORK     IMPRESSED    WITH 

STAMPS. 
OF  NAILS. 
OF  SOLDERING  GOLD    AND  SIL- 

VER  TOGETHER. 
OF     BEATEN  WORK   WHICH     IS 

SCULPTURED. 
OF  CLEANING  OLD  GILDING. 
OF    CLEANIHG   GOLD    AND  SIL- 

VER. 
OF  ORGANS. 

OF  THE  ORGAN  EREOTION. 
OF   THE  BELLOWS. 
OF   THE  COPPER  CASE  AND  ITS 

BELLOWS. 
OF  FOUNDING    BELLS,  AND    OF 
THE  MEASURE  OF  CYMBALS. 
OF  MUSICAL  CYMBALS. 
OF  TIN  VIALS. 
HOW  TIN  IS  SOLDERED. 
OF  CASTING  THE  PITCHER. 
OF  IRON. 

OF  THE  SOLDERING  OF  IRON. 
OF  SCCLPTURING  IVORY. 
OF  REDDENING  IVORY. 


XCIV, 

XCV. 

XCVI. 

XCVII. 

XCVIII. 
XCIX. 

c. 

CI, 
CII. 
CIII. 
CIV. 

cv. 

CVI. 

CVII. 

CVIII. 

CIX. 

cx. 


OF  POLISHING  GEMS. 

OF  PEARLS. 

OF  WRITING  IN  GOLD. 

OF  FLOWERS   USED    FOR  WRIT- 

ING. 
OF  THE  IVY  AND  OF  LAKE. 
OF  GREEN  COLOUR. 
OF  THE  SAME. 
THE  SAME. 

OF  SCULPTURING  GLASS. 
OF  A  PICTURE  FROM  GLASS. 
OF  GREEN  GLASS. 
OF  A  PICTURE  WITH  GLAS8. 
OF  WHITE  GLASS. 
OF  CUTTING  GEMS. 
OF  PRECIOUS  GEMS. 
OF  OUTTING  GEMS. 
OF  ORNAMENTING  IVORY  WITH 

GOLD  LEAF. 
CXI.    OF     GILDING      COPPER     WITH 

GALL. 

(The  following  chapters  are  not  found  in  the 
index  prefixed  to  the  third  book.) 

OF     THE    TEMPERING   OF    THE 

sturgeon's  BLADDER. 

OF  THE  SIGNS  IN  SEEKING  FOR 

WATER. 
OF   TEMPERING  MINICM,  VER- 

MILION  AND  AZURE. 
OF  GRINDING  GREEK  GREEN. 
OF  BRISIL  WOOD. 
OF  SINOPER. 
OF  BRISIL  WOOD. 
OF    THE    TEMPERING    OF    CO- 

LOURS. 
OF      THE      MIXTURE    OF      00- 

LOCRS. 
OF      MAKING     GOLD,     SILVER, 

COPPER,      BRASS,    OR    IRON 

LETTERS. 
OF  MAKING  GOOD  VERMILION. 
OF  MAKING  THE  BEST  AZURE. 
OF  MAKING  OTHER  AZURE. 


PROLOGUS  IN  LIBRUM  TERTIUM. 


INCIPIT     PROLOGUS 


LIBKUM    TEKTIUM. 


EXIMIUS  Prophetarum  David,  quem  Dominus 
Deus  praescivit  ante  tempora  secularia  et  prse- 
destinavit,  quemque  juxta  simplicitatem  et  humilitatem 
mentis  illius,  secundum  cor  suum  elegit,  et  sibi  dilectse 
plebi  principem  praeposuit,  utque  regimen  tanti  nominis 
nobiliter  et  prudenter,  disponeret,  spiritu  principali  con- 
firmavit,  tota  mentis  intentione  se  colligens  in  amorem 
sui  conditoris,  hsec  inter  alia  protulit :  Domine,  dilewi 
decorem  domus  tuce.  Et  licet  vir  tantse  auctoritatis 
tamque  capacis  intellectus,  domum  hanc  diceret  habi- 
tationem  coelestis  curise,  in  qua  Deus  hymnicis  angel- 
orum  choris  inaestimabili  praesidet  claritate,  ad  quam 
ipse  totis  visceribus  anhelabat,  dicens :  Unain  petii  a 
Domino,  hanc  requiram,  ut  inhabitem  in  domo  Domini 
omnibus  diebus  vitce  mecB;  sive  receptaculum  devoti 
pectoris  et  purissimi  cordis,  cui  vere  Deus  inhabitat, 
cujus  hospitis  desiderio  idem  flagrans  orat :  Spiritum 
rectum  innova  in  visceribus  meis,  Domine:  tamen  orna- 
tum  materialis  domus  Dei,  quse  locus  est  orationis,  con- 
stat  eum  concupivisse. 


PREFACE 

TO 

THE     THIRD     BOOK. 


THE  most  renowned  of  the  Prophets,  David, — of 
whom  the  Lord  had  prescience,  and  whom  he  pre- 
destined  before  mundane  ages,  and  whom,  on  account  of 
the  simplicity  and  humility  of  his  mind,  He  elected,  after 
his  own  heart,  and  placed  over  the  people  of  his  choice, 
and  established  with  his  Holy  Spirit,  that  he  might  nobly 
and  wisely  regulate  the  conduct  appertaining  to  so 
great  a  name, — concentrating  within  himself  all  the 
power  of  his  soul  in  the  love  of  his  Maker,  uttered 
these  words  amongst  others  : — "  Lord,  I  have  loved  the 
heauty  of  ihy  house."  And  although  it  was  lawful  that 
a  man  of  so  much  authority  and  of  such  capacious  in- 
tellect  should  call  house  that  habitation  of  heavenly 
worship  in  which  God  presides  in  ineffable  brightness 
over  the  hymns  of  choirs  of  angels,  towards  which  he 
himself  yearned  with  all  his  soul,  saying,  "  One  thing 
have  I  desired  of  the  Lord,  that  will  I  seek  after ;  that 
I  may  divell  in  the  house  of  the  Lord  all  the  days  of  my 
lifei"  or,  as  the  refuge  of  a  devoted  breast  and  most 
pure  heart,  in  which  God  trnly  dwelt,  of  which  asylum 
an  intense  desire  again  prays  forth,  "  Renew  a  right 
spirit  within  me,  O  Lord" — yet  it  is  certain  that  he 
strongly  desired  the  einbellishment  of  the  material 
house  of  God,  which  is  the  plaee  of  prayer. 


202  PROLOGUS    IN    LIBRUM    TERTIUM. 

Nam  pene  omnes  impensas  domus,  cujus  ipse  auctor 
fieri  ardentissimo  desiderio  concupivit,  sed  pro  humani 
sanguinis  licet  hostili  crebra  tamen  effusione  non  me- 
ruit,  in  auro,  et  argento,  sere  et  ferro,  Salomoni  filio 
delegavit.  Legerat  namque  in  Exodo,  Dominum  Moysi 
de  constructione  tabernaculi  mandatum  dedisse,  et  ma- 
gistros  operum  ex  nomine  elegisse,  eosque  spiritu  sapi- 
entise  et  intelligentise  et  scientiae  in  omni  doctrina 
implesse  ad  excogitandum  et  faciendum  opus  in  auro 
et  argento  et  sere,  gemmis,  ligno,  et  universi  generis 
arte,  noveratque  pia  consideratione  Deum  hujusmodi 
ornatu  delectari,  quem  construi  disponebat  magisterio 
et  auctoritate  Spiritus  sancti,  credebatque  absque  ejus 
instinctu  nihil  hujusmodi  quemquam  posse  moliri. 
Quapropter,  dilectissime  Fili,  non  cuncteris,  sed  plena 
fide  crede,  spiritum  Dei  cor  tuum  implesse,  cum  ejus 
ornasti  domum  tanto  decore,  tantaque  operum  varie- 
tate;  et  ne  forte  diffidas,  nlin  ^v  i  denti  ratione, 
quicquid  discere,  intelligere,  vel  excogitare  possis  artium, 
septiformis  spiritus  gratiam  tibi  ministrare. 


1  Per  spiritum  sapientise  cognoscis  a  Deo  cuncta  creata 
procedere,  et  sine  ipso  nihil  esse;  per  spiritum  intel- 
lectus  cepisti  capacitatem  ingenii,  quo  ordine,  qua  vari- 
etate,  qua  mensura  valeas  insistere  diverso  operi ;  per 
spiritum  consilii  talentum  a  Deo  tibi  concessum  non 

1  Nota  conformationem  septem  spiritorum  cum  septem  operum 
artibus. — Ex  MS.  Harleo. 


PREFACE  TO  THE  THIRD  BOOK.  203 

For  almost  all  the  treasures  in  gold,  silver,  brass  and 
iron  of  the  house,  whose  founder  he  himself  with  such 
an  ardent  desire  coveted  to  be  made,  yet  of  which  he 
was  not  worthy,  on  account  of  the  frequent  effusion  of 
human,  although  hostile,  blood,  he  committed  to  his 
son  Solomon.  For  he  had  read  in  Exodus  that  God 
had  given  a  command  to  Moses  for  the  construction  of 
the  tabernacle,  and  had  selected  by  name  the  masters 
of  the  works,  and  that  he  had  filled  them  with  the 
spirit  of  wisdom  and  intelligence  and  science,  in  every 
knowledge,  for  inventing  and  executing  work  in  gold 
and  silver,  and  brass,  gems,  wood,  and  in  art  of  all 
kinds ;  and  he  had  discerned,  by  means  of  pious  reflec- 
tion,  that  God  complacently  beheld  decoration  of  this 
kind,  which  He  was  appointing  to  be  constructed  under 
the  teaching  and  authority  of  his  Holy  Spirit ;  and  he 
believed  that  without  His  inspiration  no  one  could 
mould  any  work  of  this  kind.  Therefore,  most  be- 
loved  son,  you  will  not  doubt,  but  believe  with  an 
entire  faith,  that  the  Spirit  of  God  has  filled  your  heart 
vvhen  you  have  adorned  his  temple  with  so  much  beauty, 
and  with  such  variety  of  work  ;  and  that  you  may  not 
chance  to  fear,  I  can  prove,  with  clear  reasoning,  that 
whatsoever  you  may  be  able  to  learn,  understand,  or 
invent  in  the  arts,  is  ministered  to  you  as  a  gift  of  the 
sevenfold  Spirit. 

Through  the  spirit  of  wisdom  you  know  that  all 
created  things  proceed  from  God,  and  that  without  him 
nothing  exists.  Through  the  spirit  of  intelligence  you 
have  acquired  the  faculty  of  genius,  in  whatever  order, 
in  what  variety,  in  what  proportion,  you  may  choose  to 
apply  to  your  varied  work.  Through  the  spirit  of  counsel 
you  do  not  hide  the  talent  conceded  to  you  by  God,  but  by 


204  PROLOGUS    IN    LIBRUM    TERTIUM. 

abscondis,  sed  cum  humilitate  palam  operaudo  et  do- 
cendo,  cognoscere  cupientibus  fideliter  ostendis;  per 
spiritum  fortitudinis  omnem  segnitiei  torporem  excutis, 
et  quicquid  non  lento  conamine  incipis,  plenis  viribus 
ad  effectum  perducis ;  per  spiritum  scientise  concessum, 
ex  abundanti  corde  dominaris  ingenio,  et  quo  perfecte 
abundas  plense  mentis  audacia  uteris  in  publico ;  per 
spiritum  pietatis,  quid,  cui,  quando,  quantum  vel  qua- 
liter  operis,  et  ne  subrepat  avaritice  seu  cupiditatis  vi- 
tium,  mercedis  pretium  pia  consideratione  moderaris ; 
per  spiritum  timoris  Domini  te  nihil  ex  te  posse  con- 
sideras,  nihil  inconcessum  a  Deo  te  habere  seu  velle 
cogitas,  sed  credendo,  confitendo,  gratias  agendo,  quic- 
quid  nosti,  vel  es,  aut  esse  potes,  divinse  misericordiye 
reputas. 


His  virtutum  stipulationibus  animatus,  carissime 
Fili,  domum  Dei,  fiducialiter  aggressus,  tanto  lepore 
decorasti,  et  laquearia  seu  parietee  diverso  opere, 
diversisque  coloribus  distinguens  paradysi  Dei  speciem 
floribus  variis  vernantem,  gramine  foliisque  virentem,  et 
sanctorum  animas  diversi  meriti  coronis  foventem,  quo- 
dammodo  aspicientibus  ostendisti,  quodque  creatorem 
Deum  in  creatura  laudant,  et  mirabilem  in  suis  operi- 
bus  prsedicant,  effecisti.  Nec  enim  perpendere  valet 
humanus  oculus,  cui  operi  primum  aciem  infigat ;  si  re- 
spicit  laquearia,  vernant  quasi  pallia ;  si  considerat  pa- 


PREFACE    TO    THE    THIRD    ROOK.  205 

working  and  teaching  openly,  with  humility,  you  faith- 
fully  expound  to  those  desirous  to  learn.  Through  the 
spirit  of  perseverance  you  shake  off  all  lethargy  of  sloth, 
and  whatever  with  quick  diligence  you  commence,  you 
carry  through  with  full  vigour  to  the  completion. 
Through  the  spirit  of  science  accorded  to  you,  you  rule 
with  genius  from  an  abounding  heart,  and  from  that 
with  which  you  entirely  overflow  you  bestow  with  the 
confidence  of  a  well-stored  mind  for  the  common  good. 
Through  the  spirit  of  piety  you  regulate  the  nature,  the 
destination,  the  time,  the  measure  and  the  means  of 
the  work;  and,  through  a  pious  consideration,  the  price 
of  the  fee,  that  the  vice  of  avarice  or  covetousness 
may  not  steal  in.  Through  the  spirit  of  the  fear  of 
God  you  meditate  that  you  can  do  nothing  from  your- 
self,  but  you  consider  that  you  possess,  or  will,  nothing 
unconceded  by  God;  but  by  believing,  confiding  and 
giving  thanks,  you  ascribe  to  divine  compassion  what- 
ever  you  have  learned,  or  what  you  are,  or  what  you 
may  be. 

Animated,  dearest  son,  by  these  covenants  with  the 
virtues,  thou  hast  confidently  approached  the  house  of 
God,  hast  decorated  with  the  utmost  beauty  ceilings  or 
walls  with  various  work,  and,  showing  forth  with  differ- 
ent  colours  a  likeness  of  the  paradise  of  God,  glowing 
with  various  flowers,  and  verdant  with  herbs  and  leaves, 
and  cherishing  the  lives  of  the  saints  with  crowns  of 
various  merit,  thou  hast,  after  a  fashion,  shown  to  be- 
holders  everything  in  creation  praising  God,  its  Creator, 
and  hast  caused  them  to  proclaim  him  admirable  in  all 
his  works.  Nor  is  the  eye  of  man  even  able  to  decide 
upon  which  work  it  may  first  fix  its  glance ;  if  it  be- 
holds  the  ceilings,  they  glow  like  draperies;  if  it  re- 


206  PROLOGUS    IN    LIBRUM    TERTIUM. 

rietes,  est  paradysi  species ;  si  luminis  abundantiam  ex 
fenestris  intuetur,  inestimabilem  vitri  decorem  et  operis 
pretiosissimi  varietatem  miratur.  Quod  si  forte  Domi- 
nicae  Passionis  effigiem  liniamentis  expressam  conspi- 
catur  fidelis  anima,  compungitur ;  si  quanta  sancti  per- 
tulerint  in'  suis  corporibus  cruciamina,  quantaque  vitae 
seternae  perceperint  praemia  conspicit,  vitae  melioris  ob- 
servantiam  arripit ;  si  quanta  sunt  in  coelis  gaudia, 
quantaque  in  tartareis  flammis  cruciamenta  intuetur, 
spe  de  bonis  suis '  animatur,  et  de  peccatorum  consider- 
atione  formidine  concutitur. 


Age  ergo  nunc,  vir  bone,  felix  apud  Deum  et  ho- 
mines  in  hac  vita,  felicior  in  futura,  cujus  labore  et 
studio  Deo  tot  exhibentur  holocausta,  ampliori  deinceps 
accendere  sollertia,  et  quse  adhuc  desunt  in  utensiliis 
domus  Domini,  ad  explendum  aggredere  toto  mentis 
conamine,  sine  quibus  divina  mysteria  et  officiorum 
ministeria  non  valent  consistere.  Sunt  autem  hsec : 
Calices,  Candelabra,  Thuribula,  Ampullse,  Urcei,  sanc- 
torum  pignerum  Scrinia,  Cruces,  Plenaria  et  caetera,  quse 
in  usum  ecclesiastici  ordiuis  poscit  utilitas  necessaria. 

Quae  si  vis  componere,  hoc  incipias  ordine. 

1  "  Actibus  "  interponitur  in  Codice  Guelpherbylano. 


EXPLICIT    FROLOGUS. 


PREFACE  TO  THE  THIRD  BOOK.  207 

gards  the  walls,  there  is  the  appearance  of  paradise  ;  if 
it  marks  the  abundance  of  light  from  the  windows,  it 
admires  the  inestimable  beauty  of  the  glass  and  the 
variety  of  the  most  costly  work.  But  if  perchance  a 
faithful  mind  should  behold  a  representation  of  our 
Lord's  passion  expressed  in  drawing,  it  is  penetrated 
with  compunction ;  if  it  beholds  how  many  sufferings 
the  saints  have  bodily  supported,  and  how  many  re- 
wards  of  eternal  life  they  have  received,  it  quickly 
induces  the  observance  of  a  better  life ;  if  it  regards 
how  much  rejoicing  is  in  heaven,  and  how  much  suffer- 
ing  in  the  flames  of  hell,  it  is  animated  by  hope  for  its 
good  actions,  and  is  struck  with  fear  by  the  considera- 
tion  of  its  sins. 

Act  therefore  now,  well-intentioned  man,  happy  be- 
fore  God  and  men  in  this  life,  happier  in  a  future,  in 
whose  labour  and  study  so  many  sacrifices  are  offered 
up  to  God  ;  henceforth  warm  thyself  with  a  more  ample 
invention,  hasten  to  complete  with  all  the  study  of  thy 
mind  those  things  which  are  still  wanting  among  the 
utensils  of  the  house  of  the  Lord,  without  which  the 
divine  mysteries  and  the  services  of  ceremonies  cannot 
continue.  These  are  the  chalices,  candelabra,  incense 
burners,  vials,  pitchers,  caskets  of  sacred  relics,  crosses, 
missals  and  other  things  which  useful  necessity  requires 
for  the  use  of  the  ecclesiastical  order. 

If  you  wish  to  fabricate  these,  in  this  order  you 
commence. 

END    OF   THE    PREFACE. 


INCIPIT    LIBER    TERTIUS. 


GAPUT     I. 

DE    CONSTRUCTIONE    FABRIC>E. 

/M  i^DIFICA  tibi  domum  spatiosam  et  altam,  cujus  longi- 
J-.mJ  tudo  ad  orientem  tendatur,  in  cujus  pariete  meridiano 
facies  fenestras  quot  volueris  et  possis,  ita  ut  inter  duas 
fenestras  quinque  pedes  sint.  Divide  autem  medietatem 
domus  ad  opus  fusile  faciendum,  et  cuprum  ac  stagnum  et 
plumbum  operandum,  uno  pariete  usque  ad  summitatem 
altitudinis,  et  rursum  divide  quod  reliquum  est  in  duo  in  uno 
pariete,  ad  operandum  in  una  parte  aurum,  in  altera  argentum. 
Fenestrae  vero  non  emineant  altius  a  terra  quam  uno  pede, 
quarum  altitudo  sit  trium  pedum,  latitudo  duorum. 


CAPUT    II. 

DE    SEDE    OPERANTIUM. 

DEINDE  fode  fossam  ante  fenestram,  a  pariete  fenestrae 
pede  et  dimidio,  quae  stabit  in  transverso,  habens 
longitudinis  trium  pedum,  latitudinis  duorum,  quam  texes  in 
circuitu  lignis,  quorum  lignorum  duo  in  medio  contra  fenes- 
tram  procedant  a  fossa  altitudine  dimidii  pedis,  super  quse 
jungatur  discus  unus  qui  cooperiat  genua  sedentium  in  fossa, 
latitudine  duorum  pedum,  longitudine  trium,  in  transverso 
super  fossam,  ita  aequalis,  ut  quicquid  minutim  auri  vel 
argenti  desuper  ceciderit,  possit  diligenter  scopari. 


THE  BEGINNING 


THE    THIRD    BOOK. 


CHAPTER  I. 

OF    THE    CONSTRUCTION    OF    THE    WORK    BUILDING. 

Build  a  spacious  and  lofty  house  for  yourself,  the  length  of 
which  must  stretch  towards  the  east ;  in  the  southern  wall  of 
which  make  as  many  windows  as  you  wish  and  are  able,  so 
as  five  feet  may  exist  between  two  windows.  But  separate 
half  of  the  house,  for  making  molten  work,  and  for  working 
copper,  tin  and  lead,  by  a  wall  reaching  to  the  summit;  and 
again  divide  that  part  left  into  two,  by  one  wall,  for  working 
gold  in  one  part,  silver  in  the  other.  The  windows  must  not 
rise  higher  than  a  foot  from  the  ground ;  let  their  height  be 
three  feet,  their  width  two. 


CHAPTER  II. 

OF    THE    SEAT    OF    THE    WORKMEN. 

Then  dig  a  trench  before  the  window,  a  foot  and  a  half  from 
the  wall  of  the  window,  which  (trench)  will  stand  across, 
having  the  length  of  three  feet,  the  width  of  two,  which  you 
line  around  with  wood ;  two  pieces  of  which  wood  can  pro- 
trude  from  the  trench,  in  the  centre  opposite  the  window,  to 
the  height  of  half  a  foot,  upon  which  a  table,  which  may 
cover  the  knees  of  those  seated  in  the  trench,  is  joined,  in 
breadth  two  feet,  in  length  three,  crosswise  over  the  trench, 
so  smooth,  that  whatever  particles  of  gold  or  silver  may  have 
fallen  upon  it  may  be  carefully  collected. 

p 


210  THEOPHILI    LTBER    III. 


CAPUT    III. 

DE    FORNACE    OPERIS. 

JUXTA  parietem  vero  prope  fenestram  in  sinistra  parte 
sedentis,  figatur  lignum  in  terram1,  latitudine  duorum, 
spissitudine  pene  duorum  digitorum,  quod  cum  firmiter  steterit, 
habeat  foramen  grossitudine  uriius  digiti  in  medio,  a  terra 
altitudine  quatuor  digitorum.  Habeat  quoque  in  anteriorc 
parte  lignum  strictum  sibi  conjunctum,  et  clavis  ligneis  affixum, 
latitudine  quatuor  digitorum,  cujus  longitudo  aequetur  majori 
ligno.  Ante  quod  stabilies  aliud  lignum  sequae  latitudinis  et 
longitudinis,  ita  ut  inter  haec  duo  ligna  sit  amplitudo  quatuorum 
digitorum,  et  affige  illud  exterius  duobus  aut  tribus  paxillis, 
et  accepta  argilla  non  macerata  nec  aqua  mixta,  sed  noviter 
effossa,  mitte  in  illud  spatium  in  primis  modicum,  et  com- 
pinge  cum  ligno  rotundo  fortiter,  deinde  amplius,  et  iterum 
percute,  sicque  facies  donec  duae  partes  ipsius  spatii  implean- 
tur,  et  tertiam  dimitte  vacuam.  Tunc  aufer  anterius  lignum, 
et  cum  cultello  longo  incide  argillam  aequaliter  ante  et  sursum, 
deinde  cum  gracili  ligno  percute  fortiter.  Post  haec  accipe 
argillam  maceratam  et  fimo  equi  mixtam,  et  compone  for- 
nacem  et  larem  ejus,  tegens  parietem,  ne  uratur  igne,  et  cum 
gracili  ligno  perfora  argillam  trans  foramen  quod  est  retro  in 
ligno.     Hoc  modo  compone  omnes  fornaces  fabriles. 


CAPUT    IV. 


BE    FOLLIBUS. 


DEINDE  fac  tibi  folles  de  pellibus  arietum  ita.     Cum 
occiduntur  arietes,  non  incidantur  pelles  sub  ventre,  sed 
in  posterioribus  aperiantur,  et  ita  eversentur  ut  integrae  extra- 

'  "  longitudine  trium  pedum."     Ex  MS.  Gvelpk. 


TRANSLATION.  21  1 

CHAPTER  II r. 

OP    THE    WORK    PURNACE. 

Near  the  wall,  by  the  window,  on  the  left  side  of  the  person 
sitting,  a  piece  of  wood  is  fixed  in  the  ground  (three1  feet  in 
length)  in  width  two  and  in  thickness  scarcely  two  fingers, 
which,  when  it  is  firmly  fixed,  may  have  a  perforation  in  the 
midst  of  the  size  of  a  finger,  four  fingers  high  above  the 
ground.  Let  it  have  also  in  front  a  straight  piece  of  wood 
joined  to  it,  and  fixed  with  wooden  pegs,  four  fingers  in 
breadth,  and  the  length  of  which  is  equal  to  the  large  piece 
of  wood.  In  front  of  this  you  fasten  another  wood  of  equal 
breadth  and  length,  so  that  between  these  two  woods  there 
may  be  a  space  of  four  fingers,  and  fasten  that  outside  by  two 
or  three  stakes ;  and  taking  clay,  not  beaten,  nor  mixed  with 
water,  but  newly  dug  up,  put  at  first  a  little  of  it  into  this 
space,  and  compress  it  strongly  with  a  rounded  piece  of  wood, 
then  more,  and  again  beat  it ;  and  do  thus  until  two  parts  of 
this  space  are  filled,  and  leave  the  third  empty.  Then  take 
away  the  wood  in  front,  and  with  a  long  knife  cut  the  clay 
evenly  in  front  and  on  the  top,  then  with  a  thin  piece  of  wood 
beat  it  strongly.  After  this  take  clay  beaten  and  mixed  with 
horse  dung,  and  make  the  furnace  and  its  hearth,  covering 
the  wall  that  it  may  not  be  burned  by  the  fire,  and  with  a 
slender  piece  of  wood  perforate  the  clay  through  the  opening 
which  is  in  the  wood  behind.  In  this  manner  compose  all 
smith's  furnaces. 


CHAPTER  IV. 

OP    THE    BELLOWS. 

Then  make  bellows  from  the  skins  of  rams,  thus  : — When  the 
rams  are  killed,  the  skins  must  not  be  cut  under  the  belly, 
but  they  are  opened  behind,  and  are  so  turned  over  that  they 

1  Frorn  the  Wolfenbuttel  Manmcript. 

p  2 


212  THEOPHILI    LIBER    III. 

hantur,  et  impletae  stramine  modice  exsiccentur.  Postea  jaceant 
in  confectione  fsecis  et  salis  una  die  et  duabus  noctibus,  tertia 
vero  die  trahantur  in  retorta  in  longitudine,  sed  plus  in  lati- 
tudine.  Deinde  ungantur  et  iterum  trahantur.  Posthsec 
fiat  folli  caput  ligneum,  quod  transeat  per  collum  ejus  et 
ibi  ligetur,  et  in  capite  foramen  per  quod  transeat  fistula 
ferrea.  Retro  vero  in  latitudine  follis  ponantur  quatuor  ligna, 
quorum  duo  sibi  conjungantur  et  colligentur  in  medio,  et  duo 
sibi  deinde  suantur  in  folle  ita,  ut  juncturae  in  medio  sint  su- 
perius  et  inferius,  ubi  etiam  duae  ansae  ex  eadem  pelle  con- 
suantur,  una  superius  minor,  in  qua  pollex  imponatur,  altera 
major  inferius,  ubi  reliqui  quatuor  digiti  immittantur.  His 
completis  pone  fistulam  ferream  in  foramen  fornacis,  et  ret.ro 
et  ante  fornacem  carbones  et  ignem,  et  suffla  ut  fornax  exsic- 
cetur.  Utensiliorum  autem  et  ferramentorum  nomina  in  fabrili 
opere  sunt  haec. 


CAPUT    V. 

DE    INCUDIBUS. 

INCUDES  latae,  aequales  et  quadrse.  Item  incudes  aequales 
et  cornutae.  Item  incudes  superius  rotundae  in  similitudine 
dimidii  pomi,  una  major,  alia  minor,  tertia  brevis,  qui  vocan- 
tur  nodi.  Item  incudes  superius  longae  et  strictae  quasi  duo 
cornua  ab  hastili  praecedentia,  quorum  unum  sit  rotundum  et 
deductum  ita,  ut  in  summitate  sit  gracile,  aliud  vero  latius  et 
in  summitate  modice  recurvum  in  rotunda  aequalitate  ad 
similitudinem  unius  pollicis.  Hae  sunt  majores  et  minores. 


TRANSLATION.  213 

may  be  stripped  off  whole,  and  being  filled  with  straw,  they 
are  moderately  dried.  Afterwards  they  are  thrown  into  a 
preparation  of  lye  and  salt  for  a  day  and  two  nights,  the 
third  day  they  are  stretched  lengthwise,  but  raore  in  breadth. 
Then  they  are  anointed  and  again  stretched.  After  this  the 
wooden  head  to  the  bellows  is  made,  which  passes  through 
its  neck  and  is  there  bound,  and  in  this  head  a  perforation 
through  which  an  iron  tube  may  pass.  But  behind,  in  the 
width  of  the  bellows,  four  pieces  of  wood  are  placed,  of  which 
two  are  joined  together  and  fixed  in  the  middle  ;  and  two  are 
sewed  upon  the  bellows  together,  so  that  the  joinings  in 
the  middle  may  be  above  and  below  ;  where  also  two  loops 
of  the  same  skin  are  sewed  on,  the  one  above  smaller,  in 
which  the  thumb  is  placed,  the  other  larger  below,  where  the 
other  four  fingers  are  put.  These  things  finished,  place  the 
iron  tube  in  the  hole  of  the  furnace,  and  fire  and  charcoal  at 
the  back  and  front  of  the  furnace,  and  blow,  that  the  furnace 
may  become  dry.  The  names  of  utensils  and  iron  instru- 
ments,  in  work  of  fusion,  are  these. 


CHAPTER  V. 


OF    ANVILS. 


Anvils,  flat,  smooth  and  square.  Also  anvils  even  and 
horned.  Also  anvils  round  at  the  top,  like  half  an  apple,  one 
large,  another  smaller,  a  third  short,  which  are  called  knots. 
Also  anvils  long  and  narrow  on  the  top,  like  two  horns  pro- 
ceeding  from  a  spear,  of  which  one  may  be  rounded  and 
diminishing  so  that  it  be  pointed  at  the  end,  but  the  other 
broader  and  slightly  turned  round  at  the  end  with  round 
smoothness,  like  a  thumb.  These  are  made  large  and 
small. 


214  THEOPHILI    LIBER    III. 

CAPUT   VI. 


DE    MALLEIS. 


MALLEI  multi,  majores,  minores  et  parvi,  in  una  parte 
lati,  in  altera  stricti.  Item  mallei  longi  et  graciles  in 
summitate  rotundi,  majores  et  minores.  Item  mallei  superius 
cornuti,  inferius  lati. 


CAPUT   VII. 

DE    FORCIPIBUS. 

FORCIPES  manuales  fortes,  habentes  nodos  in  summi- 
tate,  majores  et  minores.  Item  forcipes  longi  et  gra- 
ciles.  Item  forcipes  fusorii  longi,  et  in  anteriori  parte  modi- 
cum  curvi.  Item  forcipes  mediocres,  quibus  limanda  quaeque 
teneantur,  qui  sint  in  summitate  unius  caudae  graciles,  in 
altera  pendeat  ferrum  tenue  et  latum,  ac  perforatum,  cui  cum 
posueris  aliquid  parvum  limandum,  comprime  fortiter,  et 
mitte  gracilem  caudam  in  quod  foramen  volueris.  Item  for- 
cipes  parvuli,  in  una  summitate  sibi  adhaerentes,  et  in  altera 
graciles,  quibus  grana  et  alia  quaeque  minuta  componantur. 
Item  forcipes,  qui  dicuntur  carbonarii,  et  majores  et  minores, 
quae  sint  in  una  summitate  integri  et  plicati,  in  altera  aperti  et 
modice  curvi.  Item  forcipes  incisorii  majores  et  minores,  in 
duabus  partibus  compositi  et  ciavo  contixi. 


CAPUT   VIII. 

DE    EERRIS    PER    QUJE    FILA   TRAHUNTUR. 

FERRI  duo  latitudine  trium  digitorum,  superius  et  inferius 
stricti,  per  omnia  tenues,  et  tribus  ordinibus  aut  quatuor 
perforati,  per  quse  foramina  fila  trahantur. 


TRANSLATION.  215 

CHAPTER  VI. 

OF    HAMMERS. 

Many  hammers,  large,  middling  and  small,  at  one  end  flat, 
at  the  other  narrow.  Also  long  and  slender  hammers  round 
at  the  end,  large  and  small.  Also  hammers  horned  at  the 
top,  wide  at  the  bottom. 


CHAPTER  VII. 

OF    PINCERS. 

Strong  hand  pincers,  having  knobs  at  the  top,  large  and  smaller. 
Also  long  and  slender  pincers.  Also  founders'  pincers,  long 
and  slightly  curved  at  the  upper  end.  Also  pincers  of  mode- 
rate  size,  with  which  any  things  to  be  filed  are  held,  which 
must  be  slender  at  the  top  of  one  of  the  branches,  and  at  the 
other  must  hang  a  thin  and  broad  piece  of  iron,  and  perfo- 
rated,  in  which  when  you  place  any  thing  small  for  filing 
you  press  strongly,  and  place  the  slender  branch  in  any 
opening  you  please.  Also  very  small  pincers  united  to- 
gether  at  one  extremity  and  slender  at  the  other,  with  which 
beads  and  other  minute  things  are  arranged  together.  Also 
pincers  which  are  called  coal-pincers,  both  large  and  small, 
which  must  be  entire  and  bent  at  one  end,  open  and  slightly 
curved  at  the  other.  Also  cutting  pincers,  large  and  small, 
made  in  two  parts,  and  fastened  together  by  a  rivet. 


CHAPTER  VIII. 

OF   THE    INSTRUMENTS   THROUGH   WHICH   WIRES   ARE    DRAWN. 

Two  irons  three  fingers  in  breadth,  narrow  above  and  below, 
everywhere  thin,  and  perforated  with  three  or  four  ranges, 
through  which  holes  the  wires  are  drawn. 


216  THEOPHILI    LIBER    III. 

CAPUT   IX. 

DE    INSTRUMENTO    QUOD    ORGANARIUM    DICITUR. 

EST  etiam  instrumentum  ferreum,  quod  organarium  dicitur, 
quod  constat  duobus  ferris,  uno  inferius,  altero  superius; 
sed  pars  inferior  habet  grossitudinem  et  longitudinem  longioris 
digiti,  et  est  aliquantulum  tenuis,  habens  duo  hastilia,  quibus 
lignum  figitur  inferius,  supra  quse  in  superiori  parte  eminent 
duo  clavi  grossi,  qui  suscipiunt  superiorem  partem  ferri,  quod 
ferrum  habet  grossitudinem  et  longitudinem  inferioris,  et 
habet  duo  foramina,  in  utraque  summitate  unum,  per  quae 
duo  clavi1  superiores  inducantur,  ut  sibi  conjungantur.  Valde 
enim  conjungi  debent  cum  lima ;  in  quibus  utrisque  fodian- 
tur  fossulag,  ita  ut  per  medium  appareant  foramina,  ut  cum  in 
majori  argentum  vel  aurum  mittitur  longum  et  aequaliter  ro- 
tundum  percussum,  feriatur  superior  pars  ferri  fortiter  cum 
malleo  corneo,  et  altera  manu  rotetur  aurum  vel  argentum,  et 
fiant  grana  rotunda  sicut  fabae,  in  sequenti  foramine  fiant 
quasi  pisa,  in  tertio  quasi  lentes,  et  sic  minora. 


•      CAPUT   X. 

DE    LIMIS    INFERIUS    FOSSIS. 

FIUNT  etiam  ferri  graciles  ut  festuca,  longitudine  unius 
digiti,  quadri ;  sed  in  uno  latere  latiores,  quorum  caudae, 
in  quibus  manubria  ponuntur,  sunt  sursum  curvae;  inferius 
autem  per  longitudinem  est  tractus  fossus  et  limatus  quasi 
sulcus,  et  ex  utraque  parte  ejus  sunt  costae  acutse  limatae.  His 
ferris  limantur  fila  aurea  et  argentea  grossa  et  subtilia,  ita  ut 
in  eis  grana  appareant. 

1  "  inferiores  1"     Trantl. 


TRANSLATION.  217 

CHAPTER  IX. 

OF    THE    INSTRUMENT    WHICH    IS    CALLED    THE   ORGANARIUM. 

There  is  also  an  iron  instrument  called  the  organarium, 
which  consists  of  two  irons,  an  under  and  upper;  but  the 
lower  part  has  the  size  and  length  of  the  middle  finger,  and 
is  somewhat  slender,  having  two  points  to  which  wood  is  fixed 
below,  over  which,  at  the  upper  part,  protrude  two  long  nails, 
which  receive  the  upper  part  of  the  instrument ;  this  iron  has 
the  size  and  length  of  the  one  underneath,  and  has  two  per- 
forations  through  which  the  two  lower1  nails  may  be  con- 
ducted,  that  they  (the  irons)  may  be  joined  together.  They 
should  also  be  well  joined  together  with  the  file,  and  in  both 
of  them  small  grooves  should  be  hollowed  out,  so  that  the 
holes  may  appear  through  the  middle,  so  that  when  silver  or 
gold,  smoothly  beaten  long  and  round,  is  placed  in  the  larger 
(groove),  the  upper  part  of  the  instrument  is  strongly  struck 
with  the  horned  hammer,  and  the  gold  or  silver  is  turned 
round  with  the  other  hand,  and  round  beads  like  beans  are 
made ;  in  the  next  furrow  they  are  made  like  peas,  in  the 
third  Hke  lentils,  and  so  on  smaller. 


CHAPTER  X. 

OF    FILES    HOLLOWED    UNDERNEATH. 

Slender  irons  are  also  made  like  straws,  a  finger  in  length, 
rectangular,  but  on  one  side  wider,  the  ends  of  which,  upon 
which  the  handles  are  placed,  are  curved  upwards ;  but  un- 
derneath,  lengthwise,  a  groove  is  traced,  and  is  filed  like  a 
furrow,  and  on  both  sides  of  it  sharp  ribs  are  filed.  With 
these  instruments  golden  and  silver  wires,  thick  and  fine,  are 
filed,  so  that  beads  may  appear  upon  them. 

1  The  manuscript  has  "  superiores,"  "  upper-; "  this  is  evidently  an  inadvertence. 
Transl. 


218  THEOPHILI    LIBER    III. 

CAPUT    XI. 

DE    FERRIS    FOSSORIIS. 

FIUNT  quoque  ferri  fossorii  ad  fodiendum  hoc  unodo. 
Fit  ferrum  ex  calibe  puro,  longitudine  majoris  digiti,  et 
grossum  ut  festuca,  in  medio  vero  grossius,  et  est  quadrum ; 
una  cauda  ponitur  in  manubrium,  et  altera  summitate  limatur 
una  costa,  quae  est  superior,  usque  ad  inferiorem,  sed  inferior 
est  longior,  quse  limata  gracilis  est  in  cuspide ;  quod  calidum 
temperatur  in  aqua.  Ad  hanc  speciem  fiunt  plures  majores 
et  minores.  Fit  et  aliud  similis  quadrum,  sed  est  latius  et 
tenue,  cujus  acumen  sit  in  ipsa  latitudine,  ita  ut  duae  costse 
sint  superius  et  duae  inferius  longiores  et  aequales.  Hoc  quo- 
que  modo  fiunt  plures  parvi  et  magni.  Fit  etiam  ferrum  ro- 
tundum  et  grossum  sicut  festuca,  cujus  cuspis  ita  limatur,  ut 
tractus,  quem  facit,  sit  rotundus. 


CAPUT    XII. 

DE    FERRIS    RASORIIS. 


FIUNT  etiam  ferri  rasorii  graciles,  sed  in  fine  aliquantulum 
latiores,  una  parte  acuti,  parvi  et  magni,  quorum  aliqui 
fiunt  recurvi,  pro  libitu  secundum  modum  operis.  Fiunt 
etiam  ferri  eodem  modo  formati,  sed  obtusi  ad  poliendum 
opus. 


CAPUT    XIII. 

DE    FERRIS    AD    DUCTILE    OPUS    APTIS. 

FIUNT   quoque   ferri   ad    exprimendas    imagines,    aves, 
bestias,  sive  fiores,  ductiies  in  auro  et  argento  et  cupro, 
longitudine  unius  palmi,  superius  lati  et  capitati,  inferius  vero 


TRANSLATION.  219 

CHAPTER  XI. 

OF    SCULPING    INSTRUMENTS. 

Sculping  irons  are  also  made  for  hollowing  out  in  this 
manner.  An  instrument  is  made  from  pure  steel,  the  length 
of  the  great  finger,  and  as  thick  as  a  straw,  but  thicker  in  the 
middle  and  square.  One  end  is  placed  in  a  handle,  and  at 
the  other  end  one  side  must  be  filed  from  the  upper  to  the 
lower  angle ;  but  the  lower,  which  is  filed  slender  towards  the 
point,  is  longer;  this  being  heated,  is  tempered  in  water. 
Many  larger  and  smaller  are  made  after  this  fashion.  Another 
like  kind  is  made  square,  but  more  broad  and  thin,  and  its 
edge  is  parallel  with  the  breadth,  so  that  two  angles  are 
above,  and  the  two  below  more  long  and  equal.  In  this 
fashion  also  many  large  and  small  are  made.  A  round  and 
thick  iron  like  a  straw  is  also  made,  the  point  of  which  is 
filed  so  that  the  mark  which  it  makes  be  round. 


CHAPTER  XII. 

OF    SCRAPING    INSTRUMENTS. 


Slender  scraping  irons  are  likewise  made,  but  somewhat 
broad  at  the  end,  sharp  on  one  side,  large  and  small,  of  which 
some  are  made  curved  back  at  will,  according  to  the  mode  of 
work.  They  make  also  instruments  formed  in  the  same 
manner,  but  blunt,  for  polishing  the  work. 


CHAPTER  XIII. 

OF  INSTRUMENTS  FIT  for  malleable  work. 

Instruments  also  are  made  for  portraying  figures,  birds, 
animals,  or  flowers  beaten  in  gold,  and  silver,  and  copper ; 
thees  are  a  palm  in  length,  wide  and  headed  at  the  upper 


220  THEOPHILI    LIBER   III. 

graciles,  rotundi,  tenues,  trianguli,  quadranguli,  recurvi, 
prout  expetit  varietas  operis  formati,  qui  malleo  debent  per- 
cuti.  Fit  vero  ferrum  eodem  modo  formatum,  sed  gracile  in 
fine,  in  quo  est  foramen  altero  ferro  graciliore  inditum,  et  in 
circuitu  limatum,  quod  cum  percussum  fuerit  in  auro  vel 
argento  sive  cupro  deaurato,  apparet  quasi  subtilissimus 
circulus. 


CAPUT    XIV. 

DE    FERBIS    INCISORIIS. 

FIUNT  quoque  ferri  incisorii  talis  magnitudinis,  ut  plena 
manu  teneantur,  et  super  manum  emineant,  lati  et  aequales, 
inferius  etiam  manum  excedant,  lati,  tenues  et  acuti.  Horum 
fiunt  multi  parvi  et  magni,  quibus  inciditur  aurum  et  argen- 
tum  sive  cuprum  spissum. 


s 


CAPUT    XV. 

DE    FERRIS    AD    FACIENDOS    CLAVOS. 

UNT    et  ferri  tenues  et  stricti  perforati,  in  quibus  clavi 
capitantur,  magni,  mediocres  et  parvi. 


CAPUT    XVI. 


DE  FERRIS    INFUSORIIS. 


SUNT  etiam  ferri  infusorii,  longi,  rotundi  et  quadri,  in 
quibus  funditur  liquefactum  aurum,  argentum  vel  cuprum. 
Sunt  et  circini  ferrei  duabus  partibus  compositi,  majores  et 
minores,  recti  et  curvi. 


TRANSLATION.  221 

part,  but  at  the  lower  end  slender,  round,  thin,  triangular, 
quadrangular,  curved  back,  as  the  variety  of  form  of  the  work 
demands  ;  these  should  be  struck  with  the  hammer.  An  iron 
is  also  made  formed  in  the  same  manner,  but  fine  at  the  end, 
in  which  a  hole  is  inserted  by  another  more  pointed  instru- 
ment  and  filed  around,  which,  when  it  has  been  struck  upon 
gold,  or  silver,  or  copper  gilt,  causes  a  very  delicate  circle  to 
appear. 


CHAPTER  XIV. 

OF    CUTTING    INSTRUMENTS. 


Cutting  instruments  are  also  made  broad  and  even,  of  such 
a  size  that  they  may  be  held  in  the  whole  hand,  and  that  they 
may  rise  above  the  hand  :  they  even  extend  belovv  the  hand 
broad,  thin  and  sharp.  Many  of  these  are  made  large  and 
small ;  with  these  gold  is  cut,  and  silver,  or  thick  copper- 


CHAPTER  XV. 

OF    IRONS    FOR    MAKING    NAILS. 


There  are  also  irons  thin  and  pierced  narrowly,  in  which 
nails  are  headed,  large,  middling  and  small. 


CHAPTER  XVI. 

OF    IRON    MOULDS. 


There  are  likewise '  moulds  of  iron,  long,  round  and  square, 
into  which  melted  gold,  silver,  or  copper  is  poured.  There 
are  also  iron  compasses  made  in  two  parts,  Iarge  and  small, 
straight  and  curved. 


222  THEOPIITLI    LTBER    III, 


CAPUT    XVII. 


DE    LIMIS. 


LIM7E  vero  fiunt  ex  puro  calibe,  magnse  et  mediocres1, 
trium  costarum  et  rotundae.  Fiunt  et  alise,  ut  fortiores 
sint  in  medio,  interius  ex  molli  ferro,  exterius  vero  co-operi- 
untur  calibe.  Quae  cum  percussae  fuerint  secundum  magni- 
tudinem,  quam  eis  auctor  earum  dare  voluerit,  aequantur  super 
runcinam,  sicque  inciduntur  cum  malleo  ex  utraque  parte 
acuto.  Inciduritur  etiam  aliee  cum  ferro  incisorio,  de  quo 
supra  diximus ;  cum  quibus  aequari  debet  opus,  quod  cum 
aliis  grossioribus  praelimatum  fuerit.  Cumque  ex  omni  parte 
ineisse  fuerint,  fac  temperamentum  hoc  modo. 


CAPUT     XVIII. 

DE   TEMPERAMENTO    LIMARUM. 


COMBURE  cornu  bovis  in  igne  et  rade,  atque  misce  ei 
tertiam  partem  salis,  et  tere  fortiter.  Deinde  mitte 
limam  in  ignem,  et  cum  canduerit,  saJies  illam  confectionem 
super  eam  ex  omni  parte,  aptisque  carbonibus  valde  ardent- 
ibus  cum  festinatione  sufflabis  per  omnia  sic  ut  temperamen- 
tum  non  cadat,  et  statim  eiciens2  siccabis  modice  super  ignem. 
Hoc  modo  temperabis  omnes  quse  sunt  ex  calibe. 


F 


CAPUT    XIX. 

ITEM    TJNDE    SUPRA. 

ACIES  et  parvulas  similiter  quadras*,  rotundas,triangulas, 
tenues  ex  molli  ferro,  easque  sic  temperabis.     Cum  incisa? 

1  "  ut  quadrae,"  ex  MS.  Guelph. 

'  "  extingue  sequaliter  in  aqua  et  inde  ciciena,"  ex  Codice  Gmlph. 

*  "  semirotundns,"  ex  Cod.  Gvelph. 


TRANSLATION.  223 

CHAPTER  XVII. 

OF    FILES. 

Files  are  made  from  pure  steel,  large  and  moderately  sized, 
triangular  and  round.  Others  also  are  made  which  are 
stronger  in  the  middle,  from  soft  iron  inside,  but  outwardly 
they  are  covered  with  steel;  which,  when  they  have  been 
beaten  to  the  size  which  the  maker  wishes  to  give  them,  are 
made  smooth  upon  a  planing  instrument,  and  are  thus  marked 
out  with  a  hammer,  which  is  sharp  on  both  sides.  They  are 
also  marked  out  with  the  cutting  iron,  of  which  we  have 
spoken  above,  with  which  the  work,  which  has  previously 
been  filed  with  the  other  larger  irons,  should  be  smoothed. 
And  when  they  have  been  cut  all  over,  make  their  tempering 
in  this  way. 


CHAPTER  XVIII. 

OF    TEMPERING    FILES. 


Burn  the  horn  of  an  ox  in  the  fire,  and  scrape  it,  and  mix 
with  it  a  third  part  salt,  and  grind  it  strongly.  Then  put  the 
file  in  the  fire,  and  when  it  glows  sprinkle  this  preparation 
over  it  everywhere,  and,  some  hot  coals  being  applied,  you 
will  blow  quickly  upon  the  whole,  yet  so  that  the  tempering 
may  not  fall  off,  and  quickly  withdrawing  it1,  extinguish  it 
equally  in  water,  and  taking  it  out,  dry  it  slightly  over  the 
fire.  You  will  in  this  manner  temper  all  things  which  are 
made  of  steel. 


CHAPTER  XIX. 

THE    SAME    AS    THE    PRECEDING. 

Make  also  smaller  files,  similarly  square,  round,  triangular, 
thin,  from  soft  iron,  and  you  will  thus  temper  them.     When 

1  From  the  Wolfemhutlel  Ma.nugcript. 


224  THEOPHILI    LIBER    III. 

fuerint  cum  malleolo,  sive  cum  incisorio  ferro,  aut  cum  cul- 
tello,  unges  eas  veteri  aruina  porci,  et  circumdabis  corrigiolis 
ex  hircino  corio  incisis,  ligabisque  filo  lineo.  Posthaec  co- 
operies  eas  argilla  macerata  singulariter,  caudasque  nudas 
dimittes.  Cumque  siccatae  fuerint,  mittes  in  ignem,  et  suffla- 
bis  fortiter,  combureturque  corium,  et  cum  festinatione  extra- 
hens  ab  argilla  extingues,  aequaliter  in  aqua,  extractasque  sic- 
cabis  ad  ignem. 


CAPUT    XX. 


DE    TEMPERAMENTO    FERRI. 


FERRI  quoque  fossorii  temperantur  hoc  modo.  Cum 
limati  fuerint  et  suis  manubriis  aptati,  summitas  eorum 
mittitur  in  ignem,  et  mox  ut  coeperit  candescere,  extrahitur  et 
in  aqua  extinguitur. 


CAPUT    XXI. 

ITEM    DE    EODEM. 

FIT  etiam  aliud  temperamentum  ferramentorum,  quibus 
vitrum  inciditur  et  molliores  lapides  hoc  modo.  Tolle 
hircum  triennem,  et  liga  eum  intus  tribus  diebus  sine  cibo, 
quarta  die  da  ei  filicem  comedere  et  nichil  aliud.  Quem  cum 
duobus  diebus  comederit,  sequenti  nocte  co-operi  eum  in 
dolio  inferius  perforato,  sub  quibus  foraminibus  pone  aliud 
vas  integrum,  in  quo  colligas  urinam  ejus.  Qua  duabus  vel 
tribus  noctibus  tali  modo  sufficienter  collecta,  emitte  hircum, 
et  in  ipsa  urina  ferramenta  tua  tempera.  In  urina  etiam  rufi 
pueri  parvuli  temperantur  ferramenta,  durius  quam  in  aqua 
simplici. 


TRANSLATION.  225 

they  have  been  cut  out  with  the  small  hammer,  or  cutting 
iron,  or  with  a  knife,  anoint  them  with  the  grease  of  an  old 
hog,  and  bind  them  round  with  small  straps  cut  from  the  skin 
of  the  buck-goat,  and  tie  them  with  flaxen  thread.  After- 
wards  cover  them  one  by  one  with  beaten  clay,  and  leave  the 
handles  bare.  And  when  they  are  dry  place  them  in  the  fire, 
and  blow  strongly,  and  the  skin  is  burned ;  and  quickly  taking 
them  from  the  clay,  extinguish  them  equally  in  water,  and, 
being  taken  out,  you  will  dry  them  at  the  fire. 


CHAPTER  XX. 

OF    TEMPERING    IRON. 


Grooving  irons  are  likewise  tempered  in  this  manner.  When 
they  have  been  filed  and  fitted  in  their  handles,  their  end  is 
placed  in  the  fire,  and  presently,  when  it  has  begun  to  glow, 
it  is  taken  out  and  quenched  in  water. 


CHAPTER  XXI. 

OF    THE    SAME. 


Another  kind  of  tempering  of  iron  instruments  is  also  made 
in  this  manner,  by  which  glass  is  cut,  and  also  the  softer 
stones.  Take  a  three  year  old  buck-goat,  and  tie  him  up 
within  doors  for  three  days  without  food ;  on  the  fourth  day 
give  him  fern  to  eat  and  nothing  else.  When  he  shall  have 
eaten  this  for  two  days,  on  the  night  following  enclose  him  in 
a  cask  perforated  at  the  bottom,  under  which  holes  place  an- 
other  sound  vessel  in  which  youcan  collect  his  urine.  Having 
in  this  manner  for  two  or  three  nights  sufficiently  collected  this, 
turn  out  the  buck,  and  temper  your  instruments  in  this  urine. 
Iron  instruments  are  also  tempered  in  the  urine  of  a  young 
red-haired  boy  harder  than  in  simple  water. 

Q 


226  THEOPHILI    LIBER    III. 


CAPUT    XXII. 

DE    VASCULIS    AD    LIQUEFACIENDUM    AURUM    ET    ARGENTUM. 

HJEC  omnia  prae  manibus  habens,  accipe  argillam  albam, 
et  tere  eam  minutissime,  acceptisque  vasis  veteribus 
in  quibus  aurum  vel  argentum  prius  infusum  fuerit,  com- 
minue  singulariter.  Quae  si  non  habeas,  accipe  testulas 
ollae  albae,  et  mitte  eas  in  ignem  donec  candescant,  et  si  non 
resiliunt,  sine  refrigerari  et  tere  singulariter.  Deinde  pone 
duas  partes  argillas  tritse  et1  quartam  coctae  testse,  et  com- 
misceas  cum  aqua  tepida,  macera  fortiter,  et  inde  compone 
vascula  majora  et  minora,  in  quibus  liquefacias  aurum  et 
argentum.  Interim  vero,  dum  siccantur,  accepta  statera.  pon- 
dera  aurum  vel  argentum,  quod  operari  volueris.  ,  Quod  si 
argentum  purum  non  fuerit,  hoc  modo  purifica. 


CAPUT   XXIII. 

DE    PURIFICANDO    ARGENTO. 

CRIBRA  cineres,  commiscens  eos  aqua,  et  accipe  testam 
ollae  in  igne  probatam,  quae  tantae  magnitudinis  sit,  in 
qua  credas  argentum  liquefieri  posse,  quod  purificari  debet, 
ut  non  effundatur,  et  mitte  cineres  in  eam,  in  medio  tenues  et 
circa  oram  spissos,  et  sicca  ad  carbones.  Qua  siccata  amove 
carbones  a  fornace  modicum,  et  pone  ipsam  cum  cineribus  sub 
foramine  ante  fornacem,  sic  ut  ventus  ex  folle  in  eam  flet, 
superpositisque  carbonibus  suffla  donec  candescat.  Deinde 
mitte  argentum  in  eam,  et  superpone  modicum  plumbi,  super- 
jectisque  carbonibus  liquefac  illud,  et  habeas  juxta  te  virgam 
ex  sepe  vento  siccatam,  cum  qua  discooperies  diligenter,  et 

1  "  tertiam,"  ex  MS.  Owlph. 


TRAJNSLATION.  227 

CHAPTER  XXII. 

OF    CRUCIBLES    FOR    MELTING    GOLD    AND    SILVER. 

Having  all  these  things  ready  to  your  hands,  take  white  clay 
and  grind  it  very  fine,  and  old  vases,  in  which  gold  or  silver  has 
been  before  melted  ;  being  taken,  break  them  up  separately. 
If  you  have  not  these,  take  baked  fragments  of  white  earthen 
pots,  and  put  them  in  the  fire  until  they  glow,  and  if  they  do 
not  crack  allow  them  to  cool  and  grind  them  apart.  Then 
put  two  parts  of  the  ground  clay  and  a  fourth1  part  of  the 
burnt  pot  fragments,  and  mix  it  with  warm  water,  beat  it 
strongly,  and  make  crucibles  large  and  small  of  it,  in  which 
you  can  melt  gold  and  silver.  And  in  the  mean  time,  while 
they  are  drying,  taking  the  balance,  weigh  the  gold  or  silver 
which  you  wish  to  be  worked.  But  if  the  silver  be  not  pure, 
purify  it  in  this  manner. 


CHAPTER  XXIII. 

OF    PURIFYING    SILVER. 


Sift  ashes,  mixing  them  with  water,  and  take  an  earthen 
vessel  proved  in  the  fire,  which  must  be  of  such  a  size  as  you 
think  the  silver,  which  is  to  be  purified,  can  be  melted  in, 
so  that  it  may  not  be  scattered,  and  put  the  ashes  into  it, 
slightly  in  the  middle,  but  thick  round  the  border,  and  dry  it 
upon  the  coals.  Being  dry,  remove  the  coals  a  little  from 
the  furnace,  and  place  it  with  the  ashes  under  the  opening 
before  the  furnace,  so  that  the  wind  from  the  bellows  may 
flow  into  it,  and  the  coals  being  placed  over  it,  blow  until 
it  glows.  Then  place  the  silver  in  it,  and  superpose  a  little 
lead,  and,  the  coals  being  heaped  over  it,  melt  it,  and  have 
near  you  a  rod  cut  from  the  hedge  and  dried  in  the  wind,  with 

1  "  a  third,"  in  the  Wolfertiuttel  MS. 

Q   2 


228  THEOPHILI    LIBER    III. 

purgabis  ab  argento  quicquid  immunditise  super  illud  videris, 
positoque  super  illud  titione,  hoc  est  ligno  igne  usto,  sufflabis 
mediocriter  longo  tractu.  Cumque  plumbum  hoc  facto 
ejeceris,  si  videris  argentum  nondum  purum  esse,  rursum  ad 
pone  plumbum,  superpositisque  carbonibus  fac  sicut  prius. 
Quod  si  videris  argentum  ebullire  et  exsilire,  scito  stagnum 
vel  aurichalcum  ei  admixtum,  et  confringe  particulam  vitri 
minute,  et  proice  super  argentum,  plumbumque  adde,  appo- 
sitis  carbonibus  fortiter  sufHa.  Deinde  respice  sicut  prius,  et 
cum  virgula  aufer  immunditiam  vitri  et  plumbi,  superposito- 
que  titione  fac  sicut  prius,  et  hoc  tamdiu  donec  purum  fiat. 


CAPUT    XXIV. 

DE    DIVIDENDO    ARGENTO    AD    OPUS. 

QUO  purificato  si  calicem  fabricare  volueris,  divide  argen- 
tum  sequaliter  in  duo,  et  medietatem  serva  ad  faciendum 
pedem  et  patenam ;  ex  altera  vero  facies  vas,  cui  adicies  ex 
portione  patenae  partem ;  verbi  gratia,  si  marca  argenti  fuerit, 
adde  medietati,  pondus  duodecim  nummorum,  quos  postea 
inde  limabis  et  rades  ut  reddas  suse  parti.  Quod  si  plus  fuerit 
argenti  vel  minus,  secundum  suam  quantitatem  addes,  et  post 
haec  unicuique  parti  suum  pondus  reddes. 


CAPUT    XXV. 

DE    FUNDENDO    ARGENTO. 


HIS  ita  dispositis  mitte  argentum  in  uno  vasculorum,  et 
cum  liquefactum  fuerit,  proice  modicum  salis  super 
illud,  moxque  effunde  infusorium  rotundum  quod  sit  calefactum 
super  ignem,  et  sit  in  eo  cera  liquefacta.     Et  si  aliqua  negli- 


TRANSLATtON.  229 

which  you  will  carefully  uncover  it,  and  will  cleanse  from  the 
silver  whatever  irapurity  you  may  see  upon  it;  and  placing  a 
fire-brand  upon  it,  that  is,  wood  burnt  in  the  fire,  you  will  blow 
moderately  upon  it  with  a  long  stroke.  And  when  you  have 
cast  out  all  the  lead  by  this  process,  if  you  see  that  the  silver 
is  not  yet  pure,  again  add  lead,  and  the  coals  being  super- 
posed,  do  as  before.  But  if  you  see  the  silver  boil  up  and  fly 
out,  know  that  tin  or  brass  is  mixed  with  it ;  and  break  up 
a  small  piece  of  glass  very  finely,  and  throw  it  upon  the  silver 
and  add  lead ;  the  coals  being  superposed,  blow  strongly. 
Then  examine  it  as  before,  and  with  the  rod  remove  the  im- 
purity  of  glass  and  lead,  and  the  charcoal  being  placed  upon 
it,  do  as  before,  and  this  until  at  length  it  is  made  pure. 


CHAPTER  XXIV. 

OF    THE    DIVISION    OF    THE    SILVER    FOR    THE    WORK. 

This  being  purified,  if  you  wish  to  fabricate  a  chalice,  divide 
the  silver  equally  in  two,  and  keep  one  half  for  making  the 
foot  and  the  plate;  from  the  other  you  make  the  cup,  to 
which  you  add  a  portion  from  the  part  of  the  plate ;  for  ex- 
ample,  if  there  be  a  mark  of  silver,  add  to  the  half  the  weight 
of  twelve  nummi,  which  you  will  afterwards  file  and  scrape, 
that  you  may  give  it  to  its  portion.  But  should  there  be  more 
or  less  silver,  you  add,  according  to  its  quantity,  and  after- 
wards  you  restore  its  weight  to  each  part. 


CHAPTER  XXV. 

OF    MELTING    THE    SILVER. 


These  things  thus  arranged,  put  the  silver  into  one  of  the 
small  crucibles,  and  when  it  is  liquefied  throw  a  little  salt 
upon  it,  and  directly  pour  it  into  the  round  mould,  which  is 
made  warm  over  the  fire,  and  in  which  there  is  melted  wax, 


230  THEOPHILI    LIBER    III. 

gentia  contigerit,  ut  argentum  fusum  sanum  non  sit,  iterum 
funde,  donec  sanum  fiat1. 


CAPTJT    XXVI. 


DE    FABRICANDO    MINORE    CALICE. 

CUMQUE  cceperis  percutere,  qusere  meditullium  in  eo,  et 
fac  centrum  cum  circino,  et  circa  eum  facies  caudam 
quadram,  in  qua  pedem  configere  debes.  Cum  vero  sic  atte- 
nuatum  fuerit,  ut  manu  plicari  possit,  fac  interius  circulos  cum 
circino  a  centro  usque  in  medium,  et  exterius  a  medio  usque 
ad  oram ;  et  cum  rotundo  malleo  percute  interius  secundum 
circulos,  ut  inde  profunditatem  capiat,  et  exterius  cum  me- 
diocri  super  rotundam  incudem  secundum  circulos  usque  ad 
oram,  ut  inde  strictius  fiat ;  et  hoc  tamdiu  fac  donec  ei  formam 
et  amplitudinem  secundum  argenti  quantitatem  acquiras. 
Quo  facto  rade  interius  et  exterius  seque  cum  lima,  et  circa 
oram,  donec  equalis  per  omnia  fiat.  Deinde  residuam  medie- 
tatem  argenti  sicut  supra  divide  in  duo,  et  ab  una  parte  aufer 
pondus  sex  nummorum,  et  adde  alteri,  in  qua  pedem  facies, 
quod  postea  inde  limando  auferes  et  suae  parti  reddes.  Sicque 
funde  et  percute  pedem  sicut  vas,  usque  dum  attenuetur,  ex- 
cepto  quod  caudam  non  facies  in  eo.  Quo  attenuato  profun- 
ditatem  dabis  ei  cum  malleo  rotundo  interius  et  exterius,  in- 
cipiesque  nodum  formare  cum  mediocri  malleo  super  rotundam 
incudem,  et  inde  super  longam  ex  utraque  parte,  donec  collum 
tam  gracile  facias  sicut  volueris ;  hoc  diligenter  procurans,  ne 
plus  in  uno  loco  percutias  quam  in  altero,  ne  forte  nodus  se 
in  aliquam  partem  inclinet,  sed  in  medio  stet,  ex  omni  parte 
aeque  spissus  et  latus.     Deinde  pone  eum  super  carbones,  et 

1  "  Deinde  fac  tibi  confectionem  ex  faecibus  claris  et  sale,  in  qua  extingues  argentum 
quotiens  recoxeris."     Ex  MS.  Guelpk. 


TRANSLATION.  231 

and  if  by  some  negligence  it  should  happen  that  the  melted 
silver  be  not  whole,  cast  it  again  until  it  is  made  whole l.  [Then 
make  the  mixture  from  clear  lye  and  salt,  in  which  you 
quench  the  silver  as  often  as  you  remelt  it.] 


CHAPTER  XXVI. 

OF    MAKING    THE    SMALLER    CHALICE. 

And  when  you  have  begun  to  beat  it,  find  the  middle  of  it, 
and  mark  a  centre  with  the  compass,  and  around  it  make  a 
square  projection,  in  which  you  should  fasten  the  foot.  But 
when  it  has  been  made  so  thin  that  it  can  be  bent  with  the 
hand,  make  circles  inside  with  the  compass  from  the  centre 
to  the  middle,  and  outside,  from  the  middle  to  the  rim,  and 
with  a  round  hammer  beat  it  inside  according  to  the  circles, 
that  thus  it  may  acquire  depth,  and  outside  with  a  middle- 
sized  (hammer)  upon  a  round  anvil  according  to  the  circles 
as  far  as  the  rim,  that  it  may  thus  become  more  narrow,  and 
do  this  until  at  length  you  attain  for  it  a  form  and  capacity 
according  to  the  quantity  of  silver.  Which  being  done,  rasp  the 
inside  and  out  smoothly  with  a  file,  and  round  the  mouth  until  it 
is  made  even  throughout.  Then  divide  the  remaining  half  of  the 
silver  in  two,  as  above,  and  from  one  portion  take  away  the 
weight  of  six  nummi,  and  add  it  to  the  other  from  which  you 
make  the  foot,  which  afterwards  in  filing  you  will  take  away 
from  it  and  restore  to  its  portion.  And  thus  cast  and  hammer 
the  foot,  as  the  cup,  until  it  is  at  length  thinned,  excepting  that 
you  do  not  make  a  projection  in  it.  Being  thinned  you  will 
give  it  depth,  inside  and  out,  with  the  round  hammer,  and  will 
begin  to  form  the  knot  with  the  middle-sized  hammer  upon 
the  round  anvil,  and  then  upon  one  lengthened  upon  both  sides, 
until  you  make  the  neck  as  slender  as  you  wish,  having  a 
careful  regard  to  this,  that  you  do  not  hammer  more  in  one 
place  than  in  another,  that  the  knot  may  not  by  chance  lean 
upon  either  side,  but  stand  in  the  middle,  everywhere  equally 
thick  and  wide.     Then  place  it  upon  the  coals  and  flll  it  with 

1  From  the  Wolfenbuttel  MS. 


232  THEOPHILI    LIBER    III. 

imple  cera,  et  cum  refrigerata  fuerit,  tene  ipsum  pedem  in 
sinistra  manu,  et  in  dextera  ferrum  unum  ductile  ac  tenue ; 
et  fac  puerum  sedere  juxta  te,  qui  percutiat  cum  parvulo 
malleo  super  ferrum  in  quocunque  loco  illud  posueris^  et  inde 
designabis  anulum,  qui  inter  nodum  et  pedem  in  circuitu  esse 
debet.  Quo  designato  efFunde  ceram  et  recocto  pede  iterum 
imple,  ut  anulum  profundius  percutias  sicut  prius ;  sicque  facies 
donec  eum  sequaliter  cum  suis  granis  perficias.  Deinde  lima 
nodum  et  rade,  et  circa  pedem  interius  et  exterius,  et  oram 
ejus;  sicque  facies  in  medio  nodi  foramen  quadrangulum 
secundum  quantitatem  caudse  superioris  vasis,  et  in  eo  pones 
spissam  partem  argenti,  rotundam,  eodem  modo  perforatam. 
Facies  quoque  anulum  singulariter,  qui  stare  debetinter  nodum 
et  vas  superius,  eadem  quantitate  et  specie  sicut  est  ille,  quem 
ductili  ferro  formasti  sub  nodo,  et  accipiens  ferrum  obtusum 
fricabis  super  cotem  sequalem,  deinde  super  ligneum  querci- 
neum,  imposito  ei  carbone  trito,  et  cum  eo  polies  ipsum  vas 
interius  et  exterius,  nodum  et  pedem  et  anulum,  sicque  frica- 
bis  cum  panno  et  creta.  subtiliter  rasa,  donec  omnino  lucidum 
fiat  opus.  His  ita  peractis  finde  caudam  vasis  in  quatuor 
usque  in  medium  cum  lima  tenue,  et  eversa  eum  super  incudem 
rotundam  ita  ut  sequaliter  pendeat,  et  superpone  ei  anulum,  et 
in  foramine  nodi  caudam,  particulasque  quae  in  est  desuper  et 
tenens  haec  cum  sinistra  manu  fortiter  et  sequaliter,  et  in  dex- 
tera  ferrum  ductile  mitte  in  nodum  et  fac  superius  percuti  cum 
malleo  mediocri  donec  configas  firmiter.  Postea  funde  argen- 
tum,  quod  limasti  et  rasisti  cum  eo  quod  residuum  est,  et  per- 
cute  rotulam  cum  circino  aequatam  tantae  latitudinis  quanta  est 
altitudo  calicis  a  pede  inferius  usque  ad  oram  superius,  et 
modice  amplius,  et  sic  percute  cavum  interius  secundum  lati- 
tudinem  vasis  superius,  ita  ut  aequaliter  possit  in  eo  jacere. 
Et  si  volueris,  fac  circulos  duos  interius  cum  circino,  et  per- 


TRANSLATION.  233 

wax,  and  when  it  has  become  cold,  hold  the  foot  itself 
in  the  left  hand,  and  in  the  right  an  iron,  yielding  and  thin, 
and  make  the  boy  sit  near  you,  who  can  strike  with  a  very 
small  hammer  upon  the  iron  in  whatever  spot  you  place  it, 
and  you  will  mark  the  ring  with  it,  which  should  be  around 
it  between  the  knot  and  the  foot.  Being  designed,  pour 
out  the  wax,  and  the  foot  being  warmed  fill  it  again,  so  that 
you  may  hammer  the  ring  more  deeply  than  before ;  and  act 
thus  until  you  perfect  it  equally,  with  its  beads.  Then  file 
and  scrape  the  knot,  and  around  the  foot  inside  and  out,  and 
its  brim ;  and  make,  in  the  middle  of  the  knob,  a  quadrangular 
opening  according  to  the  size  of  the  projection  in  the  upper 
vase,  and  place  in  it  a  thick  piece  of  silver,  round,  perforated 
in  the  same  manner.  Make  likewise  a  ring  separately,  which 
ousfht  to  stand  between  the  knob  and  the  vase  above,  of  the 
same  size  and  kind  as  that  which  you  had  formed  under  the 
knob  with  the  ductile  iron,  and  taking  a  blunted  iron  you 
will  rub  it  upon  a  flat  stone,  then  upon  oak-wood,  ground 
charcoal  being  placed  upon  it,  and  with  it  you  will  polish  the 
vase  inside  and  out,  the  knob  and  foot  and  the  ring,  and  you 
will  thus  rub  it  with  a  cloth  and  chalk  finely  scraped,  until 
the  work  be  made  quite  brilliant.  These  things  being  thus 
accomplished,  divide  the  projection  of  the  cup  into  four,  as  far 
as  the  middle,  with  a  thin  file,  and  turn  it  over  upon  a  round 
anvil,  so  that  it  may  hang  equally,  and  place  the  ring  upon  it, 
and  the  projection  in  the  opening  of  the  knob,  and  the  small 
pieces  which  are  from  above,  and  holding  these  with  the  left 
hand  firmly  and  evenly,  and  in  the  right  the  ductile  iron,  place 
them  in  the  knob,  and  cause  it  to  be  beaten  with  the  middle- 
sized  hammer  until  you  fasten  it  firmly.  Afterwards  melt  the 
silver  which  you  have  filed  and  scraped  with  that  which  is 
left,  and  strike  out  a  round  flat  plate  with  the  compass,  as 
large  as  is  the  height  of  the  chalice  from  the  foot  below  to 
the  mouth  above,  and  rather  more,  and  beat  it  hollow  within 
according  to  the  breadth  of  the  vase  at  the  top,  so  that  it  can 
lie  evenly  upon  it.     And,  if  you  wish,  draw  two  circles  within, 


234  THEOPHILI    LIBER    III. 

trahe  cum  subula  obtusa  in  medio  similitudinem  agni,  sive 
dexteram  quasi  de  ccelo  descendentem  et  signantem,  et  litteras 
inter  illos  duos  circulos,  atque  cum  ferro  fossorio  subtiliter 
fode,  poliens  ad  effectum  sicut  calicem. 


CAPUT    XXVII. 

DE    MAJORE    CALICE    ET    INFUSIORIO    EJUS. 

QUOD  si  calicem  magnum  argenteum  fabricare  volueris, 
quatuor,  aut  sex,  seu  decem  marcarum,  primo  igne  pur- 
gabis  et  probabis  totum  argentum,  dehinc  divides  ordine  quo 
supra.  Posthsec  accipe  duos  ferros  aeque  longos  et  latos,  ad 
mensuram  palmi,  et  sicut  festuca  spissos,  aequaiiter  percussos 
et  sanos  et  ad  runcinam  diligenter  sequatos  ;  inter  quos  facies 
corrigiam  ferream  sequaliter  percussam  ac  mediocriter  spis- 
sam,  quam  complicabis  in  modum  circuli  ea  amplitudine,  ut 
tibi  videatur  quod  possit  impleri  illo  argento,  quod  in  eo  fun- 
dere  vis.  Et  cum  plicaveris,  non  conjunges  capita,  sed  mo- 
dice  separabis,  ut  foramen  appareat,  per  quod  infundere 
possis.  Hunc  circulum  aptabis  inter  duos  ferros  aequaliter, 
ita  ut  capita  ipsius  extra  ferros  parum  appareant,  et  constringes 
eos  tribus  curvis  ferris  fortibus  in  tribus  locis,  videlicet  infe- 
rius  et  ex  utraque  parte  juxta  foramen,  sicque  linies  argillam 
maceratam  circa  circulum  inter  ferros  et  circa  foramen  abun- 
danter.  Quam  formam,  cum  siccata  fuerit,  calefacies,  et 
liquefactum  argentum  infunde.  Omne  aurum  et  argentum 
quod  tali  modo  funditur,  nisi  contingat  ex  magna  negligentia, 
semper  est  sanum  ad  operandum  in  eo  quodcumque  volueris. 
Circulos  autem  secundum  quantitatem,  quam  infundere  volu- 
eris,  mensurabis,  et  facies  majores  et  minores ;  fusum  vero 
argentum  postquam  percusseris  ut  supra,  et  vasi  formam  de- 
deris,  imple  illud  cera,  et  percute  in  ventre,  si  volueris  costas 
aequales  sive  rotundas,  quse  stent  in  circuitu  sicut  cochlearia, 
quod   opus   utrumque   magnum    ornatum   dat   calici.     Quas 


TRANSLATION.  235 

with  the  compass,  and  portray  with  a  blunted  graver  the 
likeness  of  a  lamb  in  the  middle,  or  a  right  hand  as  if  de- 
scending  from  heaven  and  blessing,  and  letters  between  these 
two  circles,  and  hollow  it  finely  with  the  sculpturing  iron, 
polishing  it  effectively,  as  the  chalice. 


CHAPTER  XXVII. 

OF    THE    LARGER    CHALICE    AND    1TS    MOULD. 

But  if  you  wish  to  construct  a  large  silver  chalice,  of  four,  or 
six,  or  ten  marks,  you  will  first  purify  and  prove  all  the  silver 
in  the  fire;  afterwards  divide  it  inthe  order  above.  After  this 
take  two  pieces  of  iron  equally  long  and  wide,  of  the  measure 
of  a  palm  and  thick  as  a  straw,  evenly  beaten  and  without 
flaw,  and  carefully  smoothed  with  a  plane :  make  between 
these  an  iron  binding  beaten  smoothly  and  moderately 
thick,  which  you  will  bend  in  fashion  of  a  circle,  of  such  size 
as  it  may  be  apparent  to  you  that  it  can  be  filled  with  the 
silver  which  you  wish  to  cast  in  it.  And  when  you  have  bent 
it,  do  not  join  the  ends  together,  but  you  will  separate  them 
a  little  that  an  opening  may  appear  through  which  you  can 
pour  in.  You  will  adapt  this  circle  equally  between  the  two 
iron  (plates),  so  that  its  ends  may  appear  a  little  beyond  the 
irons,  and  bind  these  with  three  strong  iron  hooks  in  three 
places,  namely,  below  and  on  each  side  near  the  opening,  and 
thus  plaster  beaten  clay  around  the  circle  between  the  irons 
and  abundantly  about  the  opening.  When  this  mould  has 
become  dry,  you  warm  it  and  pour  in  the  melted  silver.  All 
gold  and  silver,  which  is  founded  in  this  manner,  is  always 
sound,  (unless  it  happen  through  great  negligence,)  for  working 
in  it  whatever  you  may  wish.  You  will  measure  the  circles 
also  according  to  the  quantity  which  you  wish  to  found,  and 
you  make  larger  and  smaller  :  after  you  have  beaten  out  the 
melted  silver  as  above,  fill  it  with  wax  and  beat  it  on  the 
body,  if  you  wish  to  have  ribs  flat  or  round ;  these  stand 
around  like  small  spoons,  both  which  kinds  of  work  give 
srreat  ornament  to  the  chalice. 


236  THEOPHILI    LIBER    III. 

costas  si  volueris  cum  nigello  parare,  hoc  procura  ut  argen- 
tum  spissius  sit,  et  sic  age  ut  una  costa  deauretur  et  altera 
denigretur,  quas  semper  oportet  pares  esse.  Quas  cum 
percusseris,  lima  aequaliter  et  rade,  et  in  illis  quas  deni- 
grare  vis,  pertrahe  graeca  folia  et  fode  grosso  tractu,  cam- 
posque  eorum  fodies  gracilibus  circulis  et  subtili  opere,  deinde 
compone  nigellum  hoc  modo. 


CAPUT    XXVIII. 

DE    NIGELLO. 

ACCIPE  argentum  purum,  et  aequo  pondere  divide  in 
duo,  addens  ei  tertiam  partem  cupri  puri.  Quas  tres 
partes,  cum  miseris  in  fusile  vasculum,  pondera  tantum 
plumbi,  quantum  appendit  medietas  ipsius  cupri,  quod  ar- 
gento  miscuisti,  acceptumque  sulphur  croceum  frange  minu- 
tatim,  et  mitte  plumbum  et  partem  ipsius  sulphuris  super 
vasculum  cupreum,  ac  reliquum  sulphuris  mitte  in  aliud  vas 
fusile.  Cumque  liquefeceris  argentum  cum  cupro,  move  pari- 
ter  cum  carbone,  statimque  infunde  ei  plumbum  et  sulphur  ex 
cupreo  vasculo,  et  rursum  commisce  cum  carbone  fortiter,  et 
cum  festinatione  funde  in  aliud  vas  fusile  super  sulphur  quod 
in  eo  miseras,  moxque  deposito  vasculo,  cum  quo  fuderas, 
accipe  illud  in  quod  fudisti,  et  mitte  in  ignem  donec  liquefiat, 
iterumque  commovens  funde  in  ferrum  infusorium.  Quod 
prius  quam  frigescat,  percute  modicum,  et  calefac  parum, 
rursumque  percute,  sicque  facies  donec  omnino  adtenuetur. 
Natura  enim  nigelli  talis  est,  ut  si  frigidum  percutitur,  statim 
frangitur  et  resilit,  nec  debet  sic  calefieri,  ut  rubescat,  quia 
statim  liquescit  et  fluit  in  cineres.  Adtenuatum  vero  nigellum 
mitte  in  vasculum  profundum  et  spissum,  et  superfundens 
aquam,  confringe  cum  malleo   rotundo,  donec  minutissimum 


TRANSLATION.  237 

If  you  wish  to  ornament  which  ribs  with  niello,  take  heed 
of  this,  that  the  silver  be  thicker,  and  so  act  that  one  rib  may 
be  gilt  and  the  other  blackened ;  it  is  always  necessary  that 
they  should  be  in  pairs.  When  you  have  beaten  out  these,  file 
them  evenly,  and  portray  Greek  foliage  in  those  places  which 
you  wish  to  make  black,  and  carve  with  a  bold  stroke,  and 
you  sculpture  their  grounds  with  graceful  circles  and  with 
fine  work  ;  then  compose  the  niello  in  this  manner. 


CHAPTER  XXVIII. 

OF    NIELLO. 


Take  pure  silver,  and  divide  it  into  two  equal  weights,  add- 
ing  to  it  a  third  part  of  pure  copper.  When  you  have  placed 
these  three  quantities  into  a  cast  metal  cup,  weigh  as  much 
lead  as  the  half  of  the  copper  which  you  have  mixed  with 
the  silver  weighs,  and  taking  yellow  sulphur  break  it  very 
small,  and  put  the  lead  and  part  of  this  sulphur  upon  a  small 
copper  vessel,  and  place  the  rest  of  the  sulphur  in  another 
cast  metal  cup.  And  when  you  have  liquefied  the  silver  with 
the  copper,  stir  it  evenly  with  charcoal,  and  instantly  pour  into 
it  the  lead  and  sulphur  from  the  small  copper  cup,  and  again 
mix  it  well  together  with  the  charcoal,  and  with  quickness 
pour  it  into  the  other  molten  cup  upon  the  sulphur  which  you 
had  put  into  it,  and  then  putting  down  the  small  vase  with 
which  you  have  poured  out,  take  that  into  which  you  have 
cast  it  and  place  it  in  the  fire  until  (the  contents)  liquefy,  and 
again  stirring  it  together  pour  into  the  iron  crucible.  Before 
this  cools  beat  it  a  little,  and  warm  it  a  little,  and  again  beat 
it,  and  do  thus  until  it  is  quite  thinned.  For  the  nature  of 
niello  is  such,  that  if  it  is  struck  while  cold  it  is  immediately 
broken  and  flies  to  pieces,  nor  should  it  be  made  so  warm  as 
to  glow,  because  it  instantly  liquefies  and  flows  into  the 
ashes.  The  niello  being  made  thin,  put  it  into  a  deep  and 
thick  cup,  and  pouring  water  upon  it,  break  it  up  with  a 


238  THEOPHILI    LIBER    III. 

fiat,  ejectumque  inde  sicca,  et  quod  minutum  est  mitte  in 
pennam  anseris  atque  obstrue,  quod  vero  grossius  est,  iterum 
mitte  in  vas  et  comminue,  rursumque  siccatum  mitte  in 
alteram  pennam. 


CAPUT   XXIX. 


DE    IMPONENDO    NIGELLO. 


CUMQUEsic  plures  pennas  impleveris,  accipe  gummi,quod 
vocaturparahasx,etparticulam  ejus  tere  cum  aquaineodem 
vase  ita,  ut  ex  eo  vix  aqua  turbida  fiat,  et  locum  quem  volueris 
denigrare  cum  ipsa  aqua  fac  humidum  prius,  accipiensque 
pennam  cum  levi  ferro  excute  tritum  nigellum  super  eum  dili- 
genter  donec  totum  cooperias,  sicque  per  omnia  facies. 
Deinde  compone  carbones  copiose  accensos,  et  in  eos  missum 
vas  diligenter  cooperi  sic,  ut  super  nigellum  nullus  carbo  po- 
natur,  nec  cadat.  Cumque  liquefactum  fuerit,  tene  vas  cum 
forcipe,  et  verte  ex  omni  parte,  qua  fluere  videris,  et  ita  con- 
vertendo  cave  ne  in  terram  nigellum  cadat.  Quod  in  primo 
calore  non  fuerit  plenum  per  omnia,  denuo  fac  humidum,  et 
superpone  ut  prius,  et  cave  diligenter  ne  plus  opus  sit. 


CAPUT    XXX. 

DE    FUNDENDIS    AURICULIS    CALICIS. 

SI  volueris  aures  calici  apponere,  mox  ut  percusseris  et 
raseris,  priusquam  operis  aliud  in  eo  quid  facias,  accepta 
cera  forma  inde  aures,  et  sculpe  in  eis  dracones  sive  bestias 
aut  aves,  vel  folia  quomodocumque  modo  volueris.  In  sum- 
mitate  vero  utriusque  auris  pone  parum  cerae,  rotundse,  sicut 

1  "  barabas,"  in  Cod.  Guelph. 


TRANSLATION.  239 

round  hammer  until  it  becomes  very  small,  and  taking  it  out, 
dry  it,  and  put  that  which  is  fine  into  a  goose  quill  and  close 
it  up,  but  that  which  is  coarser  place  again  in  the  vessel  and 
bruise  it,  and  being  again  dried,  put  it  into  another  quill. 


CHAPTER  XXIX. 

OF   APPLYING    THE    NIELLO. 


When  you  have  thus  filled  many  quills,  take  the  gum  which 
is  called  parahas  and  grind  a  small  piece  of  it  with  water  in 
the  same  vase,  so  that  the  water  is  made  scarcely  turbid  from 
it,  and  first  moisten  the  place  which  you  wish  to  blacken  with 
this  water,  and  taking  the  quill  rub  ofF  the  ground  niello  with 
a  light  instrument  upon  it  carefully,  until  you  have  covered 
the  whole,  and  do  this  over  the  whole.  Then  gather  exces- 
sively  hot  coals,  and  placing  tne  vase  in  them,  carefully  cover 
them,  so  that  no  coal  be  placed,  nor  can  fall,  over  the  niello. 
And  when  it  is  liquefied,  hold  the  vase  with  the  pincers  and 
turn  it  from  every  side  on  which  you  see  it  flow,  and  in  thus 
turning  it  round  take  care  that  the  niello  does  not  fall  to  the 
ground.  But  should  it  not  be  completely  perfect  at  the  first 
heating,  again  moisten  it,  and  superpose  (niello)  as  before,  and 
take  great  care  that  no  further  work  is  required. 


CHAPTER  XXX. 

OP    CASTING    THE    HANDLES    OF    THE    CHALICE. 

Should  you  wish  to  apply  handles  to  the  chalice,  as  soon  as 
you  have  beaten  and  filed  it,  before  you  make  any  other  work 
upon  it,  taking  wax,  form  the  handles  with  it,  and  grave  upon 
them  dragons,  or  animals,  or  birds,  or  leaves,  in  whatever 
manner  you  may  wish.  But  on  the  top  of  each  handle  place 
a  little  wax,  round  like  a  slender  candle,  half  a  finger  in 


240  THEOPHILI    LIBEH    III. 

gracilis  candela  longitudine  minimi  digiti,  sed  in  summitate 
sit  aliquantulum  grossior,  quae  cera  vocatur  infusorium ;  quam 
solidabis  calido  ferro.  Deinde  accipe  argillam  fortiter  mace- 
ratam,  et  co-operi  diligenter  utrasque  aures  singillatim,  ita  ut 
omnia  foramina  sculpturae  impleantur.  Quae  cum  siccatse 
fuerint,  iterum  co-operi  per  omnia  aequaliter,  excepta  summi- 
tate  infusorii,  et  tertio  similiter  facies.  Postmodum  mitte 
ipsas  formas  juxta  carbones,  ut  cum  calefactae  fuerint,  effundas 
ceram.  Qua  effusa  pones  eas  omnino  in  ignem,  convertens 
foramina  per  quae  cera  exiit  inferius,  et  sine  donec  candescant 
sicut  carbones,  statimque  liquefac  argentum,  addens  ei  mo- 
dicum  de  auricalco  Hyspanico,  ut  verbi  gratia,  si  fuerit  argenti 
dimidia  marca,  pondus  duorum  nummorum,  si  vero  plus  aut 
minus,  e  contra ;  et  eiciens  formas  ab  igne  siste  eas  firmiter, 
et  infunde  eodem  loco,  unde  ceram  effudisti.  Cumque  refri- 
gerata  fuerint,  aufer  argillam,  et  cum  lima  et  ferris  fossoriis 
adjunge  eas  vasi  in  suis  locis,  et  subjuncturis  facies  duo  fora- 
mina  longa,  unum  inferius  et  aliud  superius,  quaa  foris  non 
appareant,  in  quibus  junges  singillatim  duos  clavos  latos,  quos 
facies  transire  vas  per  duo  foramina  ex  utraque  parte  superius 
et  inferius,  et  configes  interius  atque  solidabis  hoc  modo. 


CAPUT  XXXI. 

DE    SOLIDATURA   ARGENTI. 

PONDERA  duas  partes  argenti  puri,  et  tertiam  cupri 
rubri,  et  confunde  atque  subtiliter  lima  in  vase  mundo, 
et  mitte  in  pennam.  Deinde  tolle  vini  petram,  quae  crescit 
interius  circa  vasa,  in  quibus  optimum  vinum  diu  jacet,  et 
particulas  ejus  liga  in  panno,  et  mitte  in  ignem  ut  comburatur 
tamdiu  donec  nullus  inde  fumus  procedat.  Quo  ab  igne  le- 
vato  et  refrigerato  exsuffla  cineres  panni  et  illud  ustum  tere 
in  cupreo  vase  cum  rotundo  malleo,  admixta  aqua  et  sale  ut 


TRANSLATION.  241 

length,  but  let  it  be  somewhat  thicker  at  the  top ;  this  wax  is 
called  the  funnel,  and  which  you  will  make  fast  with  a  hot 
iron.  Then  take  clay  well  beaten,  and  cover  carefully  both 
the  handles  one  by  one,  so  that  all  the  hollows  of  the  sculpture 
may  be  filled  up.  When  these  are  dry  again  cover  equally 
over  all,  except  the  top  of  the  funnel,  and  do  thus  a  third 
time.  Afterwards  place  these  moulds  near  the  coals,  that 
when  they  have  become  warm  you  may  pour  out  the  wax. 
Which  being  turned  out,  place  them  altogether  in  the  fire, 
turning  the  openings  through  which  the  wax  flowed  out 
downwards,  and  leave  them  until  they  glow  like  the  coals,  and 
immediately  melt  the  silver,  adding  to  it  a  little  Spanish 
brass,  as  for  example,  if  there  be  half  a  marc  of  silver,  the 
vveight  of  two  nummi,  but  if  more  or  less,  accordingly;  and 
taking  out  the  moulds  from  the  fire,  snpport  them  firmly, 
and  cast  into  the  same  place  whence  you  poured  out  the  wax. 
And  when  they  have  become  cold  remove  the  clay,  and  with 
a  file  and  the  chisel  join  them  to  the  vase  in  their  places,  and 
under  the  joinings  make  two  long  openings,  one  below  and 
another  above,  which  must  not  appear  from  without,  in  which 
you  join  one  by  one  two  broad  nails,  which  you  make  pass 
through  the  vase  through  the  two  holes,  on  both  sides  above 
and  below,  and  fasten  them  inside,  and  solder  in  this  manner. 


CHAPTER  XXXI. 

OF    THE    SOLDERING    OP    SILVER. 


Weigh  two  parts  of  pure  silver,  and  a  third  (part)  of  red 
copper,  and  nvix  and  finely  rasp  into  a  clean  vessel,  and  put 
this  into  a  quill.  Then  take  wine-stone,  which  accumulates 
inside  about  a  vessel  in  which  the  best  wine  has  remained  for 
a  long  time,  and  tie  pieces  of  it  in  a  cloth  and  put  it  into  the 
fire,  that  it  may  be  burned,  until  at  length  no  vapour  proceeds 
from  it.  From  which,  when  taken  from  the  fire  and  cooled,  blow 
off  the  ashes  of  the  cloth  and  grind  the  burnt  (substance)  in  a 
copper  vessel  with  a  round  mallet,  water  and  salt  being  mixed 

R 


242  THEOPHILI    LIBER   III. 

sit  spissum  sictit  fex ;  quod  cum  ligno  tenui  linies  circa  clavos 
interius  et  exterius,  et  excuties  cum  brevi  ferro  limatum  ar- 
gentum  desuper,  sicque  siccabis.  Iterum  linies  mixturam 
illam  desuper  spissius  quam  ante,  et  mittes  in  ignem,  adhibi- 
tisque  carbonibus,  diligenter  cooperies,  leniterque  sufflabis 
longo  flatu,  donec  solidatura  liquefiat  suflicienter ;  eductum- 
que  vas  ab  igne  et  modice  refrigeratum  lavabis,  et  si  firmi 
sunt  clavi  bene ;  sin  autem,  rursum  fac  eis,  sicut  prius.  Cum- 
que  firmi  fuerint,  elima  eos  interius  et  rade  aequaliter,  ut  nul- 
lus  considerare 'queat  in  quo  loco  steterint,  appositasque  ex- 
terius  auriculas  rursum  diligenter  adjunge.  Deinde  fac  per 
medium  auricularum  contra  clavos  subtilia  foramina,  et  in 
eodem  loco  ultra  clavos  similiter,  in  quibus  eos  configes  omni 
opere  consummato,  sic  ut  nemo  percipiat  qualiter  adhsereant. 
Post  haec  sculpe  et  fode  ipsas  auriculas  studiose  cum  limis  et 
ferramentis,  et  si  quid  volueris  in  eis  denigrare,  hoc  modo 
facies. 


CAPUT    XXXII. 

ITEM    DE    IMPONENDO    NIGELLO. 

CUM  miscureis  et1  fuderis  nigellum,  partem  unam  inde 
tolles  et  percuties  quadrangulam,  longam  et  gracilem. 
Deinde  accipe  auriculam  cum  forcipe,  et  calefac  in  igne  donec 
rubescat,  et  cum  altero  forcipe  longo  et  gracili  tene  nigellum 
et  frica  super  omnia  loca,  quse  denigrare  volueris,  donec  trac- 
tus  omnes  pleni  sint;  ablatumque  ab  igne  cum  lima  aequali 
diligenter  plana,  donec  argentum  sic  appareat,  ut  vix  tractus 
considerare  possis,  et  sic  cum  rasorio  ferro  lima,  rugas  dili- 
genter  erade,  et  quod  reliquum  est  deaurabis.  Quod  deaura- 
tum  hoc  modo  compones. 

1  Vitiose  "  foderis  "  i%  hoc  Manuscr. 


TRANSLATION.  243 

with  it  until  it  is  as  thick  as  lees ;  with  a  thin  piece  of  wood 
you  anoint  about  the  nails  inside  and  outside,  and  you 
rub  off  with  a  stnall  iron  the  filed  silver  over  it,  and  you 
will  thus  dry  it.  Again  paint  this  mixture  over  it  more 
thickly  than  before,  and  put  it  into  the  fire,  and  coals  being 
applied,  carefully  cover  it,  and  you  will  blow  gently  with  a 
long  breath  until  the  soldering  is  sufficiently  melted ;  with- 
drawing  the  vase  from  the  fire,  and  cooling  it  slightly,  you 
will  wash  it,  and,  if  the  nails  are  firm,  it  is  well  •  but  if  not, 
do  again  to  them  as  before.  And  when  they  have  become 
firm,  file  them  off  inside  and  scrape  them  smoothly,  that  no 
one  may  be  able  to  see  in  what  place  they  have  stood,  and 
the  handles  being  set  on  outside,  again  carefully  join  them  on. 
Then  make  through  the  middle  of  the  handles  against  the 
nails  very  fine  hollovvs,  and  likewise  in  the  same  place  beyond 
the  nails,  into  which  you  fix  them  with  all  perfected  labour, 
so  that  no  one  may  perceive  how  they  adhere.  After  these 
things  sculpture  and  grave  these  handles  studiously  with  files 
and  iron  instruments,  and  if  you  wish  to  blacken  anything  in 
them,  act  in  this  manner. 


CHAPTER  XXXII. 

ALSO    OF    LAYING    ON    THE    NIELLO. 

When  you  have  mixed  and  melted  the  niello,  take  a  portion 
of  it  and  beat  it  square,  long  and  slender.  Then  take  the 
handle  with  the  pincers  and  heat  it  in  the  fire  until  it  glows, 
and  with  another  forceps,  long  and  thin,  hold  the  niello  and 
rub  it  over  all  the  places  which  you  wish  to  make  black  until 
all  the  drawings  are  full,  and  carrying  it  away  from  the  fire 
carefully  make  it  smooth  with  a  fiat  file  until  the  silver  ap- 
pear,  so  that  you  can  scarcely  observe  the  traits,  and  so 
scrape  it  with  the  cutting  iron,  carefully  cut  away  the  ine- 
qualities,  and  you  will  gild  what  remains.  Which  gilding  you 
compose  in  this  manner. 


244  THEOPHILI    LIBER   III. 


CAPUT    XXXIII. 

DE    COQUENDO    AURO. 

TOLLE  aurum  qualecunque  sit,  et  percute  donec  tenues 
laminae  fiant,  latitudine  trium  digitorum  et  longitudine 
quantum  possis.  Deinde  incide  partes  ut  aeque  longae  et 
latae  sint,  et  conjunge  eas  pariter  atque  perfora  per  omnia 
cum  rasorio  ferro  tenui.  Postea  accipe  duas  testas  ollae  igne 
probatas  tantae  magnitudinis  ut  aurum  in  eis  possit  jacere,  et 
frange  tegulam  minutatim,  sive  argillam  fornacis  arsam  et 
mbicundam,  comminutam  pondera  in  duas  partes  asqua- 
les,  et  adde  ei  tertiam  partem  salis  eodem  pondere,  quae 
modice  aspersa  cum  urina  commisceatur  ita,  ut  non  adhae- 
reant  sibi,  sed  vix  madida  sint,  et  mitte  inde  parum  super 
unam  testam  juxta  latitudinem  auri,  deinde  ipsius  auri  unam 
partem,  rursumque  confectionem,  et  iterum  aurum  quod 
semper  confectione  ita  cooperiatur,  ne  aurum  auro  tangatur, 
sicque  imple  testam  usque  ad  summum,  et  desuper  cooperi 
cum  altera  testa,  quas  diligenter  circumlinies  argilla  mixta  et 
macerata,  ponesque  ad  ignem,  ut  siccetur.  Interim  compone 
furnum  ex  lapidibus  et  argilla,  altitudine  duorum  pedum,  et 
latitudine  pedis  et  dimidii,  inferius  latum,  superius  vero 
strictum,  ubi  foramen  sit  in  medio,  in  quo  eminebunt  tres 
lapides  longiores  et  duri,  qui  possint  flammam  diu  sustinere, 
super  quos  pones  testas  cum  auro,  et  cooperies  aliis  testis 
abundanter.  Deinde  suppone  ignem  et  ligna,  et  cave  ne 
deficiat  ignis  copiosus  per  spatium  diei  ac  noctis.  Mane  vero 
eiciens  aurum,  rursum  funde,  percute  et  impone  furno  sicut 
prius.  Iterum  autem  post  diem  noctem  aufer,  et  admiscens  ei 
modicum  cupri,  funde  sicut  prius,  et  repone  super  furnum. 
Cumque  tertio  deposueris,  lava  diligenter  et  sicca;  sicque 
ponderans  vide  quantum  desit,  deinde  complica  et  serva. 


TRANSLATION.  245 

CHAPTER  XXXIII. 

OF    HEATING    THE    GOLD. 

Take  gold,  of  whatsoever  sort  it  may  be,  and  beat  it  until  thin 
leaves  are  made  in   breadth  three  fingers,  and  as  long  as 
you  can.     Then  cut  out  pieces  that  are  equally  long  and  wide, 
and  join  them  together  equally,  and  perforate  through  all  with 
a  fine  cutting  iron.     Afterwards  take  two  earthen  pots  proved 
in  the  fire,  of  such  a  size  that  the  gold  can  lie  flat  in  them, 
and  break  a  tile  very  small,  or  clay  of  the  furnace  burned  and 
red,  weigh  it,  powdered,  into  two  equal  parts,  and  add  to  it  a 
third  part  salt  for  the  same  weight ;  which  things  being  slightly 
sprinkled  with  urine,are  mixed  together  so  that  they  may  notad- 
here  together,  but  are  scarcely  wetted,  and  put  a  little  of  it  upon 
a  pot  about  the  breadth  of  the  gold,  then  a  piece  of  the  gold 
itself,  and  again  the  composition,  and  again  the  gold,  which 
in  the  digestion  is  thus  always  covered,  that  gold  may  not  be 
in  contact  with   gold ;  and  thus  fill  the  pot  to  the  top,  and 
cover  it  above  with  another  pot,  which  you  carefully  lute 
round  with  clay,  mixed  and  beaten,  and  you  place  it  over  the 
fire,  that  it  may  be  dried.     In  the  mean  time  compose  a  fur- 
nace  from  stones  and  clay,  two  feet  in  height,  and  a  foot  and 
a  half  in  breadth,  wide  at  the  bottom,  but  narrow  at  the  top, 
where  there  is  an  opening  in  the  middle,  in  which  project 
three  long  and  hard  stones,  which  may  be  able  to  sustain  the 
flame  for  a  long  time,  upon  which  you  place  the  pots  with 
the  gold,  and  cover  them  with  other  tiles  in  abundance.    Then 
supply  fire  and  wood,  and  take  care  that  a  copious  fire  is  not 
wanting  for  the  space  of  a  day  and  night.     In  the  morning, 
taking  out  the  gold,  again  melt,  beat  and  place  it  in  the  fur- 
nace  as  before.     Again  also,  after  a  day  and  night,  take  it 
away,  and  mixing  a  little  copper  with  it,  melt  it  as  before,  and 
replace  it  upon  the  furnace.     And  when  you  have  taken  it 
away  a  third  time,  wash  and  dry  it  carefully,  and  so  weighing 
it,  see  how  much  is  wanting,  then  fold  it  up  and  keep  it. 


246  THEOPHILI    LIBER    III. 

CAPUT    XXXIV. 

ITEM    UNDE    SUPRA. 

SI  vero  parum  fuerit  auri,  quod  coquere  vis,  ipsum  percute, 
et  compone  in  testas  sicut  superius.  Postea  accipe  ol- 
lam  novam  et  frange  in  fundo  unum  foramen,  et  circa  latus 
quatuor,  et  fac  in  argilla  breve  vasculum  cum  tribus  pedibus 
sic  ab  invicem  separatis,  ut  possint  stare  super  foramen,  quod 
est  in  fundo  ollse;  super  quod  cum  siccatum  fuerit  pones 
testas  cum  auro,  et  elevabis  ollam  super  tres  lapides  a  se  ali- 
quantulum  remotos  seque  spissos,  et  inmitte  carbones  arden- 
tes,  deinde  extinctos,  sicque  quotiens  defecerint  superpone  fri- 
gidos,  et  nunquam  patieris  testas  nudas  esse  ab  igne.  Inter- 
dum  vero  cum  gracili  ligno  per  lforamen  inmisso  move  car- 
bones,  et  inferius  similiter,  ut  cineres  exeant  et  ventus  aditus 
habeat  Sicque  facies  cum  carbonibus  in  olla,  sicut  superius 
cum  lignis  in  furno. 


CAPUT    XXXV. 

DE    MOLENDO    AURO. 

GOCTUM  vero  pleniter  aurum,  si  molere  volueris,  mitte 
inde  super  testam  octo  2  denariorum  et  pondera  octies 
tantum  vivi  argenti,  cui  statim  inmitte  aurum  et  frica  donec 
album  fiat,  atque  particulatim  confringe.  Tolle  quoque  unum 
vasculum  ex  his,  in  quibus  aurum  vel  argentum  funditur, 
quod  tamen  ad  istud  opus  spissius  illis  debet  esse,  et  mitte  in 
ignem  donec  candescat ;  ferrum  etiam  gracile  et  curvum,  in 
uno  capite  manubrio  infixum,  in  altero  vero  habens  nodum  ro- 
tundum,  mitte  similiter  in  ignem,  et  cum  utrumque  canduerit, 
tene  forcipe  vasculum  super  scutellam  latam,  siccam,  et  funde 

1  "  foramina,"  imb. 

3  "  nummorum."     Cod.  Guelph. 


TRANSLATION.  247 

CHAPTER  XXXIV. 

THE   8AME    AS    ABOVE. 

But  if  there  should  be  but  little  gold,  which  you  wish  to  di- 
gest,  beat  it  and  lay  it  together  in  the  pots  as  before.  After- 
wards  take  a  new  clay  pot  and  break  a  hole  in  the  bottom, 
and  four  (holes)  round  the  sides,  and  make  a  small  vase  in 
clay,  with  three  feet  so  separated  from  each  other  that  they 
can  stand  over  the  opening  which  is  in  the  bottom  of  the  pot ; 
place  the  vessels  with  the  gold  upon  this  when  it  has  become 
dry,  and  you  will  elevate  the  pot  upon  three  stones  some- 
what  apart  from  each  other,  and  equally  thick,  and  put  in 
some  glowing  coals,  then  some  dead  (coals),  and  thus  as 
often  as  they  are  deficient  superpose  fresh,  and  never  suffer 
the  vessels  to  be  destitute  of  fire.  But  sometimes  stir  the 
coals  with  a  small  piece  of  wood  put  through  the  opening, 
and  the  like  below,  that  the  ashes  may  come  out  and  the  air 
may  have  access.  And  act  with  the  coals  in  the  earthen  pot 
as  with  the  wood  in  the  furnace  above. 


CHAPTER  XXXV. 

OF    GRINDING    THE    GOLI). 


The  gold  being  fully  prepared,  if  you  wish  to  grind  it,  put 
eight  denarii1  into  a  pot,  and  weigh  eight  times  as  much 
quicksilver,  into  which  you  will  immediately  put  the  gold, 
and  rub  it  until  it  is  made  white,  and  break  them  together  very 
finely.  Take  also  a  small  vase  from  those  in  which  gold  or 
silver  is  melted,  which,  however,  should  be  thicker  than  those 
for  this  work,  and  place  it  in  the  fire  until  it  glows ;  put  like- 
wise  in  the  fire  a  thin  and  curved  iron,  fixed  into  a  handle  at 
one  extremity,  but  at  the  other  having  a  round  knob,  and 
when  both  have  become  glowing,  hold  the  small  vase  with 
the  forceps  over  a  basin  wide  and  dry,  and  pour  the  quick- 

1  An  ounce  Troy ;  a  denarius  being  about  equivalent  to  a  dram  Troy,  or  a  seventh 
qf  the  Roman  ounce. 


248  THEOPHILI     LIBER    III. 

in  illud  vivum  argentum  cum  auro,  et  festinanter  cum  ferro 
curvo  et  candente  frica  illud  et  mole,  donec  nihil  sentias  in 
vasculo,  nisi  humorem ;  moxque  effunde  in  aquam.  Ejecta 
vero  aqua  illa,  mitte  aurum  in  manum  sinistram,  et  lava  dili- 
genter,  probans  digito,  si  bene  molitum  sit ;  et  si  est,  pone 
super  pannum  lineum  mundum,  et  jacta  hac  et  illac,  donec 
siccetur  aqua. 


CAPUT    XXXVI. 

ITEM    ALIO    MODO. 

QUOD  si  natura  auri  talis  est,  ut  sic  non  possis  molere, 
accipe  lapidem  sequalem,  et  in  medio  ejus  fac  fora- 
men  latitudine  trium  digitorum  et  simili  profunditate.  Deinde 
para  tibi  lapidem  duriorem  illo,  sic  gracilem,  ut  possit  in  illo 
foramine  converti,  et  sic  longum,  ut  possit  in  lignum  figi  et 
firmari,  quod  lignum  sit  longitudine  trium  ulnarum,  et,  in  in- 
feriori  parte,  in  qua  lapis  jungendus  est,  sit  grossitudine  unius 
tybise.  Super  quem  lapidem,  altitudine  dimidii  pedis,  trans- 
foretur  ipsum  lignum,  cui  jungatur  aliud  lignum  tenue  latitu- 
dine  duarum  palmarum,  in  quo  cauda  fiat,«quse  foramen  longi 
ligni  pertranseat,  superquod  tenue  lignum  ligetur  lapis  magni- 
tudine  unius  pedis,  a  quo  lapide  fiat  sursum  lignum  gracile  et 
rotunde  incisum  atque  pianum,  ita  ut  inter  manus  possit  volvi. 
His  ita  compositis  pone  majorem  lapidem  in  pelvim,  sive  in 
vas  ligneum  aequale,  et  vide  ut  lapis  firmiter  jaceat,  et  vas 
finniter  stet.  Cumque  aurum  cum  vivo  argento  in  foramen 
ejus  miseris,  et  sabuium  desuper  atque  aquam,  impone  lapi- 
dem  minoiem,  qui  iigno  junctus  est,  tenensque  in  superiori 
parte  ipsum  iignum,  converte  modicum  inter  manus  tuas,  et 
mox  per  impuisum  illius  lapidis,  qui  ligatus  est  inferius,  cir- 
cumteretur,  sicque  circumferendo  moie  per  quatuor  vel  tres 
horas.     Interdum  vero  respice  et  proba  digito,  et  rursum  in- 


TRANSLATION.  249 

silver  with  the  gold  into  it,  and  with  quickness  rub  and  grind 
it  with  the  curved  and  glowing  iron,  until  you  feel  in  the  vase 
nothing  but  a  liquid,  and  directly  pour  it  into  water.  This 
water  being  thrown  away,  put  the  gold  into  the  left  hand, 
and  wash  it  carefully,  proving  with  the  finger  if  it  be  well 
ground,  and  if  it  is,  place  it  upon  a  clean  linen  cloth,  and  cast 
it  here  and  there  until  the  water  be  dried  away. 


CHAPTER  XXXVI. 

THE    SAME,    IN    ANOTHER    MANNER. 

But  if  the  nature  of  the  gold  is  such  that  you  cannot  thus 
grind  it,  take  a  smooth  stone,  and  make  a  hollow  three 
fingers  in  breadth,  and  of  a  like  depth.  Then  fashion  for 
yourself  a  harder  stone  than  it,  small,  so  that  it  can  be 
turned  round  in  this  hollovv,  and  long,  so  that  it  can  be  fixed 
and  made  firm  in  wooH,  which  wood  must  be  three  yards  in 
length,  and  in  the  lower  part,  to  which  the  stone  is  to  be 
joined,  it  must  be  of  the  thickness  of  a  flute.  Above  this 
stone,  at  the  height  of  half  a  foot,  this  wood  is  pierced  through, 
and  to  which  another  thin  piece  of  wood,  two  palms  in 
breadth,  in  which  a  projection  is  made,  which  may  pass 
through  the  perforation  of  the  long  piece  of  wood,  upon  which 
thin  wood  a  stone  is  tied,  of  the  size  of  a  foot,  from  which 
stone  upwards  the  wood  is  made  thin  and  cut  round  and 
smooth,  so  that  it  can  be  turned  round  between  the  hands. 
These  things  being  thus  arranged,  place  the  larger  stone  in  a 
basin,  or  a  fiat  wooden  vase,  and  see  that  the  stone  lie  firmly 
and  that  the  vase  is  firmly  placed.  And  when  you  have 
placed  the  gold  with  the  quicksilver  in  the  hollow,  and  sand 
and  water  above  it,  put  on  the  smaller  stone  which  is  joined 
to  the  wood,  and  holding  this  wood  in  the  upper  part,  turn  it 
round  a  little  between  your  hands,  and  soon,  through  the  im- 
pulse  of  that  stone  which  is  fixed  on  below,  it  is  carried 
round,  and  thus,  by  the  rotation,  grind  for  four  or  three  hours. 
Sometimes,  however,  examine  it  and  prove  it  with  the  finger2 


250  THEOPHILI    LIBER    III. 

mitte  sabulum  cum  aqua.  Cumque  girando  et  regirando  ip- 
sum  sabulum  coeperit  ebullire  et  per  lapidem  diffundi,  cum 
ligno  gracili  longo  et  tenue  recollige  semper  et  in  foramen 
repone,  ne  forte  aurum  cum  sabulo  egeratur  et  non  mo- 
latur.  Quod  cum  pleniter  molitum  fuerit,  eiciatur  et  lavetur 
et  siccetur  ut  supra,  ponaturque  super  libram.  Si  vero  quic- 
quam  defuerit,  laventur  sordes  qui  fluunt  de  lapide,  et  sic  in- 
venitur,  quia  idcirco  idem  lapis  in  vase  ponitur.  Hoc  modo 
etiam  argentum  purum  tenuissime  percussum  et  vivo  argento 
mixtum  moli  debet,  quia  in  calido  vasculo  cum  calido  ferro 
moli  non  valet.  Sic  autem  conimisceatur  ut  vivi  argenti  sint 
quinque  pondera,  et  sextum  sit  argentum  purum. 


CAPUT    XXXVII. 

ITEM    UNDE    SUPRA. 

POTES  etiam  aurum  levius  molere  hoc  modo.  Accipe 
testam  ollae  capacem  igne  probatam,  et  pone  in  carbones 
donec  omnino  candescat,  etmi tte  in  eam  aurum  vivo  argento 
mixtum  ac  minutatim  confractum,  tenensque  cum  forcipe 
vibra  manum  aequaliter,  et  mox  videbis  quomodo  liquefiat 
aurum  et  commisceatur  vivo  argento.  Cumque  omnino  liqui- 
dum  fuerit,  mox  funde  in  aquam  atque  lava  et  sicca  ut  supra. 
Hoc  omnino  cave,  ne  jejunus  molas  aut  deaures,  quia  fcetor 
vivi  argenti  magnum  periculum  est  jejuno  stomacho  et  infirmi- 
tates  diversas  generat,  contra  quas  uti  debes  zituar1  et  bacas 
lauri,  pipere  et  allio  atque  vino.  Posthaec  appende  ipsam 
deauraturam  in  statera,  et  divide  in  duo,  et  medietatem  ejus 
rursum  in  duo,  donec  invenias  singulos  denarios,  et  mitte  eos 
sigillatim  in  pennas  anseris,  ut  scias  quantum  unicuique  loco 
deaurando  superponas.  Deinde  percute  partem  cupri  rubri  in 
similitudinem  fossorii  ferri  et  infige  manubrio,  summitatemque 

1  "  Ziduar,"  Cod.  Guelph. 


TRANSLATION.  251 

and  again  put  in  sand  with  water.  When  from  the  rotation 
and  re-rotation  the  sand  has  begun  to  bubble  and  be  diffused 
over  the  stone,  collect  it  again  always,  and  replace  it  in  the 
hollow  with  a  small,  long,  and  thin  wood,  unless  by  chance 
the  gold  should  be  scattered  and  not  milled.  But  when  it  is 
completely  ground  it  is  taken  out  and  washed  and  dried  as 
above,  and  it  is  placed  upon  a  scale.  If,  however,  any  should 
be  deficient,  the  dregs  which  flow  from  the  stone  are 
washed,  and  it  is  thus  found ;  for  this  reason  it  is  that  the 
stone  is  placed  in  the  vase.  In  this  manner  also  should  pure 
silver,  very  thinly  beaten,  and  mixed  with  quicksilver,  be 
milled,  because  it  cannot  be  milled  in  the  hot  vessel  with  a 
heated  iron.  It  should  be  so  mixed  together,  however,  that 
five  parts,  by  weight,  may  be  of  quicksilver,  and  the  sixth  be 
pure  silver. 


CHAPTER  XXXVII. 

THB    SAME    AS    ABOVE. 


You  can  also  grind  gold  lighter  in  this  manner.  Take  a  large 
vase  of  clay  proved  in  the  fire,  and  place  it  in  the  coals  until 
it  quite  glows ;  and  put  into  it  the  gold  mixed  with  the  quick- 
silver  and  broken  up  very  small,  and  holding  it  with  the  pin- 
cers,  move  round  the  hand  evenly,  and  you  will  soon  see  how 
the  gold  is  liquefied  and  mixed  with  the  quicksilver.  And 
when  it  has  become  quite  liquid,  directly  pour  it  into  water, 
and  wash  and  dry  it  as  above.  Beware  above  all  of  this,  that 
you  do  not  grind,  or  gild,  fasting,  because  the  exhalation  of 
quicksilver  is  of  great  danger  to  a  fasting  stomach,  and  it 
generates  different  infirmities,  against  which  you  should  use 
Zedoar  and  the  berries  of  the  laurel,  with  pepper  and  garlick 
and  wine.  After  this,  weigh  this  gilding  substance  in  the 
balance  and  divide  it  in  two,  and  the  half  of  it  again  into 
two,  and  until  you  obtain  single  drams,  and  put  them  singly 
into  goose-quills,  that  you  may  know  how  much  you  may  lay 
on  in  gilding  in  every  place.  Then  beat  a  portion  of  red 
copper  into  the  shape  of  a  chisel,  and  fix  it  to  a  handle,  and 


252 


THEOPHILI    LIBER    III. 


ejus  lima  et  rade  rotundam  et  aliquantum  tenuem,  quam  fri- 
cabis  vivo  argento  donec  alba  fiat,  ut  inde  possis  deaurare. 
Postea  facies  confectionem  ad  invivandum  cpus  deaurandum 
que  hoc  modo. 


CAPUT    XXXVIII. 

DE   INVIVANDIS    ET    DEAURANDIS    AURICULIS. 

SUME  vini  lapidem,  de  quo  supra  diximus,  ettere  diligenter 
super  lapidem  siccum,  addesque  ei  tertiam  partem  salis,  et 
mitte  in  testam  ollae  capacem,  infundens  que  ei  aquam  illam,  in 
quam  projecisti  aurum  noviter  molitum,  atque  imponens  modi- 
cum  vivi  argenti,  mitte  supercarbones  donec  calidum  fiat,etcum 
ligno  commove.  Habeas  etiam  setas  porci  grossitudine  trium 
digitorum  aut  quatuor,  ferro  colligatas  in  medio,  duas  partes 
mundas,  cum  quibus  lavabis  aurum  et  argentum,  et  duas  cum 
quibus  deaurabis,  unam  siccam  alteram  humidam.  His  om- 
nibus  hoc  ordine  compositis,  accipe  auriculas  argenteas  ad 
manus/et  panniculum  lineum  complicatum  tinge  in  confec- 
tionem  calidam,  cum  quo  fricabis  omnia  loca,  quae  deaurare 
volueris  in  eis.  Cumque  invivare  volueris,  calefac  eas  super 
carbones  et  cum  setis  ipsa  confectione  humidis  frica  illas  for- 
titer,  donec  omnes  fossurae  vivo  argento  fiant  albse,  interdum 
calefaciendo  et  interdum  fricando,  et  ubi  cum  setis  non  potueris 
pertingere,  cum  cupro  deauratorio  et  ligno  gracili  fricabis, 
faciens  hoc  super  scultellam  deauratoriam  ligneam,  quae  sit  ad 
modicum  opus  tornatilis,  capax,  et  ad  magnum  quadra,  cava 
et  aequalis.  Deinde  super  ipsam  scultellam  incide  deauratu- 
ram  minutatim  cum  cultello,  et  cum  cupro  deauratorio  pone 
diligenter  per  omnia,  et  humidis  setis  aequa,  atque  cum  for- 
cipe  longo  et  gracili  in  anteriori  parte  duobus  panniculis  in- 
voluto  levabis,  et  pones  super  carbones  donec  calefiat,  et  setis 


THANSLATION.  253 

file  and  scrape  its  end  ronnd  and  somewhat  thin ;  you  will  rub 
it  with  quicksilver  until  it  is  made  white,  that  you  may  be  able 
to  gild  with  it.  Afterwards  make  the  composition  for  reviving 
and  gilding  in  this  manner. 


CHAPTER  XXXVIII. 

OF    REVIVING    AND    GILDING    THE    HANDLES. 

Take  the  wine-stone,  of  which  we  have  before  spoken,  and 
grind  it  carefully  upon  a  dry  stone,  and  add  to  it  a  third  part 
salt,  and  put  it  into  a  large  vase  of  clay,  and  pouring  upon  it 
that  water  into  which  you  have  thrown  the  recently  milled 
gold,  and  putting  to  it  a  little  quicksilver,  place  it  upon  the 
coals  until  it  is  made  hot,  and  stir  it  with  wood.  Have  also 
(a  brush  of )  hog's  bristles  of  the  thickness  of  three  or  four 
fingers,  bound  together  with  iron  in  the  middle ;  you  clean 
both  ends,  with  which  you  will  wash  the  gold  and  silver, 
and  (have)  two  with  which  you  will  gild,  one  dry,  the 
other  wet.  These  things  arranged  in  this  order,  take  the 
silver  handles  in  your  hand,  and  dip  a  small  linen  cloth,  folded, 
into  the  hot  preparation,  with  which  you  will  rub  all  the 
places  which  you  may  wish  to  gild  in  them.  And  when  you 
wish  to  revive  them,  warm  them  over  the  coals,  and  with  the 
brushesmoistened  with  the  samepreparation,  rub  themstrongly, 
until  all  the  hollows  are  made  white  with  the  quicksilver, 
sometimes  warming  and  sometimes  rubbing ;  and  where  you 
cannot  reach  with  the  brushes,  you  will  rub  with  the  brass 
gilder  and  the  slender  wood,  doing  this  over  a  wooden  gilding 
dish,  which  may  be  turned  for  a  small  work,  and  capacious 
and  square  and  hollow  and  flat  fora  largework.  Then  over 
this  dish  cut  the  gilding  (preparation)  very  small  with  a 
knife,  and  lay  it  carefully  over  all  with  the  copper  gilder,  and 
smooth  it  with  the  moistened  brushes ;  and  with  the  long  and 
thin  tongs,  enveloped  at  the  extremity  by  two  small  pieces  of 
linen,  you  will  raise  it,  and  place  it  over  the  coals  until  it  is 
made  hot,  and  you  will  again  smooth  it  with  the  brushes,  and 


254  THEOPHILI    LIBER    III. 

rursum  sequabis,  sicque  tamdiu  facies  usque  dum  aurum  per 
omnia  adhaereat.  Secundo  incide  aurum  et  cum  cupro  super- 
pone,  atque  cum  igne  et  setis  fac  sicut  superius.  Tertio  vero 
similiter  facies.  Cumque  tertia  vice  aurum  coeperit  siccari, 
cum  siccis  setis  fricabis,  donec  incipiat  pallescere.  Si  vero 
ex  negligentia  contigerit,  ut  aliqua  macula  appareat  in  argento, 
ubi  aurum  tenue  sit  et  ineequaliter  positum,  cum  cupro  super- 
pone,  et  cum  siccis  setis  aequa,  donec  per  omnia  aequale  sit. 
Quod  cum  videris,  mitte  in  aquam  et  mundis  setis  lava, 
rursumque  ponens  super  carbones  tamdiu  calefac,  donec 
omnino  croceum  fiat. 


CAPUT    XXXIX. 

DE    POLIENDA    AURATURA. 

HT^OLLE  fila  ex  auricalco  gracilia  complicans  ea,  ita,  ut 
JL  plicaturae  sint  ad  longitudinem  digiti ;  et  cum  quadru- 
plices  fuerint,  colliga  eos  filo  lineo,  ut  sit  quasi  una  pars.  Ex 
his  partibus  fac  quatuor  aut  quinque,  vel  sex,  ita  ut  una  pars 
habeat  tres  plicaturas,  alia  quatuor,  tertia  quinque,  et  sic 
ascendendo  usque  ad  octo.  Quibus  omnibus  singillatim  col- 
ligatis,  fac  modicum  foramen  in  ligno,  in  quod  pones  ex  his 
particulis  unam,  et  infunde  plumbum,  ita  ut  cum  frigidum 
fuerit  et  extraxeris,  adhaereant  sibi  ipsse  plicaturae  quasi  plum- 
beo  nodo  infixse.  Hoc  modo  fac  singulis  partibus  singulos 
nodos  plumbeos,  et  incidens  plicaturas  omnes  jam  in  altera 
parte,  lima  et  rade  summitates  earum,  ut  rotundae  fiant  et 
aequales ;  cum  quibus  quasi  sculpendo,  polieris,  polies  auricu- 
las  deauratas  in  aqua  pura  et  vase  munda.  Quas  cum  extremi 
parte  sculpendo  polieris,  pone  super  carbones  donec  calefactae 
in  fulvum  colorem  convertantur,  et  perdant  claritatem,  quam 


TRANSLATION.  255 

you  will  do  this  until  the  gold  adhere  everywhere.  Cut  the 
gold  a  second  time,  and  superpose  it  with  the  copper  instru- 
ment,  and  do  as  above  with  the  fire  and  brushes.  And  a 
third  time  you  do  likewise.  And  when  for  the  third  time  the 
gold  has  commenced  to  dry,  you  will  rub  it  with  the  dry 
brushes  until  it  begins  to  grow  pale.  If,  however,  it  should 
happen  through  negligence  that  any  blemish  appear  upon  the 
silver,  where  the  gold  may  be  placed  thinly  and  unequally, 
superpose  it  with  the  copper  instrument,  and  spread  it  with 
the  dry  brushes  until  it  is  even  everywhere.  When  you  see 
which,  place  it  in  water,  and  wash  it  with  the  clean  brushes, 
and  again  placing  it  over  the  coals,  warm  it  until  it  become 
altogether  yellow. 


CHAPTER  XXXIX. 

OF    POLISHING    THE    GILDING. 


Take  fine  brass  wire,  bending  it  so  that  the  folds  may  be  the 
length  of  a  finger;  and  when  they  have  been  four  times 
folded,  bind  them  with  a  flaxen  thread  so  that  they  may 
be  as  one.  Of  these  parcels  make  four,  or  five,  or  six,  so  that 
one  kind  may  have  three,  another  four,  a  third  five,  and  so 
increasing  unto  eight.  All  these  being  separately  tied  up, 
make  a  small  hole  in  a  piece  of  wood,  in  which  you  place  one 
of  these  small  bundles,  and  pour  in  lead,  so  that  when  it  has 
become  cold,  and  you  have  taken  it  out,  these  folds  may  adhere 
together  as  if  fixed  in  a  leaden  knob.  In  this  manner  make 
with  each  parcel  separate  leaden  knobs,  and  now  cutting  all 
the  ligatures  at  the  other  end,  file  and  scrape  their  tops,  that 
they  may  become  round  and  smooth ;  when  with  these,  as  if 
carving  them,  you  have  polished  them,  you  polish  the  gilt 
handles  in  pure  water  and  in  a  clean  vessel.  When,  by  rub- 
bing,  you  have  polished  these  in  the  uttermost  part,  you  place 
them  upon  the  coals,  until,  being  made  warm,  they  are 
changed  into  a  yellow  colour,  and  lose  the  brightness  which 


256  THEOPHILl    LIBER    III. 

poliendo  acceperant,  extinctasque  in  aqua  rursum  diligenter 
sculpendo  polies,  donec  eximium  fulgorem  accipiant,  sicque 
colorabis  eas,  tali  confectione. 


CAPUT    XL. 

DE    COLORANDO    AURO. 


SUME  attramentum,  mitte  in  testam  ollae  mundam  et  igne 
probatam,  ponens  super  carbones,  donec  omnino  liquefiat 
et  indurescat.  Deinde  aufer  a  testa  et  mitte  sub  ipsos  car- 
bones,  atque  cooperi  diligenter,  et  cum  folle  suffla,  donec  com- 
buratur  et  in  rubeum  colorem  convertatur.  Statim  ablatum 
ab  igne  cum  refrigeratum  fuerit,  tere  in  scutella  lignea  cum 
ferreo  malleo,  addens  ei  tertiam  partem  salis,  temperansque 
cum  vino  sive  urina,  rursum  fortiter  tere,  donec  spissum  fiat 
sicut  fex.  Ex  hac  confectione  cum  penna  cooperi  quod  de- 
auratum  est,  sic  ut  nihil  auri  appareat,  et  pone  super  car- 
bones,  donec  exsiccetur,  et  fumus  ex  omni  parte  modicum 
procedat,  et  mox  auferens  ab  igne  mitte  in  aquam,  lavans 
diligenter  cum  setis  mundis,  rursumque  exsiccans  super  car- 
bones,  involve  panno  mundo  donec  refrigeretur. 


CAiUT   XLI. 

DE    POLIENDO    NIGELLO. 

TENENS  vero  illud  in  eodem  panno,  radediligenter  omnia 
loca,  quae  nigello  denigrata  sunt,  cum  ferro  rasorio. 
Post  haec  habeas  (Mapidem)  nigrum  et  mollem,  qui  leviter 
possit   incidi  et  pene  cum  ungue  radi,  et  cum  illo    fricabis 

1  "  lapidem,"  non  apparet  in  codice  Harleo ;  koc  siirrogatur  ex  Cod.  Guelpher- 
bytano. 


TRANSLATION.  257 

they  have  taken  in  polishing  :  quenched  in  water  you  again 
carefully,  as  if  carving^  polish  them  until  they  receive  a  most 
brilliant  lustre,  and  you  will  thus  colour  them  with  this  com- 
position. 


CHAPTER  XL. 

OF   COLOURING    GOLD. 


Take  atramentum;  put  it  in  an  earthen  vessel,  clean,  and 
proved  in  the  fire,  placing  it  over  the  coals  until  it  has  be- 
come  liquefied  and  grows  hard.  Then  take  it  from  the  vase, 
and  place  it  under  the  same  coals,  and  cover  it  carefully,  and 
blow  with  the  bellows  until  it  is  calcined  and  changed  into  a 
red  colour.  Immediately  carrying  it  from  the  fire,  when  it 
has  become  cold,  grind  it  in  a  wooden  cup  with  an  iron 
pestle,  adding  to  it  a  third  part  salt,  and  tempering  it  with 
wine  or  urine,  again  grind  it  strongly  until  it  is  made  as  thick 
as  lees.  With  a  pen  cover  the  gilding  with  this  composition 
so  that  no  gold  appear,  and  place  it  over  the  coals  until  it  is 
dried,  and  a  slight  vapour  comes  from  it  everywhere,  and 
immediately  taking  it  away  from  the  fire  place  it  in  water, 
washing  it  carefully  with  clean  bristles ;  and  again  drying  it 
over  the  coal,  wrap  it  in  a  clean  cloth  until  it  grows  cold. 


CHAPTER  XLI. 

OF    POLISHING    NIELLO. 


Holding  it  in  the  same  cloth,  scrape  all  the  parts  carefully 
which  are  blackened  with  the  niello,  with  the  cutting  instru- 
ment. 

Afterwards  you  have  a  black  and  soft  stone,  which  can 
easily  be  cut  and  almost  be  scraped  with  the  nail,  and  with  it 


258  THEOPHILI    LIBER    III. 

nigellum  cum  saliva  madefactum  diligenter  ac  aequaliter  per 
omnia,  donec  tractus  omnes  aperte  videantur  et  omnino 
aequum  sit.  Habeas  etiam  lignum  de  arbore  tilia,  grossitu- 
dine  et  longitudine  minimi  digiti,  siccum  et  aequaliter  incisum; 
super  quod  pones  pulverem  illum  humidum,  qui  procedit  de 
lapide  et  saliva  in  fricando,  et  cum  ipso  ligno  ac  eodem  pul- 
vere  diutissime  fricabis  nigellum,  et  leviter  semperque  adde 
salivam  ut  humidum  sit,  donec  lucidum  fiat  per  omnia.  De- 
inde  tolle  sepum  de  foramine  auricula  tuse,  et  cum  exterseris 
nigellum  lineo  panno  subtili,  per  omnia  linies,  et  cum  corio 
hyrcino,  sive  cervino  leniter  fricabis,  donec  omnino  clarum 
fiat. 


CAPUT    XLII. 


DE    ORNATU    VASIS    CALICIS. 


TALI  modo  auriculis  pleniter  perfectis,  accipe  vas  calicis, 
cujus  costas  superius  denigrasti  dimidias,  et  illas,  quas 
inter  has  absque  nigello  reliquisti,  lima  aequaliter  et  rade,  ac 
pertrahe  in  eis  opus  quodcunque  volueris,  sic  tamen  ut  ali- 
quantulum  discrepet  ab  omni  opere  nigelli,  atque  cum  fos- 
sorio  ferro  gracili  subtiliter  fode.  Post  hsec  deaurabis  eas, 
totumque  vas  interius  et  exterius  excepto  nigello,  et  polies 
atque  colorabis  sicut  anriculas.  Deinde  cooperies  et  circum- 
ligabis  rotundam  incudem  cum  pergameno  aequali,  super  quam 
pones  vas,  quod  teneat  puer  ante  te  sedens  utrisque  manibus, 
coaptans  unamquamque  costam  incudi  aequaliter,  secundum 
quod  ei  jusseris.  Interim  tolle  ferrum  gracile,  quod  foramen 
habet  in  cuspide,  cujus  percussura,  subtilissimum  circulum 
fac,  et  cum  illo  implebis  omnes  campos  in  deauratis  costis, 
desuper  cum  malleo  leniter  percutiendo,  et  opere  punctorio 
unumquemque  circulum  alteri  ordinatim  conjungendo.  Quo 
expleto  mitte  vas  super  carbones,  donec  illse  percussurae  in- 


TRANSLA.TI0N.  259 

you  rub  the  niello,  wetted  with  saliva,  carefully  and  smoothly 
everywhere,  until  all  the  drawings  are  plainly  seen,  and  it  is 
quite  smooth.  You  also  have  a  piece  of  wood  from  the  lime 
tree,  of  the  length  and  thickness  of  the  smallest  finger,  dry 
and  smoothly  cut;  upon  which  you  place  this  wet  powder, 
which  comes  from  the  stone  and  saliva  in  rubbing,  and  with 
this  wood  and  the  same  powder  you  rub  the  niello  a  long 
time,  and  lightly,  and  alvvays  add  saliva,  that  it  may  be  wet, 
until  it  is  made  brilliant  everywhere.  Then  take  wax  from 
the  hollow  of  your  ear,  and  when  you  have  wiped  the  niello 
clean  with  a  fine  linen  cloth,  you  anoint  it  everywhere,  and 
with  goat  or  hart's  skin  you  will  lightly  rub  it  until  it  is  made 
quite  bright. 


CHAPTER  XLII. 

OF  ORNAMENTING  THE  CUP  OF  THE  CHALICE. 

The  handles  being  completely  finished  in  this  manner,  take 
the  cup  of  the  chalice,  the  ribs  of  which  you  have  already 
blackened  one  half,  and  file  and  scrape  those  parts  which 
you  have  alternatively  left  without  niello,  and  portray 
upon  them  whatever  work  you  wish,  so,  however,  that  it 
may  somewhat  differ  from  all  the  niello  vvork,  and  with  a 
slender  sculping  iron  you  will  carve  it  very  finely.  You  will 
afterwards  gild  them,  and  all  the  vase  inside  and  outside,  the 
niello  excepted,  and  you  will  polish  and  colour  them  like  the 
handles.  Then  you  cover  a  round  anvil,  and  you  will  bind 
it  round  with  smooth  parchment,  over  which  you  place  the 
cup,  which  the  boy  sitting  before  you  can  hold  with  both 
hands,  adjusting  each  rib  to  the  anvil  evenly,  according  to 
what  you  may  order  him.  In  the  mean  time  take  a  fine  in- 
strument  which  has  a  hole  at  the  point,  by  the  blow  of  which 
you  produce  a  very  fine  circle,  and  you  will  fill  up  all  the 
grounds  in  the  gilt  ribs  with  it,  striking  lightly  upon  it  with  a 
hammer,  and  joining  successively  each  circle  to  the  other 
with  punched  work.  This  being  accomplished,  place  the  cup 
over  the  coals  until  these  strokes  receive  a  yellow  colour  in- 

s  2 


260  THEOPHILI    LIBER    III. 

terius  fulvum  colorem  recipiant,  nigellum  autem  limabis  et 
polies  sicut  superius.  Deinde  conjunge  auriculas  unam- 
quamque  in  suo  loco,  et  trans  foramina,  quse  in  eis  sunt,  con- 
fige  eas  aureis  clavis  cum  gracili  malleo  ferro  desuper  feri- 
endo,  et  alt.ero  ferro  subposito  donec  firmiter  stent,  et  rade 
diligenter  atque  poli  cum  obtuso  ferro  ipsas  percussuras,  ut 
nemo  percipere  possit,  qualiter  adhsereant. 


CAPUT    XLIII. 

DE    PEDE    CALICIS. 

POST  haec  sume  quartam  partem  argenti,  addens  ei  quic- 
quid  a  vase  limasti  et  rasisti ;  et  funde  ordine  quo  supra ; 
unde  facies  pedem  cum  nodo  sicut  pedem  minoris  calicis,  ex- 
cepto  quod  in  hoc  majori  formabis  costas  a  latitudine  pedis 
inferius  ascendentes  usque  ad  nodum,  quas  dimidias  denigra- 
bis,  et  alias  fodies  et  deaurabis  atque  modis  omnibus  deco- 
rabis  sicut  in  vase.  Quo  perfecto  anulum  quoque,  qui  ponen- 
dus  est  inter  vas  et  nodum,  deaurabis  atque  conjunges,  et 
configes  sicut  minorem  calicem. 


CAPUT    XLIV. 


DE    PATENA. 


DEINDE  quicquid  residui  fuerit  argenti,  funde  :  unde 
facies  patenam.  Quam  cum  attenuaveris,  fac  in  medio 
ejus  circulum  secundum  latitudinem  calicis,  et  infra  hunc  cir- 
culum  metire  octo  spatia  sequaliter  divisa,  et  in  unoquoque 
spatio  fac  circulum  dimidium,  ut  sint  quasi  octo  arcus,  quos 
cum  rotundo  malleo  percuties  donec  cavi  fiant,  et  inferius 
ductili  opere  percuties  angulos  inter  ipsos  arcus,  et  limbum 
circa    eos    latitudine    minoris    ungulae,    qui   super    emineat 


TRANSLATION.  261 

side;  you  will  likewise  file  and  polish  the  niello  as  above. 
Then  join  on  the  handles,  each  in  its  place,  and  through  the 
holes  which  are  in  them  fasten  them  with  golden  nails,  strik- 
ing  upon  them  with  a  slender  iron  hammer,  and  with  another 
iron  placed  under  until  they  stand  firmly,  and  scrape  and 
polish  these  beaten  places  carefully,  that  no  one  may  perceive 
how  they  are  joined. 


CHAPTER  XLIII. 

OF    THE    FOOT    OF    THE    CHALICE. 

After  this  take  a  fourth  part  of  the  silver,  adding  to  it  what- 
ever  you  have  filed  and  scraped,  and  melt  it  as  above ;  with 
it  you  make  the  foot  with  its  knob  like  the  foot  of  the  smaller 
chalice,  excepting  that  in  this  larger  one  you  will  make  the 
ribs  ascending  from  the  broad  part  of  the  foot  below  up  to 
the  knob,  the  half  of  which  you  will  blacken,  and  you  carve 
and  will  gild  the  others,  and  will  decorate  them  in  all  manners 
as  the  cup.  Which  being  finished,  you  will  gild  and  join 
on  the  ring,  which  is  to  be  placed  between  the  cup  and  the 
knob,  and  you  fasten  it  as  upon  the  smaller  chalice. 


CHAPTER  XLIV. 

OF    THE    PATENA. 


Then  melt  whatever  should  remain  of  the  silver.  When  you 
have  thinned  this,  make  a  circle  in  the  middle  of  it,  according 
to  the  breadth  of  the  chalice,  and  below  this  circle  measure  out 
eight  spaces  equally  divided,  and  in  each  space  make  half  a 
circle,  that  there  may  be  as  if  eight  bows,  which  you  beat 
with  a  round  hammer  until  they  become  hollow,  and  below 
you  hammer  angles  between  these  bows  in  ductile  work,  also 
a  border  round  them  of  the  width  of  the  little  nail,  which  may 


262  THEOPHILI    LIBER    III. 

aequalitatem  totius  patense;  quem  fodies  subtiliter  et  deni- 
grabis,  reliquamque  patenam  deaurabis,  et  polies  utrumque 
sicut  superius. 


CAPUT    XLV. 

DE    FISTULA. 

FISTULUM  quoque  facies  in  calice  hoc  modo.  Fac  tibi 
ferrum  longitudine  palmae  unius  et  quatuor  digitorum, 
quod  in  una  summitate  valde  sit  gracile,  et  inde  procedat 
grossius  usque  ad  alteram  summitatem,  quse  sit  sicut  festuca ; 
sitque  ferrum  rotundum  et  sequaliter  limatum.  Cumque  atte- 
nuaveris  argentum  purum,  complica  illud  circa  hoc  ferrum, 
conjungens  summitates  aequaliter  cum  lima,  ejectoque  ferro 
mitte  in  ignem  et  solida.  Rursum  imposito  ferro  percute 
cum  malleo  eequaliter  per  omnia  tamdiu,  donec  junctura  non 
appareat.  Deinde  fac  nodum  singulariter  rotundum  et  cavum, 
sive  quadrangulum  et  solidum,  et  fac  in  eo  foramem,  per  quod 
immittatur  fistula  ab  inferiori  parte,  usque  pene  ad  summum, 
sicque  ejecto  ferro  rursum  solidabis  per  omnia.  Cumque  fir- 
mum  fuerit,  denuo  imposito  ferro  percuties  undique  a  nodo 
deorsum  donec  aequalis  fiat  et  rigida,  et  a  nodo  sursum  silicet 
ea  parte,  quae  latior  et  grossior  est,  impone  ferruni  tenue,  et 
latum  secundum  amplitudinem  fistulae,  atque  cum  malleo  per- 
cute  super  incudem,  ita,  ut  foramen  superius  sit  quadrum  et 
tenue,  quod  a  nodo  sursum  super  calicem  eminere  debet,  et 
ore  teneri,  inferius  vero  rotundum  et  gracile.  Quo  facto,  si 
volueris,  nodum  cum  nigello  variare  poteris,  et  reliquam  fistu- 
lam  ordine  quo  supra  deaurabis.  Hoc  omnino  cave,  ut  omne 
argentum  spissum  quod  deaurare  volueris,  sive  in  scypho,  vel 
scutella  aut  ampulla,  fortiter  radas,  quia  in  percutiendo  ab 
igne  et  malleo  cutem  ex  se  trahit,  quse  si  abrasa  non  fuerit, 


TRANSLATION.  263 

rise  above  the  flat  part  of  the  whole  patena ;  you  sculp  this 
finely  and  cover  it  with  niello,  and  you  will  gild  the  rest  of 
the  patena,  and  you  polish  it  on  both  sides  as  above. 


CHAPTER  XLV. 

OF   THE    PIPE. 


You  make  also  the  pipe  for  the  chalice  in  this  manner.    Make 
an  iron  in  lengtb  a  palm  and  four  fingers,  which  at  one  end 
must  be  very  fine  and  must  continue  increasing  to  the  other 
extremity,  which  must  be  like  a  straw ;  and  let  the  iron  be 
round  and  smoothly  filed.     And  when  you  have  thinned  some 
pure  silver,  fold  it  round  this  iron,  joining  the  ends  smoothly 
with  a  file,  and  taking  off  the  iron,  place  it  in  the  fire,  and 
solder    it.     Again    placing   the  iron  in   it,  beat  it  with  the 
hammer  equally  over  all  until  the  join  is  no  longer  visible. 
Then  make,  by  itself,  a  knob  round  and  hollow,  or  square  and 
solid,  and  make  a  perforation  in  it,  through  which  the  pipe  is 
placed   from  the  lower  part  almost  to  the  top,  and  thus,  the 
iron  being  taken  away,  you  will  again   solder  everywhere. 
And  when  it  has  become  firm,  the  iron  being  put  on  anew,  you 
beat  everywhere  from  the  knob  downwards  until  it  is  made 
smooth  and  firm ;  and  from  the  knob  upwards,  namely,  in 
that  part  which  is  wider  and   thicker,  place  on  an  iron,  thin 
and  wide,  according  to  the  size  of  the  pipe,  and  beat  it  with 
the  hammer  upon  an  anvil,  so  that  the  upper  opening  may  be 
square  and  thin,  which  from  the  knob  upwards  should  sur- 
mount  the  chalice  and  be  held  in  the  mouth,  but  be  below 
round  and  slender.     Which  being  done,  if  you  wish,  you  can 
ornament  the  knob  with  niello,  and  you  will  gild  the  rest  of 
the  pipe  in  the  fashion  above,.    Take  great  care  in  this,  that 
you  strongly  scrape  all  thick  silver  which  you  wish  to  gild, 
whether  for   a  cup,  or  plate,  or  bottle,  because  in  working 
it    forms    a   pellicle   outside,    from    the  fire   and    hammer, 
which,  if  not  scraped  away  when  it  is  gilt,  when  it  is  coloured 


264  THEOPHILI    LIBER    III. 

cum  deauratur  et  super  ignem  frequenter  et  diu  coloratur, 
elevantur  per  loca  subtiles  vesicae,  quae  cum  franguntur  ap- 
paret  argentum,  et  opus  deturpatur,  nec  potest  emendari  nisi 
deauratura  omnino  eradatur,  et  denuo  deauretur. 


CAPUT    XLVI. 

DE   AURO    TERR.E   EVILATH1. 


AURI  multa  sunt  genera,  ex  quibus  praecipuum  nascitur  in 
terra  Evilath,  quam  Phison2  fluvius  circuit  secundum 
Genesim.  Cujus  venas,  cum  sub  terra  invenerint  viri  hujus 
artis  periti,  efFodiunt,  et  igne  purificatum  atque  camino  pro- 
batum  in  usus  suos  redigunt. 


CAPUT    XLVII. 

DE   AURO    ARABICO. 

EST  et  aurum  Arabicum  pretiosissimum  et  eximii  ruboris, 
cujus  usus  in  antiquissimis  vasis  frequenter  reperitur, 
cujus  speciem  moderni  operarii  mixtiuntur3,  dum  pallido  auro 
quintam  partem  rubei  cupri  addunt,  et  multos  incautos  deci- 
piunt.  Quod  hoc  modo  caveri  potest,  ut  mittatur  in  ignem, 
et  si  purum  est  aurum,  non  amittit  fulgorem,  si  vero  mixtum, 
omnino  mutat  colorem. 

1  "  Evilat,"  in  Cod.  Chielph. 

*  "  Gyon,"  in  Cod.  Guelph,  male  apparet. 

*  imo,  "  misceuntur." 


TRANSLATION.  265 

over  the  fire  frequently  and  for  a  long  time,  becomes  raised 
in  places  as  small  blisters,  whose  fracture  shows  the  silver, 
and  the  work  is  deteriorated,  nor  can  it  be  mended  unless  the 
gilding  be  wholly  scraped  off,  and  it  be  again  gilt. 


CHAPTER  XLVI. 

OF  THE  GOLD  OF  THE  LAND  OF  HEVILATH. 

There  are  many  kinds  of  gold,  among  which  the  best  kind  is 
produced  in  the  land  of  Hevilath,  which,  according  to 
Genesis,  the  river  Phison *  surrounds.  The  veins  of  which, 
when  men,  skilful  in  this  art,  have  discovered  them  under- 
ground,  they  dig  up,  and,  purified  by  fire  and  proved  in  the 
furnace,  they  subject  it  for  their  use. 


CHAPTER  XLVII. 

OF    ARABIAN    GOLD. 


Arabian  gold  is  also  very  precious  and  of  a  beautiful  red, 
the  employment  of  which  in  very  ancient  vases  is  frequently 
found,  which  kind  modern  workmen  are  compounding  when 
they  add  to  a  pale  gold  a  fifth  part  of  red  copper,  and  they 
deceive  many  unwary  persons.  This  can  be  guarded  against 
in  this  manner :  let  it  be  placed  in  the  fire,  and  if  it  is  pure 
gold  it  does  not  lose  its  brightness;  if,  however,  it  is  mixed,  it 
quite  changes  colour. 

1  In  the  Wolfenbiittel  MS.  the  river  Gyon  is  by  error  placed  for  the  Phison, 
which  "  compasseth  the  whole  land  of  Havilah."     Gen.  ii.  7. 


266  THEOPHILI    UBER    III. 


CAPUT    XLVIII. 

DE    AURO    HY8PANICO. 

EST  etiam  aurum,  quod  dicitur  Hyspanicum,  quod  confi- 
citur  ex  rubeo  cupro  et  pulvere  basilisci  et  sanguine 
humano  atque  aceto.  Gentiles  enim,  quorum  peritia  in  hac 
arte  probabilis  est,  creant  sibi  basiliscos  hoc  modo.  Habent 
sub  terra  domum  superius  et  inferius  ex  omni  parte  lapideam 
cum  duabus  fenestellulis,  tam  brevibus,  ut  vix  aliquid  luminis 
per  eas  appareat ;  in  quam  ponunt  duos  gallos  veteres  duode- 
cim  aut  quindecim  annorum,  et  dant  eis  cibum  sufficientem. 
Qui  cum  incrassati  fuerint,  ex  calore  pinguedinis  conveniunt 
inter  se  et  ponunt  ova.  Quibus  positis  eiciuntur  galli,  et  im- 
mittuntur  bufones  qui  ova  foveant, quibus  datur  panis  in  cibum. 
Fotis  autem  ovis  egrediuntur  pulli1  sicut  pulli  gallinarum, 
quibus  post  dies  septem  crescunt  caudse  serpentium,  statim- 
que,  si  non  esset  pavimentum  domus  lapideum,  intrarent 
terram.  Quod  caventes  eorum  magistri  habent  vasa  senea 
rotunda,  magnse  amplitudinis,  ex  omni  parte  perforata,  quorum 
ora  sunt  stricta,  quibus  imponunt  ipsos  pullos  et  obstruunt  ora 
cupreis  operculis  atque  sub  terra  fodiunt,  et  ingrediente  sub- 
tili  terra  per  foramina  nutriuntur  sex  mensibus.  Post  haec  dis- 
cooperiunt  et  adponunt  copiosum  ignem,  donec  bestiae  inte- 
rius  omnino  comburantur.  Quo  facto  cum  refrigeratum  fuerit, 
eiciunt  et  diligenter  terunt,  addentes  ei  tertiam  partem  san- 
guinis  hominis  rufi,  qui  sanguis  exsiccatus  et  tritus  erit.  Haec 
duo  composita  temperantur  aceto  acro  in  vase  mundo ; 
deinde  accipiunt  tenuissimas  tabulas  rubei  cupri  purissimi,  et 
super  has  liniunt  hanc  confectionem  ex  utraque  parte  atque 
mittunt  in  ignem.  Cumque  canduerint,  extrahunt  et  in  eadem 
confectione  extingunt  et  lavant,  sicque  tamdiu  faciunt  donec 
ipsa  confectio  cuprum  transmordeat,  et  inde2  et  colorem  auri 
suscipiat.     Hoc  aurum  omnibus  operibus  aptum  est. 

1  "  Masculi,"  in  Cod.  Guelph. 
*  "  pondus,"  id. 


TRANSLATION.  267 

CHAPTER  XLVIII. 

OF    SPANI8H    GOLD. 

There  is  also  a  gold  called  Spanish  gold,  which  is  composed 
from  red  copper,  powder  of  basilisc  and  human  blood  and 
acid.  The  Gentiles,  whose  skilfulness  in  this  art  is  pro- 
bable,  make  basiliscs  in  this  manner.  They  have,  under- 
ground,  a  house  walled  with  stones  everywhere,  above  and 
below,  with  two  very  small  windows,  so  narrowthat  scarcely 
any  light  can  appear  through  them ;  in  this  house  they  place 
two  old  cocks  of  twelve  or  fifteen  years,  and  they  give  them 
plenty  of  food.  When  these  have  become  fat,  through  the 
heat  of  their  good  condition,  they  agree  together  and  lay 
eggs.  Which  being  laid  the  cocks  are  taken  out  and  toads 
are  placed  in,  which  may  hatch  the  eggs,  and  to  which  bread 
is  given  for  food.  The  eggs  being  hatched,  chickens  issue 
out,  like  hens'  chickens,  to  which  after  seven  days  grow  the 
tails  of  serpents,  and  immediately,  if  there  were  not  a  stone 
pavement  to  the  house,  they  would  enter  the  earth.  Guard- 
ing  against  which,  their  masters  have  round  brass  vessels  of 
large  size,  perforated  all  over,  the  mouths  of  which  are  narrow, 
in  which  they  place  these  chickens,  and  close  the  mouths  with 
copper  coverings  and  inter  them  underground,  and  they  are 
nourished  with  the  fine  earth  entering  through  the  holes  for 
six  months.  After  this  they  uncover  them  and  apply  a  co- 
pious  fire,  until  the  animals  inside  are  completely  burnt. 
Which  done,  when  they  have  become  cold,  they  are  taken 
out  and  carefully  ground,  adding  to  them  a  third  part  of  the 
blood  of  a  red  man,  which  blood  has  been  dried  and  ground. 
These  two  compositions  are  tempered  with  sharp  acid  in  a 
clean  vessel ;  they  then  take  very  thin  sheets  of  the  purest 
red  copper,  and  anoint  this  composition  over  them  on  both 
sides,  and  place  them  in  the  fire.  And  when  they  have  be- 
come  glowing,  they  take  them  out  and  quench  and  wash 
them  in  the  same  confection  ;  and  they  do  this  for  a  long  time, 
until  this  composition  eats  through  the  copper,  and  it  takes 
the  colour  of  gold.     This  gold  is  proper  for  all  work. 


268  THEOPHILI    LIBER    III. 


CAPUT    XLIX. 

DE   AUBO    ARENARIO. 

EST  aliud  aurum  quod  dicitur  harenarium,  quod  reperitur  in 
littoribus  Reni  hoc  modo.  Fodiuntur  harense  in  locis  illis, 
ubi  spes  reperiendi  est,  et  ponuntur  super  ligneas  tabulas. 
Deinde  superfunditur  aqua  frequenter  et  diligenter,  efflu- 
entibusque  harenis  remanet  aurum  subtilissimum,  quod  singu- 
lariter  in  vasculo  reponitur.  Cumque  vas  dimidium  fuerit, 
imponitur  vivum  argentum,  et  manu  fortiter  fricatur,  donec 
omnino  commisceatur,  sicque  positum  in  pannum  subtilem 
extorquetur  vivum  argentum;  quod  vero  remanserit  ponitur 
in  vas  fusorium  et  funditur. 


CAPUT    L. 

DE    FABRICANDO    AUREO    CALICE. 

IGITUR  cujuscunque  generis  aururn  habueris,  si  calicem 
inde  componere  volueris,  et  ornare  lapidibus  et  electris 
atque  margaritis,  hoc  modo  incipies.  Primum  proba  partes 
singulas  auri,  si  possunt  cum  malleo  percuti,  sic  ut  non 
findantur,  et  quicquid  non  finditur  singulariter  pone;  quod 
vero  finditur,  singulariter  ut  coquatur.  Deinde  accipe  partem 
lateris  cocti,  et  secundum  quantitatem  auri  fode  in  eo  fos- 
suram,  quae  illud  capere  possit;  et  si  non  habeas  laterem,  in 
lapide  sabuleo  item  quadro,  facta  fossula  cum  ferro,  mitte  in 
carbones  et  suffla.  Cumque  canduerit,  impone  aurum,  super- 
jectisque  carbonibus  suffla  diutissime,  atque  ejectum  percute 
cum  malleo;  si  non  frangitur,  sufficit  ei;  si  vero  frangitur, 
super  alium   lapidem  iterum   repone,   et  hoc  tamdiu  facias, 


TRANSLATION.  269 

CHAPTER  XLIX. 

OF    GOLD    SAND. 

There  is  another  gold,  which  is  called  sandy  (gold),  which 
is  found  upon  the  banks  of  the  Rhine  in  this  manner.  The 
sands  are  dug  up  in  those  places  where  there  is  expectation 
of  finding  it,  and  are  put  upon  wooden  tables.  Then  water  is 
frequently  and  carefully  poured  upon  them,  and,  the  sand 
flowing  away,  a  very  fine  gold  remains,  which  is  replaced  in 
a  small  vessel  separately.  And  when  the  vase  is  half  full, 
quicksilver  is  placed  in  and  it  is  rubbed  strongly  with  the 
hand  until  it  is  quite  mixed  together,  and  thus  placed  in  a 
fine  cloth,  the  quicksilver  is  squeezed  from  it ;  but  what  re- 
mains  is  placed  in  a  crucible  and  is  melted. 


CHAPTER  L. 

OF    MAKING    THE    GOLDEN    CHALICE. 

Whatever  kind  of  gold  then  that  you  may  have,  if  you  wish 
to  make  a  chalice  from  it,  and  ornament  it  with  stones  and 
coloured  gems  and  pearls,  you  begin  in  this  manner.  First, 
prove  separate  pieces  of  gold,  if  they  can  be  beaten  with  the 
hammer  without  breaking,  and  what  is  not  broken  place  by 
itself,  but  that  which  is  broken,  separate,  that  it  may  be 
cooked.  Then  take  a  piece  of  burnt  brick,  and  according  to 
the  quantity  of  gold  carve  a  hollow  in  it,  which  can  contain 
it ;  and  if  you  have  not  brick,  a  hollow  being  made  in  a 
sandy  and  square  stone,  place  it  in  the  fire  and  blow  upon  it. 
And  when  it  has  become  hot,  place  in  the  gold,  and  coals 
being  laid  upon  it  blow  for  a  very  long  time,  and  being  taken 
out  beat  it  with  a  hammer ;  if  it  is  not  broken,  it  is  enough 
for  it :  if  however  it  is  broken,  replace  it  upon  another  stone, 


270  THEOPHILI    LIBER    III. 

donec  percussum  non  frangatur1.  Quo  facto  omne  aurum 
pariter  funde,  et  in  unam  massam  redige,  atque  super  stateram 
eo  modo,  quo  argentum  superius  divisisti,  divide ;  parique 
ordine  secundum  formam  quam  volueris,  sicque  pro  ut 
libuerit  auriculas  formabis.  Quod  si  opere  gemmato  facere 
volueris,  percute  duas  partes  auri  tam  tenues,  ut  vestigium 
ungulse  possit  ei  imprimi,  et  eas  incide  ea  forma,  qua  volueris 
auriculas  habere,  quse  partes  utreeque  ad  unam  auriculam 
pertinent.     Deinde  compone  solidaturam  hoc  modo. 


CAPUT    LI. 

DE    SOLIDATURA    AURI. 

TOLLE  cineres  fagineos,  et  fac  inde  lexivam,  quam  rursum 
colabis  per  eosdem  cineres,  ut  spissa  fiat.  Rursum 
mitte  in  patellam  et  coque  usque  ad  tertiam  partem,  et  im- 
pone  ei  modicum  smigmatis  et  parum  arvinae  suillee  veteris. 
Cumque  frigidum  fuerit  et  resederit,  cola  diligenter  per  pan- 
num  et  mitte  in  vas  cupreum,  quod  sit  ex  omni  parte  solidum, 
excepto  modico  foramine,  quod  superius  emineat,  rotundum, 
ut  possit  digito  obstrui.  Post  haec  tolle  partem  cupri  tenuem, 
quem  madefacies  aqua,  et  fricabis  super  eam  salem  ex  utra- 
que  parte,  mittesque  in  ignem,  et  cum  canduerit  extingue  in 
pelvi  munda  et  pura  aqua,  in  qua  servetur  quicquid  ex  cupro 
comburitur.  Rursumque  frica  salem  supra  cuprum  et  fac 
sicut  prius,  et  hoc  tamdiu  donec  sufficiat.  Deinde  effunde 
aquam  et  exsicca  pulverem  in  cupreo  vase,  et  tere  eum  in 
eodem  vase  cum  ferreo  malleo  donec  tenuissimus  fiat,  ponens- 
que  super  carbones   rursum  combure,   atque    ut    prius  tere. 

1  "  Quod  si  modice  finditur,  funde  illud  cum  sulphure,  et  sic  emendabitur."    Ex 
Cod.  Ouelph.  interpolantur. 


TRANSLATION.  271 

and  you  must  do  this  until  it  cannotbe  broken  when  struck1. 
Which  being  done  melt  all  the  gold  alike,  and  reduce  it  into 
one  mass,  and  divide  it  upon  the  balance  in  that  manner  in 
which  you  divided  the  gold  above ;  and  in  the  like  order  you 
will  fashion  the  handles,  according  to  the  form  you  may  wish, 
and  as  it  may  please  you.  But  if  you  should  wish  to  make 
it  with  a  gemmed  work,  beat  two  pieces  of  the  gold  so  thin 
that  a  mark  of  the  nail  can  be  impressed  upon  it,  and  cut 
them  out  in  that  form  which  you  wish  the  handles  to  have, 
which  pieces  both  belong  to  one  handle.  Then  compose  the 
solder  in  this  manner. 


CHAPTER  LI. 

OF    THE    SOLDER    OF    GOLD. 


Take  beech-wood  ashes,  and  make  a  lye  from  them,  which 
you  will  again  strain  through  the  same  ashes  that  they  may 
become  thick.  Place  them  again  in  the  pot,  and  cook  them 
to  one-third  of  the  bulk,  and  put  into  it  a  little  soap  and  a 
little  fat  of  an  old  pig.  And  when  it  has  become  cold  and 
has  reposed,  strain  it  carefully  through  a  cloth,  and  place  it 
in  a  copper  vessel  which  is  sound  everywhere  with  the  ex- 
ception  of  a  small  hole,  which  may  appear  at  the  top,  round, 
so  that  it  can  be  stopped  with  the  finger.  Afterwards  take  a 
piece  of  thin  copper,  which  you  moisten  with  wrater,  and  you 
will  rub  the  salt  over  it  on  each  side,  and  you  place  it  in  the 
fire,  and  when  it  has  glowed,  extinguish  it  in  a  clean  basin 
with  pure  water  in  which  may  be  kept  all  the  copper  burned. 
And  again  rub  the  salt  over  the  copper,  and  do  as  before, 
and  this,  until  at  length  there  be  enough.  Then  pour 
out  the  water  and  dry  the  powder  in  a  copper  vessel,  and 
grind  it  in  the  same  vessel  with  an  iron  mallet  until  it 
becomes  very  fine.     And  placing  it  over  the  coals,  again  burn 

1  Here  tliere  is  an  addition,  apparently  an  interpolation,  in  the  Wolfenbuttel 
MS.  Lessing's  Ed.  "  But  if  it  is  broken  a  little,  melt  it  with  sulphur,  and  it  will 
thus  be  remedied." 


272  THEOPHILI    LIBER    III. 

Cumque  imposueris  smigma,  commisce  diligenter,  ponensque 
super  prunas  pariter  combure  fortiter  ac  denuo  tere.  Postea 
ex  anteriori  vase  funde  lexivam  in  illud,  in  quo  est  pulvis,  et 
commisce  atque  fac  bullire  diu,  et  cum  frigidum  fuerit  refunde 
simul  cum  pulvere  ubi  prius  erat,  ubi  etiam  quatuor  particulas 
cupri  impones,  per  quas  commisceatur  pulvis  per  omnia 
quotiens  volueris.  Hac  confectione  solidatur  aurum  et  argen- 
tum;  sed  in  solidando  auro  commoveatur  pulvis,  ut  supra 
dictum  est,  in  argento  vero  solidando  non  moveatur. 


CAPUT    LII. 

DE    IMPONENDA    SOLIDATURA    AURO. 

HIS  ita  compositis  accipe  illas  duas  partes  auri,  quibus  auri- 
culas1  formasti,  et  pone  coram  te  gemmasque  quasimpo- 
nere  volueris,  pone  super  eas,  et  margaritas 2,  unamquamque  in 
suo  loco.  Deinde  percute  aurum  gracile  et  longum,  et  trahe  inde 
fila  grossa,  mediocria  et  subtilia,  et  lima  ea  ferro  supradicto, 
ita  ut  in  eis  grana  formentur.  Quibus  recoctis,  repositis  et 
colligatis  singulariter  gemrais,  partem  majoris  fili,  aptabis 
cum  forcipe  subtili,  circa  oram  auris  in  utrisque  partibus  illis, 
et  cum  forcipe  incisorio  facies  subtilissimas  incisuras  in  cir- 
cuitu,  quibus  confirmabis  ipsa  fila  ne  cadant,  donec  solidentur. 
Postmodum  accipe  partem  auri  tenuem  et  ligneo  malleo 
aequatam,  et  colloca  super  eam  fiia  mediocria  raultum  ordi- 
natim,  ita  ut  non  sibi  adhaereant,  sed  habeant  spatia  inter  se ; 
in  summitatibus  eorum  fiant  subtiles  incisurae  in  tenui  auro, 
quibus  ligentur.  Acceptoque  vasculo  in  quo  est  solidatura, 
concute  fortiter,  ut  commisceatur  pulvis,  et  cum  penna  gracili 
linies  ipsam  solidaturam  super  aurum  illud  et  super  fila  dili- 
genter  per  omnia,  mittesque  in  ignem  atque  sufflabis  folle  et 

1  vitiose  "auriculas;"  in  Cod.  Ouelph.  "auriculam,"  videtur. 
*  "  martias,"  a  scriba  falso  ponitur. 


TRANSLATION.  273 

it,  and  grind  it  as  before.  And  when  you  have  put  in  the 
soap,  mix  it  carefully,  and  placing  it  over  the  live  coals,  again 
burn  it  strongly  and  grind  it  anew,  Afterwards  pour  in  the 
lye,  from  the  first  vessel,  into  that  in  which  is  the  powder,  and 
mix  it  and  boil  it  for  a  long  time,  and  when  it  has  become 
cold,  pour  it  back,  together  with  the  powder,  where  it  was 
before,  where  you  also  put  in  four  pieces  of  copper,  by  means 
of  which  the  powder  may  be  mixed  together  as  often  as  you 
wish.  With  this  composition  gold  and  silver  may  be  soldered ; 
but  in  soldering  gold  the  powder  must  be  stirred  together  as 
mentioned  above,  but  in  soldering  silver  itmust  not  be  stirred. 


CHAPTER  LII. 

OF  APPLYING  THE  SOLDER  UPON  GOLD. 

These  things  thus  arranged,  take  those  two  pieces  of  gold 
from  which  you  formed  the  handle,  and  place  them  before 
you,  and  lay  upon  them  the  gems  which  you  wish  to  apply, 
and  the  pearls,  each  one  in  its  place.  Then  beat  gold  fine 
and  long,  and  draw  from  it  wires,  thick,  middling  and  fine, 
and  file  them  with  the  instrument  indicated  above,  so  that 
beads  may  be  formed  upon  them.  These  being  re-cooked, 
the  gems  being  replaced  and  attached  one  by  one,  you  will 
adapt  a  piece  of  the  larger  wire,  with  the  fine  pincers,  about 
the  edge  of  the  handle  in  both  its  pieces,  and  with  the  cutting 
pincers  you  make  very  fine  incisions  around  them,  by  which 
you  will  fix  these  wires  that  they  may  not  fall  off,  until  they 
are  soldered.  Afterwards  take  a  piece  of  gold  thin  and 
smoothed  with  the  wooden  mallet,  and  fasten  upon  it  smaller 
wires  very  orderly,  so  that  they  may  not  be  close  together, 
but  may  have  spaces  between  them ;  at  their  extremities  fine 
incisions  are  made  in  the  thin  gold  by  which  they  are  fixed. 
The  small  vase  being  taken  in  which  is  the  soldering,  agitate 
it  strongly,  that  the  powder  may  be  mixed  together,  and  with 
a  fine  pen  anoint  this  solder  upon  the  gold  and  over  the  wires 
carefully  everywhere,  and  place  it  in  the  fire,  and  you  will 

T 


274  THEOPHILI    LIBER  III. 

ore,  donec  videas  ipsam  solidaturam  ita  circumquaque  dis- 
currere,  quasi  aqua  perfundatur.  Et  mox  asperges  aqua 
modice  atque  eicies,  et  diligenter  lavabis,  rursumque  super 
linies  solidaturam,  ac  sicut  prius  solidabis,  donec  omnia  fila 
firmiter  stent. 


CAPUT    LIII. 

DE    IMPONENDIS    GEMMIS    ET    MARGARITIS. 

POST  haec  incide  per  particulas  quasi  corrigias  ita,  ut  una- 
quseque  corrigia  habeat  filum  unum,  quas  statim  com- 
plicabis  et  facies  inde  domunculas,  quibus  lapides  claudantur, 
minores  et  majores,  ad  mensuram  uniuscujusque,  ordinabis- 
que  eas  in  suis  locis.  Habebis  quoque  farinam  de  similagine 
frumenti  sive  siliginis,  quam  miscebis  aqua  in  parvulo  vasculo, 
et  pones  super  carbones,  ut  parum  calefiat ;  in  quam  tingues 
modice  domunculas  illas,  unamquamque  singulariter  in  in- 
feriore  parte  sicque  stabilies  in  suo  loco.  Omnibus  vero  sta- 
bilitis  pone  super  carbones  partem  auri  super  quam  stabilisti, 
donec  exsiccetur  humor  farinse,  et  mox  adhaerebunt.  Tolle  quo- 
que  fila  subtilia,  et  percute  ea  modice  super  incudem,  ita  ut  ali- 
quantulum  tenua  sint,  et  tamen  grana  superius  et  inferius  non 
procedant  vel  perdant  formam  suam  inde  complicabis  floscu- 
los  majores  et  minores,  unde  implebis  campos  omnes  inter 
domunculas;  quos  cum  formaveris  subtili  forcipe,  intinges 
eos  in  humida  farina,  sicque  collocabis  unamquamque  in  suo 
loco.  Quo  facto  pone  super  carbones,  ut  siccetur,  statim 
que  superlinies  solidaturam,  et  solidabis  sicut  superius.  Hoc 
modo  utrisque  partibus  unius  auriculae  solidatis  ac  firmatis, 
conjunge  eas  et  interpone  eis  fundum,  in  circuitu  ejus  juxta 
oram  interiorem,  videlicet  unam  tenuem  partem  auri,  quae  sit 
sicut  festuca,  et  sequalis  per  omnia.  Quam  partem  cum  inter 
illas  duas  junxeris,  complica  tres  particulas  ferri  tenues,  et  fac 


TRANSLATION.  275 

blow  with  the  bellows  and  the  mouth  until  you  see  this  solder 
run  everywhere  as  if  water  were  poured  over  it.  And  im- 
mediately  sprinkle  it  slightly  with  water,  and  take  it  out,  and 
you  will  carefully  wash  it,  and  again  anoint  the  solder,  and 
will  solder  it  as  before  until  all  the  wires  hold  firmly. 


CHAPTER  LIII. 

OF  APPLYING  THE  GEMS  AND  PEARLS. 

Afterwards  cut  these  in  pieces  like  straps,  so  that  every 
band  may  have  a  wire,  which  you  will  bend  together,  and 
make  small  settings  of  them,  by  which  the  stones  may  be  en- 
closed,  large  and  small,  to  the  size  of  each  one,  and  you  will 
arrange  them  in  their  places.  You  will  also  have  flour  of 
wheat  or  rye,  which  you  will  mix  with  water  in  a  small 
cup,  and  place  over  the  coals,  that  it  may  become  a  little 
warm;  in  this  you  dip  these  settings  slightly,  one  by  one, 
each  in  the  lower  part,  and  so  fix  them  in  their  place.  AU 
being  made  fast,  place  the  piece  of  gold  upon  which  you  have 
fastened  them  over  the  coals  until  the  moisture  of  the  flour 
is  dried,  and  they  will  soon  adhere.  Take  also  the  fine  wire 
and  beat  it  slightly  upon  the  anvil,  so  that  it  may  be  rather 
thin,  and  yet  that  the  beads  above  and  below  may  not  pro- 
ject  nor  lose  their  form:  with  them  you  will  weave  flowers, 
large  and  small,  with  which  you  will  fill  up  all  the  grounds  be- 
tween  the  settings ;  when  you  have  formed  these  with  the  fine 
pincers  dip  them  into  the  wet  flour,  and  you  will  thus  put  each 
in  its  place.  Which  being  done,  place  it  over  the  coals  that 
it  may  become  dry,  and  immediately  anoint  the  soldering  and 
solder  it  as  above.  Both  pieces  of  one  handle  being  soldered 
and  made  firm,  join  them  together,  and  place  a  foundation  to 
them  around  them  near  their  inner  edge,  namely,  a  thin  piece 
of  gold,  which  may  be  like  a  straw,  and  smooth  everywhere. 
When  you  have  joined  which  piece  between  the  two,  bend 
three  small  thin  pieces  of  iron,  and  make  small  stays  which 

t  2 


276  THEOPHILI    LIBER    III. 

• 

inde  retinacula,  quse  teneant  exteriores  partes  auri  exterius  in 
tribus  locis,  ut  tertia,  quae  interius  juxta  oras  circuit,  non 
possit  disjungi.  Quo  facto  linies  ex  omni  parte  solidaturam, 
et  siccabis  modice  super  ignem ;  dispositisque  carbonibus  et 
accensis,  facies  inter  eos  fossulam,  in  quam  pones  ipsam  auri- 
culam,  et  circa  eam  collocabis  carbones  ordinatim  ita,  ut  non 
contingant  aurum,  sed  in  similitudinem  muri  ascendant  in 
circuitu,  donec  emineant  super  aurum ;  et  tunc  collocabis  de- 
super  graciles  ferros  duos,  vel  tres,  qui  pertranseant.  Super 
quos  collocabis  per  omnia  carbones,  et  cooperies  diligenter, 
sic  tamen  ut  aliqua  foramina  inter  ipsos  carbones  remaneant, 
per  quee  possis  considerare,  qualiter  solidatura  circumfluat. 
Quod  cum  videris,  statim  aspersa  modica  aqua,  eicies  atque 
lavabis  leniter  et  siccabis,  circumspiciensque  diligenter  si  quid 
corrigendum  est,  corriges ;  rursumque  liniens  sicut  prius,  so- 
lidabis,  sicque  facies,  donec  per  omnia  firmum  fiat.  Hoc 
modo  parem  auriculam  formabis  atque  solidabis.  Quo  per- 
acto  junge  eas  utrasque  ad  vas  calicis  in  suis  locis,  et  circa 
eas  facies  duos  tractus  in  ipso  vase  cum  subula,  per  quos 
possis  considerare,  ut  recte  stent  in  solidando.  Deinde  funde 
purum  aurum  et  admisce  ei  tertiam  partem  cupri  rubei  et  puri, 
quod  pariter  fusum  et  modice  percussum  limabis  penitus  et 
pones  in  pennam  anseris.  Post  haec  accumula  ante  fornacem 
magnum  acervum  carbonum,  et  in  eis  pone  vas  calicis,  ita  ut 
medietas  ejus  omnino  sub  carbonibus  sit,  et  illa  pars  omnino 
emineat,  super  quam  una  pars  auris  ponenda  est ;  quam 
statim  conjunges  ei,  et  linies  ipsum  vas  cum  auricula  interius 
et  exterius  cum  solidatura,  atque  limaturam,  quod  in  penna 
posueras,  seminabis  circa  juncturas,  qua  auris  vasi  conjungi- 
tur,  sicque  circumposito  igne  aggerabis  carbones  in  circuitu, 
sicut  superius  fecisti,  circa  auriculam,  et  ferros  desuper  com- 
pones,  quos  carbonibus  abundanter  cooperies.  In  anteriori 
vero  parte  intra  cavum  vasis  compone  carbones  in  similitu- 
dinem  modici  furni,  ut  carbones  in  circuitu  densi  jaceant,  et 


TRANSLATION.  277 

can  hold  the  outer  pieces  of  gold  in  three  places  outside,  so 
that  the  third  which  compasses  the  inside  near  the  edge,  cannot 
be  disunited.  This  being  done,  anoint  the  solder  everywhere, 
and  you  will  dry  it  a  little  over  the  fire,  and  the  coals  being 
arranged  and  glowing  you  make  a  hollow  among  them,  in 
which  you  place  the  handle,  and  about  this  you  will  arrange 
the  coals  in  order,  so  that  they  may  not  touch  the  gold,  but  rise 
around  it  like  a  wall,  until  they  dominate  the  gold ;  and  you 
will  then  place  above  it  two  or  three  slight  pieces  of  iron, 
which  may  pass  across.  Over  this  you  will  place  the  coals 
everywhere,  and  cover  it  carefully,  so  however  that  some 
openings  may  remain  among  these  coals,  through  which  you 
can  see  how  the  solder  flows.  When  you  see  which  instantly 
sprinkle  it  with  a  little  water :  you  take  it  out  and  will  gently 
wash  and  dry  it,  and,  carefully  considering  it,  if  there  is  any 
fault  you  correct  it,  and  again  anointing  it  as  before,  you  will 
solder  it,  and  do  this  until  it  is  made  firm  everywhere.  In  this 
manner  you  will  make  the  other  handle  and  solder  it.  Which 
being  accomplished,  join  them  both  to  the  cup  of  the  chalice 
in  their  places,  and  make  two  lines  upon  the  cup  itself  with  a 
graver,  by  means  of  which  you  can  see  whether  they  are 
placed  straight  in  soldering.  Then  melt  pure  gold,  and  mix 
with  it  a  third  part  of  red  and  pure  copper,  which  likewise, 
fused  and  slightly  beaten,  you  will  file  altogether  and  place  in 
a  goose  quill.  After  this  accumulate  before  the  furnace  a 
great  heap  of  coals,  and  place  in  them  the  cup  of  the  chalice, 
so  that  half  of  it  may  be  altogether  under  the  coals,  and  that 
part  upon  which  a  part  of  the  handle  is  to  be  placed  may 
altogether  rise  above  them;  you  immediately  join  which 
(handle)  on  to  it,  and  anoint  the  vase  with  the  handle  inside 
and  out  with  the  soldering,  and  you  will  scatter  the  filings 
which  you  had  placed  in  the  quill  inside  and  out  with  the 
solder,  about  the  junction  by  which  the  handle  is  united  to 
the  cup,  and  thus,  fire  being  placed  around,  you  will  heap  the 
coals  in  a  circle,  as  you  did  before  about  the  handle,  and 
place  the  irons  over  it,  which  you  cover  plentifully  with  coals. 
In  the  front  part  within  the  hollow  of  the  cup  place  the  coals 
in  the  shape  of  a  small  furnace,  so  that  the  coals  may  lie 


278  THEOPHILI    LIBER   III. 

foramen  in  medio  appareat  per  quod  possit  sufflari,  ut  calor 
superius  et  inferius  sequalis  sit.  Cumque  videris  solidaturam 
circumfluere,  et  quasi  tertio  inundare,  asperge  diligenter  mo- 
dica  aqua,  et  eiciens  lava  et  sicca,  rursumque  simili  modo 
solida,  et  tamdiu  donec  firmissime  adhaereat.  Conversumque 
vas  in  alteram  partem,  parem  auriculam  eodem  modo  con- 
junge  et  solida. 


CAPUT    LIV. 

DE    ELECTRO. 

QUO  facto  tolle  partem  auri  tenuem  et  conjunge  ad  oram 
vasis  superiorem,  atque  metire  ab  una  auricula  usque  ad 
alteram  ;  quse  pars1  latitudinis  sit,  quanta  est  grossitudo 
lapidum,  quos  imponere  volueris ;  et  collocans  eos  in  suo 
ordine,  sic  dispone ;  in  primis  stet  unus  lapis  quatuor  mar- 
garitis  in  angulis  positis,  deinde  electrum,  juxta  quod  lapis 
cum  margaritis,  rursumque  electrum,  sicque  ordinabis  ut  juxta 
auriculas  semper  lapides  stent,  quorum  domunculas  et  campos, 
easque  domunculas,  in  quibus  electrum  ponendum  est,  com- 
pones  et  solidabis  ordine  quo  supra.  Et  in  altera  parte  vasis 
similiter  facies.  Si  vero  volueris  in  medio  ventris  gemmas  et 
margaritas  ponere,  eodem  modo  facies.  Quo  facto  conjunges 
eas  et  solidabis  sicut  auriculas.  Post  hsec  in  omnibus  domun- 
culis,  in  quibus  electra  ponenda  sunt,  coaptabis  singulas 
partes  auri  tenues,  conjunctasque  diligenter  eicies,  atque  cum 
mensura  et  regula  incides  corrigiolam  auri  quod  aliquantulum 
sit  spissius,  et  complicabis  eas  circa  oram  unius  cujusque 
partis  dupliciter,  ita  ut  inter  ipsas  corrigiunculas  subtile 
spatium  sit  in  circuitu,  quod  spatium  vocatur  limbus  electri. 
Deinde  eadem  mensura  atque  regula  incides  corrigiolas  om- 
nino  subtilissimi  auri,  in  quibus  subtili  forcipe  complicabis  et 

1  "  tantae,"  in  Cod.  Gwlph. 


TRANSLATION.  279 

thickly  around  the  circumference,  and  that  a  small  opening 
may  appear  in  the  midst,  through  which  it  can  be  blown,  that 
the  heat  above  and  below  may  be  equal.  And  when  you  see 
the  solder  flow  about,  and  as  if  undulating,  a  third  time, 
sprinkle  it  carefully  with  a  little  water,  and  taking  it  out, 
wash  and  dry  it,  and  again  solder  it  similarly,  and  until  it  ad- 
here  very  firmly.  And  turning  the  vase  on  the  other  side, 
join  and  solder  the  fellow  handle  in  the  same  manner. 


CHAPTER  LIV. 

OF   COLOURED    GLASS    STONES    (OR    ENAMEL). 

Which  being  done,  take  a  thin  piece  of  gold  and  join  it  to 
the  upper  rim  of  the  vase,  and  measure  it  out  from  one  handle 
to  the  other ;  this  piece  must  be  of  the  breadth  as  is  the  size 
of  the  stones  which  you  wish  to  place  upon  it ;  and,  arranging 
them  in  their  order,  thus  dispose  them ;  first  a  stone  must  stand, 
four  pearls  being  placed  at  its  angles,  then  a  glass  gem,  next 
this  a  stone  with  pearls,  and  again  a  glass  gem ;  and  you  will 
so  arrange  them  that  the  stones  may  always  stand  next  the 
handles,  the  settings  and  grounds  of  which,  and  those  settings 
in  which  the  glass  gem  is  to  be  placed,  you  compose  and  solder 
in  the  order  above.  And  you  do  the  same  on  the  other  side 
of  the  vase.  If  however  you  wish  to  place  gems  and  pearls 
in  the  centre  of  the  body,  you  act  in  the  same  manner.  This 
being  done,  join  and  solder  them  as  the  handles.  After  this 
you  will  adapt  thin  pieces  of  gold  in  all  the  settings  in  which 
the  glass  gems  are  to  be  placed,  and,  carefully  fitted,  you  take 
them  out,  and  with  a  measure  and  rule  you  cut  a  small  band 
of  gold,  which  must  be  somewhat  thicker ;  and  you  will  bend 
them  round  the  rim  of  each  piece  in  a  double  manner,  so  that 
a  minute  space  may  exist  around  between  these  small  bands : 
this  space  is  called  the  border  of  the  enamel.  Then,  with  the 
same  measure  and  rule  you  cut  small  bands  of  exceedingly 
thin  gold,  in  which  you  will  bend  and  fashion  whatever  work 


280  THEOPHILI    LIBEB    III. 

formabis  opus  quodcunque  volueris  in  electris  facere,  sive  cir- 
culos,  sive  nodos,  sive  flosculos1,  sive  aves,  sive  bestias,  sive 
imagines,  et  ordinabis  particulas  subtiliter  et  diligenter  unam- 
quamque  in  suo  loco,  atque  firmabis  humida  farina  super  car- 
bones.  Cumque  impleveris  unam  partem,  solidabis  eam  cum 
maxima  cautela,  ne  opus  gracile  et  aurum  subtile  disjungatur 
aut  liquefiat,  sicque  bis  aut  ter  facies,  donec  aliquantulum  sin- 
gulse  particulse  adhaereant. 

Hoc  modo  omnibus  electris  compositis  et  solidatis  accipe 
omnia  genera  vitri,  quod  ad  hoc  opus  aptaveris,  et  de  singulis 
partibus  parvum  frangens  colloca  omnes  fracturas  simul  super 
unam  partem  cupri,  unamquamque  partem  per  se ;  mittensque 
in  ignem  compone  carbones  in  circuitu  et  desuper,  sufflansque 
diligenter  considerabis  si  sequaliter  liquefiant :  si  sic,  omnibus 
utere ;  si  vero  aliqua  particula  est  durior,  singulariter  repone. 
Accipiensque  singulas  partes  probati2  vitri,  mitte  in  ignem 
singillatim,  et  cum  canduerit,  proice  in  vas  cupreum  in  quo  sit 
aqua,  et  statim  resiliet  minutatim,  quod  mox  confringas  cum 
rotundo  malleo  donec  subtile  fiat,  sicque  lavabis  et  pones  in 
concham  mundam,  atque  cooperies  panno  lineo.  Hoc  modo 
singulos  colores  dispones.  Quo  facto  tolle  unam  partem  auri 
solidati,  et  super  tabulam  aequalem  adhaerebis  cum  cera  in 
duobus  locis,  accipiensque  pennam  anseris  incisam  gracile 
sicut  ad  scribendum,  sed  longiori  rostro  et  non  fisso,  hauries 
cum  ea  unum  ex  coloribus  vitri,  qualem  volueris3.  Quod  vero 
superfuerit  repone  in  vasculum  suum  et  cooperi,  sicque  facies 
ex  singulis  coloribus,  donec  pars  una  impleatur;  auferens 
ceram  cui  inhaeserat,  pone  ipsam  partem  super  ferrum  tenue, 
quod  habeat  brevem  caudam,  et  cooperies  cum  altero  ferro 
quod  sit  cavum  in  similitudinem  vasculi,  sitque  per  omnia 
transforatum  gracile,  ita  ut  foramina  sint  interius  plana  et 
latiora,  et   exterius    subtiliora    et   hispida,   propter  arcendos 


1  "  sive  aures,"  in  MS.  videtur. 

8  "  auri,"  in  MS.  interponitur. 

3  "  qui  erit  humidus,  et  cum  longo  cupro  gracili  et  in  summitate  subtili  rades  a 
rostro  pennas  subtiliter  et  implebis  quemcunque  flosculum  volueris,  et  quantum 
volueris,"  ex  Codice  Guelph. 


TRANSLATION.  281 

you  may  wish  to  make  in  enamel,  whether  circles,  or  knots, 
or  small  flovvers,  or  birds,  or  animals,  or  figures ;  and  you  will 
arrange  the  small  pieces  delicately  and  carefully,  each  in  its 
place,  and  will  fasten  them  with  moistened  flour  over  the 
coals.  When  you  have  filled  one  portion,  you  will  solder  it 
with  the  greatest  care,  that  the  slender  and  fine  gold  may  not 
be  disjoined  nor  liquefy ;  and  do  thus  tvvice  or  three  times, 
until  the  separate  pieces  adhere  a  little. 

All  the  enamels  being  composed  and  soldered  in  this  man- 
ner,  take  all  kinds  of  glass  which  you  had  prepared  for  this 
work,  and  breaking  a  particle  from  each  piece,  place  all  the 
fragments  together  upon  a  piece  of  copper,  each  piece  by 
itself,  and  placing  it  in  the  fire  arrange  the  coals  around  and 
above  it,  and  blowing  carefully,  you  will  see  whether  they 
melt  equally ;  if  so,  use  them  all ;  if  however  any  particle  is 
harder  (than  the  rest)  place  it  by  itself.  Taking  separate 
pieces  of  the  proved  glass,  place  them  in  the  fire  one  by  one, 
and  when  each  one  has  become  glowing,  throw  it  into  a 
copper  vessel  in  which  there  is  water,  and  it  instantly  flies 
into  small  fragments,  which  you  break  with  a  round  pestle 
until  made  quite  fine,  and  you  will  thus  wash  it  and  put  it 
into  a  clean  vessel,  and  you  cover  it  with  a  linen  cloth.  In 
this  manner  you  prepare  the  separate  colours.  Which  being 
done,  take  a  piece  of  the  soldered  gold,  and  you  will  fasten  it 
upon  a  smooth  table  with  wax  in  two  places,  and  taking  a 
goose  quill  cut  to  a  point,  as  if  for  writing  but  with  a  longer 
beak  and  not  split,  you  take  out  with  it  one  of  the  colours  of 
glass,  whichever  you  please1.  That  which  remains  over, 
replace  in  its  small  cup  and  cover  it,  and  do  this  with  each 
colour  until  one  piece  is  filled  :  taking  away  the  wax,  to  which 
it  had  adhered,  place  this  piece  upon  athin  iron,  which  may  have 
a  short  handle,  and  cover  it  with  another  iron  which  is  hollow 
like  a  cup,  and  let  it  be  perforated  finely  all  over,  so  that  the 
holes  may  be  inside  flat  and  wide,  and  outside  finer  and 

1  "  which  must  be  moist,  and  with  a  long  copper  instrument,  slender,  and  fine  at 
the  end  you  scrape  from  the  heak  of  the  pen,  delicately,  and  will  fill  up  whatever 
flower  you  wish,  and  how  you  please*," — an  interpolation  in  the  Wolfenbuttel 
Manuscript. 


282  THEOPHILI    LIBER    III. 

cineres,  si  forte  superceciderint ;  habeatque  ipsum  ferrum  in 
medio  superius  brevem  annulum,  cum  quo  superponatur  et 
elevetur.  Quo  facto  compone  carbones  magnos  et  longos, 
incendens  illos  valde ;  inter  quos  facies  locum  et  aequabis  cum 
ligneo  malleo,  in  quem  elevatur  ferrum  per  caudam  cum 
forcipe ;  ita  ut  coopertum  collocabis  diligenter,  atque  carbones 
in  circuitum  compones  et  sursum  ex  omni  parte,  acceptoque 
folle  utrisque  manibus  undique  sufflabis  donec  carbones 
aequaliter  ardeant.  Habeas  etiam  alam  integram  anseris,  sive 
alterius  avis  magnae,  quae  sit  extensa  et  ligno  ligata ;  cum  qua 
ventilabis  et  flabis  fortiter  ex  omni  parte,  donec  perspicias 
inter  carbones  ut  foramina  ferri  interius  omnino  candeant, 
sicque  flare  cessabis.  Expectans  vero  quasi  dimidia  hora 
discooperies  paulatim  donec  omnes  carbones  amoveas,  rur- 
sumque  expectabis  donec  foramina  ferri  interius  nigrescant, 
sicque  elevans  ferrum  per  caudam,  ita  coopertum  pones  retro 
fornacem  in  angulo  donec  omnino  frigidum  fiat.  Aperiens 
vero  tolles  electrum  et  lavabis,  rursumque  implebis  et  fundes 
sicut  prius,  sicque  facies  donec  liquefactum  aequaliter  per 
omnia  plenum  sit.     Hoc  modo  reliquas  partes  compones. 


CAPUT   LV. 

DE    POLIENDO    ELECTRO. 

QUO  facto,  tolle  partem  cerae  ad  longitudinem  dimidii 
pollicis,  in  quam  aptabis  electrum  ita,  ut  cera  ex  omni 
parte  sit,  per  quam  ceram  tenebis1.  Deinde  super  duram 
cotem  et  aequalem   fricabis  diutissime  donec  claritatem  acci- 

1  "  et  fricabis  ipsum  electrum  super  lapidem  sabuleum  sequalem  diligenter  cum 
aqua,  donec  aurum  aequaliter  appareat  per  omnia,"  ex  Cod.  Guelph. 


TBANSLATION.  283 

rough,  in  order  to  stop  the  cinders  if  by  chance  they  should 
fall  upon  it;  this  iron  may  also  have  a  small  ring  above,  in 
the  middle,  by  which  it  may  be  superposed  and  taken  off. 
Which  being  done,  arrange  large  and  long  coals,  making 
them  very  hot,  among  which  you  make  a  space,  and  equalize 
with  a  wooden  mallet,  into  which  the  iron  is  raised  by  the 
handle  with  the  pincers,  so  that  when  covered  you  will  place 
it  carefully  and  arrange  the  coals  round  and  above  it  every- 
where,  and  taking  the  bellows  with  both  hands  you  will  blow 
on  every  side  until  the  coals  glow  equally.  You  have  also  a 
wing  of  a  goose,  or  other  large  bird,  which  is  extended  and 
tied  to  wood,  with  which  you  will  wave  and  fan  strongly  all 
over  it,  until  you  perceive  between  the  coals  that  the  holes 
of  the  iron  quite  glow  inside,  and  thus  you  will  cease  to  fan. 
Waiting  then  about  half  an  hour  you  uncover  by  degrees 
until  you  remove  all  the  coals,  and  you  will  again  wait  until 
the  holes  of  the  iron  grow  black  inside,  and  so  raising  the 
iron  by  the  handle,  you  place  it,  covered  as  it  is,  in  the  furnace, 
behind,  in  a  corner  until  it  has  become  quite  cold.  Then 
opening  it  you  take  out  the  enamel  and  will  wash  it,  and  will 
again  fill  it  and  melt  as  before,  and  you  do  thus  until,  melted 
equally  everywhere,  it  has  become  full.  In  this  manner  you 
compose  the  remaining  pieces. 


CHAPTER  LV. 


OF    POLISHING    THE    COLOURED    GLASS    ORNAMENT,    (OR 

ENAMEL.) 

This  being  done,  take  a  piece  of  wax  the  length  of  half  a 
thumb,  in  which  you  will  fix  the  enamel  so  that  the  wax  may 
be  all  round  it;  by  this  wax  you  wiU  hold  it1.  Then  you  will 
rub  it  for  a  long  time  upon  a  hard  and  smooth  hone,  until  it 

1  "  and  you  will  rub  this  electrum  upon  a  smooth  sandy  stone  carefully  with  water, 
until  the  gold  appear  equally  every  where."     From  the  Wolfenbuttel  MS. 


284  THEOPHILI    LIBER    III. 

piat;  sicque  super  eandem  cotem  saliva  humidam  fricabis 
partem  lateris,  quse  ex  antiquis  vasculis  fractse  reperiuntur, 
donec  saliva  spissa  et  rubea  fiat ;  quam  linies  super  tabulam 
plumbeam  aequalem,  super  quam  leniter  fricabis  electrum 
usque  dum  colores  ejus  translucidi  fiant  et  clari;  rursumque 
fricabis  laterem  cum  saliva  super  cotem,  et  linies  super  corium 
hyrcinum,  tabulse  ligneae  aequaliter  affixum ;  super  quod  polies 
ipsum  electrum  donec  omnino  fulgeat,  ita  ut  si  dimidia  pars 
ejus  humida  fiat  et  dimidiasicca  sit,  nullus  possit  considerare, 
quae  pars  sicca,  quae  vel  humida  sit. 


CAPUT    LVI. 

DE  PEDE  CALICIS  ET  PATENA  ATQUE  FISTULA. 

DEINDE  funde  aurum  in  quo  formabis  pedem  cum  nodo, 
in  cujus  nodi  medio  atque  in  ora  pedis  in  circuitu  dis- 
pones  limbum  cum  lapidibus  et  electris  ut  supra.  Patenam 
quoque  cum  formabis1  mensura  et  forma,  qua  volueris,  circa 
oram  ejus  eodem  opere  et  ordine  limbum  operaberis,  facies  et 
fistulam  auream  ordine  et  modo  quo  superius  argenteam. 

Cruces  quoque  et  plenaria  et  sanctorum  pignorum  scrinia, 
simili  forma  cum  lapidibus  et  margaritis2  deornabis. 


CAPUT    LVII. 

DE   COLATORIO. 

FACIES  quoque  colatorium  aureum  sive  argenteum  hoc 
modo.  Percute  vas  parvulum  ad  similitudinem  modicae 
pelvis,  latitudine  modice  amplius  unius  palmse3,  (cui  impones 
caudam  longitudinis  unius  ulnre  et)   latitudine  unius  pollicis, 

1  imo  "  formaveris." 

*  "  atque  electris,"  in  Cod.  Ouelph. 

8  Ex  Cod.  Guelph.  desunt  in  ManuscHpto  Harho. 


TRANSLATION.  285 

acquires  a  polish ;  and  you  will  also  rub  upon  the  same  stone, 
wetted  with  saliva,  a  piece  of  potter's  ware,  which  is  found 
amongst  the  fragments  of  ancient  vases,  until  the  saliva  has 
become  thick  and  red ;  this  you  anoint  upon  a  flat  leaden 
tablet,  upon  which  you  will  lightly  rub  the  glass  stone  until 
at  length  their  colours  appear  transparent  and  clear :  and  you 
will  again  rub  the  clay  ware  upon  the  hone  with  saliva, 
and  you  anoint  it  upon  a  goat  skin,  smoothly  fixed  upon  a 
wooden  table;  upon  this  you  polish  this  electrum  until  it 
shines  perfectly,  so  as  if  one  half  of  it  were  wet  and  one  half 
were  dry,  no  one  could  distinguish  which  was  the  wet  or 
which  the  dry  part. 


CHAPTER  LVI. 


OF  THE  FOOT  OF  THE  CHALICE,  THE  PATENA,  AND  THE 

PIPE. 

Then  melt  the  gold  of  which  you  will  form  the  foot  with  the 
knot,  in  the  centre  of  which  knot  and  in  the  rim  of  the  fbot 
around,  you  arrange  the  border  with  stones  and  glass  gems  as 
above.  Also  when  you  have  formed  the  patena  in  the  size 
and  shape  you  may  wish,  and  shall  have  fashioned  a  border 
around  its  rim  in  the  same  work  and  order,  you  make  the 
golden  pipe  in  the  same  order  and  manner  as  the  silver  (pipe) 
above  mentioned.  You  will  also  decorate  crosses  and  caskets 
and  shrines  of  holy  relics  in  a  similar  fashion  with  stoues  and 
pearls1. 


CHAPTER  LVII. 

OF   THE    STRAINER. 


You  also  make  a  golden  or  silver  strainer  in  this  manner. 
Beat  out  a  small  cup  like  a  small  basin,  in  length  rather  more 
than  a  palm,  (2to  which  you  place  a  handle  a  yard  in  length) 

1  "  and  enamels,"   Wolfenbuttel  MS.,  is  added. 
8  From  the  Wolfenbuttel  MS. 


286  THEOPHILI    LIBER    III. 

quae  cauda  habebit  in  sumraitate  caput  leonis  fusile  et  decen- 
tissime  sculptum,  quod  caput  tenebit  pelviculam  in  ore  suo. 
Habebit  etiam  in  altera  summitate  caput  simili  modo  sculptum, 
in  cujus  ore  pendebit  anulus,  per  inserto  digito  portari  possit. 
Reliqua  vero  cauda  inter  duo  capita  decorari  debet  nigello  per 
loca,  et  per  loca  opere  fusili  et  punctorio  et  litteris  versuum 
exarari  in  suo  loco.  Pelvicula  vero  quse  in  summitate  est,  in 
medio  fundo  perforari  debet,  latitudine  duorum  digitorum  in 
rotunditate,  subtilissimis  foraminibus  per  quse  colari  debet 
vinum  et  aqua  in  calicem  ponenda,  per  quam  '  sacramentum 
Dominici  sanguinis  conficitur. 


CAPUT     LVIII. 

DE    AMPULLA. 

SI  vero  volueris  ampullam  componere  ad  fundendum  vinum, 
percute  argentum  eodem  modo,  quo  percutitur  nodus 
pedis  in  calice,  excepto  quod  venter  ampullse  multo  latior  debet 
formari,  et  collum  ejus  super  incudem  longam  et  gracilem 
malleo  corneo  et  mediocri  ferreo  debet  constringi.  Interdum 
etiam  ipsa  ampulla,  cum  cceperit  formari,  impleatur  cera  et 
malleo  mediocri  ferreo  leniter  percutiatur,  ut  ei  rotunditas  ven- 
tris  et  effigies  colli  decentius  et  sequalius  aptetur.  Sicque 
ejecta  cera  super  carbones  iterum  recoquatur,  et  denuo  cera 
imponatur,  ac  sicut  prius  percutiatur,  donec  omnino  formetur. 
Quo  facto  si  volueris  in  ipsa  ampulla  imagines  aut  bestias  sive 
flores  opere  ductili  facere,  compone  in  primis  confectionem 
ex  pice  et  cera  et  tegula. 

1  Codex  Ouelph.,  "  quae,"  habet ;  i.  e.  vinum  et  aqua. 


TRAN8LATI0N.  287 

and  the  breadth  of  a  thumb,  which  handle  will  have  a  lion's 
head  at  the  extremity,  cast  and  properly  sculptured,  which 
head  will  hold  the  small  basin  in  his  mouth.  It  will  also 
have  at  the  other  end  a  head  carved  in  a  similar  manner,  in 
the  mouth  of  which  a  ring  will  hang,  by  means  of  which  it 
can  be  carried,  the  finger  being  inserted.  The  remainder  of 
the  handle  between  the  two  heads  should  be  decorated  in 
places  with  niello,  and  in  places  be  ornamented  with  molten 
and  point  work  and  letters  of  verses  in  their  places.  The 
small  cup,  which  is  at  the  extremity,  should  be  perforated  at 
bottom  in  the  centre,  of  the  size  of  two  fingers  in  circumfer- 
ence,  with  very  fine  holes,  through  which  the  wine  and  the 
water  to  be  placed  in  the  chalice  should  run,  by  means  of 
which  the  sacrament  of  the  Lord's  blood  is  accomplished. 


CHAPTER  LVIII. 

OF    THE    VIAL. 


But  if  you  wish  to  make  the  vial  for  pouring  out  the  wine, 
beat  the  silver  in  the  same  manner  as  the  knot  of  the  foot  of 
the  chalice  is  beaten,  excepting  that  the  body  of  the  vial 
should  be  formed  much  wider,  and  its  neck  be  narrowed  upon 
a  long  and  slender  anvil  with  the  moderate-sized  horned  and 
iron  hammer.  Sometimes  also  the  vial,  when  its  formation 
has  commenced,  may  be  filled  with  wax,  and  be  lightly  struck 
with  the  middling  iron  hammer,  that  the  roundness  of  the 
body  and  the  shape  of  the  neck  may  be  more  properly  and 
evenly  trimmed.  And  thus,  the  wax  being  taken  out,  it  may 
again  be  re-heated  upon  the  coals,  and  the  wax  again  be  put 
in,  and  it  may  be  beaten  as  before  until  it  is  altogether  formed. 
Which  being  done,  if  you  wish  to  make  upon  the  vial  figures, 
or  animals,  or  flowers  in  beaten  work,  first  compose  the  mix- 
ture  of  pitch  and  wax  and  tile. 


288  THEOPHILI    LIBER    III. 


CAPUT    LIX. 

DE   CONFECTIONE    QUX    DICITUR   TENAX. 

TERE  partem  lateris  sive  tegulse  minutissime,  et  liquefac 
picem  in  testa  ollse,  modicumque  cerae  adde.  Quibus 
pariter  liquefactis  commisce  pulverem  tegulae  et  fortiter  com- 
move  atque  in  aquam  effunde.  Cumque  coeperit  refrigerari, 
intingue  manus  utrasque  in  aquam  et  macera  diu,  donec  pos- 
sis  ipsam  confectionem  extendere  et  trahere  sicut  pellem. 
Hanc  confectionem  statim  liquefacies  et  implebis  ampullam 
usque  ad  summum.  Cumque  refrigerata  fuerit,  pertrahe  in 
ventre  et  in  collo  quodcumque  volueris,  tollensque  ferros  duc- 
torios  graciles  et  parvulum  malleolum  designa  quod  pertrax- 
isti,  in  circuitu,  leniter  percutiendo.  Deinde  da  puero,  qui 
contra  te  sedat,  malleolum  et  tu  tene  in  sinistra  manu  am- 
pullam,  et  dextera  ferros,  unumquodque  in  suo  loco,  et  fac 
puerum  percutere  quocumque  modo  volueris,  leniter  aut  forti- 
ter,  ac  depone  campos,  ut  cavi  fiant  et  opus  elevetur.  Cum- 
que  per  omnia  semel  percusseris,  apposita  ampulla  igni,  eice 
confectionem,  recoctaque  ampulla,  ejecta  ab  igne,  rursum 
imple  eam,  ac  sicut  prius  percute  sicque  facies  donec  omnes 
campos  sequaliter  deponas,  et  omne  opus  ita  conformes  ut  ap- 
pareat  quasi  fusum  sit.  Hoc  autem  omnino  procura  ut  ar- 
gentum  ampullse  ita  spissum  sit,  ut  cum  opus  percutiendo 
formaveris,  cum  ferris  fossoriis  possis  illud  decenter  incidere, 
fodere  et  radere.  Quo  peracto,  si  volueris,  fac  auriculam  fu- 
silem  eodem  modo  quo  formasti  auriculas  argentei  calicis,  et 
in  anteriori  parte  deductorium,  unde  vinum  effundatur,  quae 
confirmabis  solidatura,  argento  et  cupro  mixta,  ut  supra. 
Deinde,  ubicumque  volueris,  nigello  ornabis,  et  reliquum  deau- 
rabis  ut  supra. 

Eodem  niodo  facies  cyphos  aureos  et  argenteos  atque  scul- 
tellas,  et  pixides  ad  oblatas  imponendas  et  capsulas  thymia- 
matis ;  et  manubria  in  cultellis,  et  imagines  in  crucibus  et  ple- 
nariis  ex  auro  sive  argento  aut  cupro. 


TRANSLATION.  289 

CHAPTER  LIX. 

OF    THE    COMPOSITION    WHICH    19    CALLED    TENAX. 

Grind  a  piece  of  brick  or  tile  very  small,  and  melt  some 
pitch  in  an  earthenware  pot  and  add  a  little  wax.  These 
being  melted  together,  mingle  the  powder  of  the  tile,  and 
stir  it  strongly  and  pour  it  into  water.  And  when  it  has  be- 
gun  to  grow  cold,  dip  both  hands  into  the  water  and  mace- 
rate  it  for  a  long  time,  until  you  can  extend  and  draw  out  this 
composition  like  a  skin.  You  instantly  melt  this  composition 
and  will  fill  the  vial  to  the  top.  And  when  it  has  become 
cold,  portray  in  the  body  and  in  the  neck  whatever  you  wish, 
and  taking  slender  ductile  instruments  and  a  small  hammer, 
design  that  which  you  have  portrayed  around  it,  by  striking 
lightly.  Then  give  the  hammer  to  the  boy,  who  may  sit 
opposite  you,  and  hold  the  vial  in  your  left  hand,  and  the  in- 
struments  in  your  right,  each  one  in  his  place;  and  make 
the  boy  strike  them  in  what  mode  you  please,  slightly  or 
strongly,  and  depress  the  grounds  that  they  may  become 
hollow,  and  the  work  be  raised.  And  when  you  have  beaten 
it  once  throughout,  the  vial  being  brought  to  the  fire,  eject  the 
composition,  and  the  vial  being  reheated  and  taken  from  the 
fire  again,  fill  it  and  beat  as  before,  and  do  thus  until  you  de- 
press  all  the  grounds  equally,  and  you  fashion  all  the  work, 
so  that  it  may  appear  as  if  cast.  Above  all  arrange  that  the 
silver  of  the  vial  be  so  thick  that  when  you  have  formed  the 
work  by  beating,  you  may  be  able  to  chase,  hollow,  and  scrape 
it  properly  with  the  sculping  instruments.  Which  being  ac- 
complished,  if  you  wish,  make  the  cast  handle  in  the  same 
manner  as  you  formed  the  handles  of  the  silver  chalice,  and 
the  spout  where  the  wine  is  poured  out ;  these  you  will  fasten 
with  solder,  made  with  silver  and  copper  as  above.  Then 
you  will  ornament  with  niello  wherever  you  may  wish,  and 
gild  the  remainder  as  above. 

You  make  in  the  same  manner  gold  and  silver  cups  and 
plates  and  boxes  for  placing  the  wafers  and  incense  caskets ; 
also  handles  for  knives  and  figures  upon  crosses  and  missals 
in  gold,  or  silver,  or  copper, 

u 


290  THEOPIIILI    LIBER    III. 


CAPUT    LX. 

DE   THURIBULO    DUCTILI. 

SI  vero  thuribula  ductili  opere  componere  volueris  in  auro, 
vel  argento,  sive  cupro,  primum  purificabis  ordine  quo 
supra,  atque  fundes  in  fusoriis  ferris  duas  marcas  vel  tres  sive 
quatuor,  secundum  quantitatem  quam  vis  habere  superiorem 
partem  thuribuli.  Deinde  attenuabis  in  rotulam  eo  ordine 
quo  superius  calicem  argenteum  majorem,  excepto  quod  hoc 
opus  spissius  et  profundius  ducendum  est  interius,  ut  altius 
sit  exterius,  ita  ut  altitudo  in  se  ipsius  latitudinem  totam 
habeat  et  ejus  medietatem.  Cujus  altitudinem  cum  produxeris, 
priusquam  latitudinem  constringas,  pertrahe  in  eo  turres,  vide- 
licet  in  supremo  unam  octoangulatam,  in  qua  fiant  ejusdem 
numeri  fenestrae,  sub  qua  fiant  quatuor  quadratae,  quibus 
singulis  imponantur  tres  columpnae,  et  inter  eas  duae  fenestrae 
productae,  in  quarum  medio  super  mediam  columnam  fiat 
fenestella  rotunda ;  sub  quibus  in  tertio  loco  formentur  aliae 
turres  octo  ;  quatuor  videlicet  rotundae  contra  superiores 
quadras,  in  quibus  fiant  flosculi  aut  aviculae  vel  bestiolae,  sive 
fenestellae,  et  inter  eas  quatuor  quadrae,  quae  et  latiores  sint, 
in  quibus  fiant  dimidiae  imagines  angelorum,  quasi  in  eis  cum 
alis  suis  sedentium.  Sub  quibus  in  ipsa  rotunditate  vasis 
fiant  quatuor  arcus  in  supremo  modice  producti,  in  quibus 
fiant  evangelistse  sive  in  specie  angelorum,  seu  in  figura  ani- 
malium;  inter  quos  arcus  super  ipsam  oram  rotunditatis 
ponantur  quatuor  capita  leonum  sive  hominum  fusilia,  per 
quae  catenae  transeant.  His  ita  pertractis,  cum  ferris  ductoriis 
et  malleis,  interius  et  exterius  percutiantur,  donec  omnino 
formentur,  sicque  limentur  et  radentur,  ferrisque  fossoriis 
fodiantur.  Haec  est  superior  pars  turibuli.  Deinde  percu- 
tiatur  inferior  cum  suo  pede,  in  quo  fiant  quatuor  arcus,  qui 
respondeant  superioribus,  in  quibus  sedeant  quatuor  flumina 


TRAN9LATI0N.  291 

CHAPTER  LX. 

OF   THE    BEATEN    CENSER. 

If  however  you  should  wish  to  make  a  censer  in  beaten  work, 
in  gold,  silver,  or  brass,  you  will  first  purify  it  in  the  above 
order,  and  you  pour  into  the  iron  moulds,  two,  or  three,  or 
four  marks,  according  to  the  quantity  which  you  wish  the 
upper  portion  of  the  censer  to  possess.  You  will  then  thin  it 
in  a  circle  in  the  same  way  as  the  larger  silver  chalice  above 
mentioned,  excepting,  that  this  work  is  thicker  and  is  to  be 
depressed  deeper  inside,  that  it  may  be  higher  outside,  so  that 
its  height  may  possess  the  whole  of  its  breadth  and  one  half 
of  it.  When  you  have  lengthened  out  its  height,  before  you 
limit  the  breadth,  portray  towers  in  it,  namely,  on  the  top, 
one  octangular,  in  which  the  same  number  of  windows  are 
made ;  under  which  four  square  towers  are  made,  upon  every 
one  of  which  three  columns  are  placed,  and  between  them 
two  lengthened  windows,  in  the  midst  of  which,  over  the 
middle  column,  a  small  round  window  is  made :  under  these, 
in  the  third  place,  eight  other  towers  are  made ;  namely,  four 
round,  against  the  upper  squares,  in  which  are  made  small 
flowers,  or  birds,  or  animals,  or  small  windows,  and  between 
these  four  square  (towers)  which  may  be  yet  broader,  in 
which  the  half  figures  of  angels  are  made,  as  if  resting  in 
them  with  their  wings.  Under  which,  in  the  rounding  itself 
of  the  vase,  four  arches  are  made,  a  little  drawn  out  at  the 
top,  in  which  are  made  the  evangelists,  whether  in  likeness 
of  angels,  or  in  figures  of  animals;  between  these  arches, 
upon  the  edge  of  the  rounding,  four  heads  of  lions  are  placed, 
or  of  men,  cast,  through  which  the  chains  may  pass.  These 
things  thus  portrayed,  they  are  struck  out  with  the  ductile 
and  hammering  irons,  inside  and  outside,  until  they  are 
altogether  shaped,  and  are  thus  filed  and  rasped  and  chased 
with  the  sculping  instruments.  This  is  the  upper  part  of  the 
censer.  Then  the  lower  part  with  its  foot  is  struck  out,  in 
which  four  arches  are  made  which  may  correspond  to  those 
above,  in  which  may  rest  the  four  rivers  of  Paradise,  in  human 

u  2 


292  THEOPHILI    LIBER   III. 

Paradysi  humana  specie  cum  suis  amphoris,  quibus  effundatur 
quasi  species  fluentis  aquae.  In  angulis  vero,  quibus  con- 
junguntur  circuli,  figantur  capita  leonum  sive  facies  hominum 
de  quibus  supra  diximus,  ita  ut  inferiori  parte  adhasreant 
facies  in  quibus  firmentur  catense,  et  in  superiori  capilli  vel 
comae,  per  quas  transeant  ipsae  catenae.  Quod  si  pes  cum 
ipsa  inferiori  parte  nequeat  percuti,  fiat  singulariter  sive 
ductili  sive  fusili  opere,  et  imponatur  cum  solidatura  argento 
et  cupro  mixta,  de  qua  supra  diximus.  Lylium  vero  cui 
anulus  imponendus  est,  et  cui  catenae  superius  infigendae  sunt, 
fiat  similiter  ductili  sive  fusili  opere,  in  quo  formentur  flores 
aut  aviculae  sive  bestiolse  secundum  qualitatem  inferioris 
operis.  Hoc  turibulum  si  fuerit  argenteum  aut  cupreum, 
poterit  deaurari  ordine  quo  supra.  Quod  si  quis  voluerit 
laborem  apponere,  ut  turibulum  pretiosioris  operis  componat, 
similitudinem  civitatis,  quam  vidit  propheta  in  monte,  hoc 
modo  exprimere  poterit. 


CAPUT    LXI. 

DE    THURIBULO    FUSILI. 


TOLLE  argillam  non  commixtam  et  bene  maceratam,  et  fac 
siccare  ad  solem,  siccat<amque  comminue  et  diligenter 
cribra.  Cribratamque  aqua  commisce  et  fortiter  macera,  et 
exinde  compone  tibi  duas  massas,  ad  magnitudinem  quam  vis 
habere  turibulum,  unam  inferiorem,  et  alteram  superiorem 
quae  x  latior  erit ;  quae  massae  vocantur  nuclei.  Quos  statim 
perforabis  ligno  in  longitudine  in  quatuor  costis  sequaliter  in- 
ciso,  sicque  siccabis  ad  solem.  Post  haec  transduces  eis 
ferrum,  quod  dicitur  tornatile,  longum  et  mediocriter  gracile, 
quod  sit  in  una  summitate  grossius  in  quatuor  costis  aequa- 
liter  percussum,  ac  magis  magisque  gracile  deductim  usque 
in  finem,   in  cujus  grossiori  parte   inponatur   aliud   ferrum 

1  "  altior  "  in  Cod.  Guelph. 


TRANSLATION.  293 

form  with  their  urns,  from  which  may  be  poured  a  likeness 
of  flowing  water.  In  the  angles,  by  which  the  circles  are 
joined  together,  the  heads  of  lions,  or  human  faces,  of  which 
we  have  before  spoken,  may  be  fixed,  so  that  the  faces  may 
adhere  in  the  lower  part  in  which  the  chains  are  fixed,  and  in 
the  upper,  the  manes  or  hair  through  which  these  chains  may 
pass.  But  if  the  foot  cannot  be  beaten  with  the  lower  part 
itself,  it  is  made  alone,  in  cast  or  beaten  work,  and  can  be 
placed  on  with  the  solder  made  with  silver  and  copper,  of 
which  we  have  before  spoken.  Also  the  lily,  to  which  the 
ring  is  attached  and  to  which  the  chains  are  fixed  above,  is 
similarly  made  with  ductile  or  molten  work,  in  which  flowers, 
or  small  birds  or  beasts  are  formed,  according  to  the  quality 
of  the  labour  below.  If  this  censer  be  silver  or  brass,  it  can 
be  gilt  in  the  manner  before  mentioned. 

But  should  any  one  wish  to  apply  more  labour,  so  as  to 
compose  a  censer  of  more  costly  work,  he  can,  after  this 
manner  express  the  likeness  of  the  city  which  the  prophet 
saw  upon  the  mount. 


CHAPTER  LXI. 

OF   THE    CAST    CENSER. 


Take  clay,  unmixed  and  well  beaten,  and  dry  it  in  the  sun, 
and  being  dry,  carefully  grind  and  sift  it.  Being  sifted,  mix 
it  with  water,  and  beat  it  strongly,  and  make  two  masses  of 
it  of  the  size  which  you  wish  the  censer  to  possess,  one  lower, 
and  another  upper  (mass)  which  will  be  wider ;  these  lumps 
are  called  the  "  nuclei."  You  will  directly  pierce  these  with 
a  piece  of  wood  cut  lengthwise,  smoothly  upon  the  four 
sides,  and  will  thus  dry  them  in  the  sun.  Afterwards  pass 
an  iron  through  them,  which  is  called  the  turning  iron,  long  and 
rather  slender,  which  is  thicker  at  one  end,  smoothly  beaten 
on  the  four  sides,  and  diminishing  more  and  more  slenderly 
towards  the  point ;  in  the  thicker  part  of  this  another  iron 


294  THEQPHILI    LIBER    III. 

breve  et  curvum,  sive  Hgnum,  cum  quo  possit  circumverti. 
Deinde  habebis  duas  columnellas  ligneas  super  scamnum 
fixas  et  ab  invicem  sejunctas  secundum  longitudinem  ferri,  quae 
singulae  habeant  in  anteriori  parte  singulos  clavos  similiter 
ligneos,  ad  mensuram  palmi  longos,  et  ad  similitudinem  gra- 
dus  incisos;  super  quos  ponatur  lignum  aliud  rotundum,  ita 
ut  possit  propius  et  longius  removeri,  super  quod  requiescat 
manus  tornantis.  His  ita  compositis  inter  ipsas  duas  colump- 
nellas  pone  ferrum  tornatile,  quod  nucleos  continet,  et  coram 
te  ad  lsevam  manum  sedente  adjutore,  qui  circumvertat  illud, 
tornabis  ferris  acutis  et  latioribus  ex  omni  parte  usque  ad 
aequalitatem,  sicque  formabis  nucleos  illos  ut  sibi  conjungan- 
tur  eequali  latitudine  et  spissitudine  in  medio.  Intercides 
vero  inferiorem  partem  a  medietate  inferius,  ita,  ut  latitudo 
superior  duabus  mensuris  inferiorem  superet,  in  qua  formabis 
et  pedem.  Eadem  quoque  mensura  intercides  superiorem 
partem,  cujus  tamen  altitudo  tanta  erit,  ut  intercidatur1  ad 
similitudinem  lignei  campanarii,  ita  ut  queelibet  incisura  sur- 
sum  magis  gracilis  sit.  His  ita  tornatis  eice  ferrum,  et  cum 
cultello  incide  in  latiori  limbo  superioris  nuclei  quatuor  angu- 
los  usque  ad  incisuram,  quee  ei  proxima  est,  ita  ut  in  crucis 
modum  formetur,  et  unumquodque  cornu  sequales  habeat  lati- 
tudines  in  parietibus,  sed  altitudine  contineat  mensuram  et 
dimidiam  latitudinis;  in  qua  etiam  pinnacula  ad  similitudi- 
nem  tectorum  formabis.  Facies  quoque  in  proxima  turri 
octo  costas,  quatuor  latiores,  et  quatuor  strictiores  quas  etiam 
rotundas  facies,  ita  ut  anguli  latiorum  promineant,  et  stricti- 
orum  cavi  sint,  ut  sic  rotunditas  appareat ;  in  quibus  ad 
mensuram  tecta  convenientia  formabis.  Turrem  vero  penul- 
timam  eodem  modo  formabis,  sicut  tamen  ut  rotundse  costae 
super  inferioris  latas  formentur,  et  inferioris  rotundee  sub  su- 
periorum  latis  aptentur.  Superior  vero  turris  octo  costis 
aequaliter  latis  et  absque  tectis  formetur.  Haec  erit  superior 
pars  turibuli. 

1  "  ter  "  in  Cod.  Ouelph.  interponilur. 


iRANSLATIO^  295 

short  and  bent,  must  be  fixed  on,  or  a  piece  of  wood,  with 
which  it  can  be  revolved.  You  will  then  have  two  small 
wooden  columns  fixed  upon  a  bench  and  separated  from  each 
other  according  to  the  length  of  the  iron,  each  of  which  may 
have  in  the  front  part  single  wedges,  also  wooden,  in  measure 
a  palm  in  length,  and  cut  like  a  ladder ;  upon  which  another 
round  wood  may  be  placed,  so  that  it  can  be  moved  nearer  or 
farther :  upon  this  the  hand  of  the  turner  can  rest.  These 
things  thus  arranged  place,  between  these  two  columns  the 
turning  iron  which  holds  the  "  nucleus,"  and  the  assistant 
who  may  turn  it  sitting  before  you  upon  the  left  hand,  you 
will  turn  it  with  sharp  and  wide  instmments  everywhere  until 
it  is  smooth,  and  you  will  so  form  these  "nuclei"  that  they  may 
be  joined  together  by  an  equal  breadth  and  thickness  in  the 
middle.  You  will  cut  in  the  lower  part  from  the  middle 
downwards,  so  that  the  upper  breadth  may  by  two  measures 
exceed  the  lower,  in  which  you  will  also  form  the  foot.  In 
the  same  proportion  also  you  cut  the  upper  part,  the  height 
of  which,  however,  will  be  such  that  it  is  cut  in  (three  times), 
to  the  shape  of  a  bell-founder's  wooden  (block),  so  that  every 
cutting  may  be  slighter  upwards.  These  being  thus  turned, 
take  out  the  iron,  and  with  a  knife  cut,  in  the  broader  border 
of  the  upper  nucleus,  four  angles  as  far  as  the  nearest  cutting, 
so  that  it  may  be  formed  in  the  manner  of  a  cross,  and  let 
each  projection  have  equal  breadth  in  the  sides,  but  contain 
in  height  a  measure  and  a  half  of  the  breadth,  in  which  you 
will  form  also  small  pinnacles  in  likeness  of  roofs.  You  also 
make  in  the  next  tower  eight  ribs,  four  wide  and  four  narrow, 
which  you  also  make  round,  so  that  the  angles  of  the  wider 
may  project,  and  of  the  narrower  be  hollow,  so  that  a  round- 
ness  may  appear ;  in  these  you  will  form  proper  roofs  to  the 
size.  You  will  fashion  the  penultimate  tower  in  the  same 
manner,  so,  however,  that  round  ribs  are  formed  over  the 
broad  parts  of  the  lower,  and  that  the  round  parts  of  the 
lower  are  adjusted  under  the  broad  parts  of  the  upper.  But 
the  upper  tower  must  be  formed  with  eight  ribs,  equally  broad 
and  without  roofs.     This  will  be  the  upper  part  of  the  censer. 

1  "  three  times,"  from  the  Wolfenbuttel  MS. 


296  THEOPHILI    LIHKR    III. 

Inferioris  autem  partis  latior  limbus,  incisis  angulis  siiniliter 
in  crucis  modum  formabitur,  ut  superiori  coaptetur,  et  inferior 
limbus  in  rotundum  finiatur.  His  taliter  aptatis  tolle  duo 
ligna  ad  longitudinem  pedis  et  grossitudinem  quam  ceram 
habere  volueris,  aliudque  lignum  tantse  longitudinis  rotundum 
et  grossum  ut  hasta  lanceae ;  et  habebis  ascellam  latam  lon- 
gitudine  pedis,  et  duabus  ulnis  longam  et  valde  aequalem, 
super  quam  configes  prsedicta  duo  ligna,  ita  ut  a  se  spatio 
dimidii  pedis  disjuncta  lignum  contra  lignum  sequaliter  apte- 
tur.  Deinde  tolle  ceram  puram  quam  igni  appositam  fortiter 
macerabis,  sicque  calidam  inter  duo  ligna  super  ascellam  col- 
locabis,  prius  aqua  subp»sita  ne  adhaereant,  et  illud  rotundum 
lignum  madefactum  utrisque  manibus  fortiter  superducens 
secundum  spissitudinem  lignorum  attenuabis.  Et  cum  multas 
partes  sequales  cerae  paraveris,  sedens  juxta  ignem  incide 
eas  particulatim  secundum  spatia,  quae  in  argilla  turibuli 
incideras,  et  unicuique  spatio  suam  particulam  modice  cale- 
factam  aptabis,  atque  cum  ferro  ad  hoc  opus  apto  et  calefacto 
circumsolidabis.  Cumque  hoc  modo  totum  nucleum  exterius 
cooperueris,  accipe  ferrum  tenue  ex  utraque  parte  acutum  in 
modum  gracilis  sagittse,  cum  parvula  cauda,  ligneo  manubrio 
infixum,  et  cum  illo  ex  omni  parte  circumcides,  et  buxeo 
ligno  eodem  modo  formato  planabis,  et  ut  in  nullo1  loco  cera 
spissior  sive  tenuior  sit  quam  in  alio,  procurabis.  Deinde 
pertrahe  in  singulis  frontibus  singulos  arcus,  et  in  obliquis 
parietibus  similiter,  et  sub  singulis  arcubus  ex  utraque  parte 
singulas  valvas,  ita  ut  unaquseque  valva  quartam  partem  spatii 
contineat,  et  duse  partes  in  medio  remaneant ;  in  quibus  spatiis 
pertrahes  sub  unoquoque  arcu  singulas  imagines  apostolorum, 
quae  singulse  teneant  singulos  breves,  effigie  qua  volueris, 
quorum  nomina  scribes  in  limbo  circa  arcus.  In  spatiis  vero 
tiiangulis,  qui  tectorum  pinnas  sustinent,  formabis  similitudi- 
nem  lapidum  duodecim,  disponens  unicuique  apostolo  conveni- 
entem  lapidem,  secundum  significationem  nominis  sui,  quo- 

1  "  illo,"  vitiost  iti  MS.  videtur. 


TRANSLATION.  297 

In  the  lower  part  a  wider  border  will  be  formed,  the  angles 
being  likewise  cut  in  form  of  a  cross,  that  it  may  be  fitted  to 
the  upper,  and  a  lower  border  is  defined  around.  These 
being  thus  adjusted,  take  two  pieces  of  wood  a  foot  in  length 
and  the  thickness  which .  you  wish  the  wax  to  possess,  and 
another  wood  of  equal  length,  round  and  thick  as  the  stem 
of  a  lance ;  and  you  will  have  a  small  tablet  a  foot  wide  and 
two  yards  long  and  very  smooth ;  upon  this  you  fix  the  two 
pieces  of  wood  before  mentioned,  so  that  being  separated 
from  each  other  by  the  space  of  half  a  foot,  wood  may  be 
evenly  adjusted  against  wood.  Then  take  pure  wax  which, 
placed  near  the  fire,  you  will  strongly  pound,  and,  thus  warm, 
you  will  place  it  upon  the  table  between  the  two  woods, 
water  being  first  applied  that  they  may  not  adhere ;  and  pass- 
ing  over  it  the  wetted  round  wood  strongly  with  both  hands, 
you  will  thin  it  according  to  the  thickness  of  the  pieces  of 
wood.  And  when  you  have  prepared  many  even  pieces  of 
wax,  sitting  near  the  fire,  cut  them  small  according  to  the 
spaces  which  you  had  cut  in  the  clay  of  the  censer,  and  you 
will  adjust  to  each  space  its  piece  slightly  warmed,  and  with 
an  iron,  fit  for  this  work,  and  made  warm,  you  will  solder  it 
round.  And  when  you  have  covered  in  this  manner  all  the 
"  nuclei "  outside,  take  a  thin  iron,  sharp  on  both  sides  like  a 
slender  arrow  with  a  small  handle,  fixed  in  a  wooden  handle, 
and  with  this  cut  it  round  every where,  and  you  will  smooth  it 
with  box-wood  made  in  the  same  fashion,  and  you  will  take 
care  that  the  wax  be  in  no  place  thicker  or  thinner  than  in 
another.  Then  portray  single  arches  in  each  front  and  the 
like  upon  the  side  walls,  and  single  folding  doors  under  each 
arch  on  every  side,  so  that  each  folding  door  may  cover  a 
fourth  part  of  the  space,  and  that  two  parts  may  remain  in 
the  middle ;  in  these  spaces  under  each  arch,  you  trace  single 
figures  of  the  apostles,  each  of  which  may  hold  a  writing  of 
the  pattern  you  wish ;  you  will  write  their  names  in  the  border 
around  the  arches.  In  the  triangular  spaces,  which  support 
the  pinnacles  of  the  roof,  you  will  fashion  a  representation  of 
twelve  stones,  distributing  a  proper  stone  to  each  apostle  ac- 
cording  to  the  signification  of  its  name ;   the  names  of  these 


298  THEOPHILI    LIBER    III. 

rum  nomina  scribes  in  inferiori  limbo  ejusdem  spatii,  et  in  sin- 
gulis  angulis  juxta  lapides  facies  singulas  fenestellas.  Haee 
erit  similitudo  de  qua  propheta  dicit:  Ab  Oriente  portse 
tres,  et  ab  Occidente  portee  tres,  et  a  Meridiano  portse  tres, 
et  a  Septentrione  portae  tres.  In  quatuor  autem  angulis,  qui 
sunt  inter  divisiones  portarum,  formabis  in  cera  singulas  turri- 
culas  rotundas,  per  quas  catenee  transibunt.  His  ita  dispositis 
facies  in  proxima  superiori  turri  singulas  imagines  angelorum 
integras  in  quadrangulis  spatiis,  (*  cum  scutis  et  lanceis  suis, 
quasi  ad  custodiam  murorum  stantes,  et  in  rotundis  turriculis 
formabis  columnellas  cum  capitellis  suis  et  basibus.  Eodem 
modo  facies  in  penultima  turri,  quse  brevior  est,  dimidias  ima- 
gines  angelorum  et  pari  modo  columnellas.  In  superiori  vero 
turri,  quaa  gracilior  erit,  facies  fenestras  longas  et  rotundas,  et 
in  summitate  turris  propugnacula  in  circuitu,  in  quorum  medio 
formabis  agnum,  et  in  capite  ejus  coronam  et  crucem,  et  circa 
dorsum  ejus  brevem  arcum,  in  cujus  summitate  sit  anulus,  cui 
imponatur  media  catena.  Heec  est  superior  pars  thuribuli 
cum  opere  suo. 

Inferiori  vero  parte  simili  modo  cooperta  cera,  formabis  in 
singulis  spatiis  singulas  imagines  prophetarum  cum  suis  bre- 
vibus,  et  aptabis  unicuique  apostolo  convenientem  prophetam, 
ut  testimonia  eorum,  quse  brevibus  sunt  inscribenda,  sibi  con- 
cordent.)  Circa  prophetas  vero  non  facies  portas,  sed  tantum 
spatia  earum  sint  quadrangula,  et  in  limbis  super  capita  scri- 
bantur  eorum  nomina.  Facies  quoque  in  angulis  quatuor 
turres  in  quibus  catenae  firmentur  ut  superioribus  coaptentur. 
In  inferiori  vero  rotundo  spatio  facies  circulos  quot  potueris, 
vel  volueris,  in  quibus  formabis  singulas  imagines  virtutum 
dimidias,  specie  feminina  quarum  nomina  scribes  in  circulis. 
Ad  postremum  autem  in  fundo  formabis  pedem  et  tornabis,  et 
omnia  spatia  circa  imagines  superius  et  inferius  erunt  trans- 
forata.  Deinde  unicuique  parti  suis  infusoriis  atque  spiraculis 
inpositis,  circumlinies  diligenter  argillam  tenuem  et  siccabis  ad 
solem,  rursumque  et  tertio  facies  similiter;  quae  partes  vocantur 

1  Eadtm  verba  et  sequentia  usque  ad  "  sibi  concordent  "  omittit  Cod.  Harl.  Ad- 
didimus  ex  Cod.  Guelpk. 


TRANSLATION.  299 

you  write  in  the  lower  border  of  the  same  space,  and  in  each 
angle,  next  the  stones,  you  make  small  windows.  This  will  be 
a  likeness  of  which  the  prophet  says :  "  On  the  East  three 
gates ;  on  the  North  three  gates ;  on  the  South  three  gates ; 
and  on  the  West  three  gates."  In  the  four  angles  which  are 
between  the  divisions  of  the  doors,  you  will  form  single  round 
turrets,  through  which  the  chains  will  pass.  These  things 
thus  disposed,  you  make  on  the  top  of  the  upper  tower,  in  the 
square  spaces,  single  entire  figures  of  angels,  (with  their 
shields  and  lances  as  if  standing  on  guard  upon  the  walls,  and 
in  the  round  turrets  you  will  fashion  small  columns  with  their 
capitals  and  bases.  In  the  same  manner  you  make  in  the  last 
tower  but  one,  which  is  shorter,  half  images  of  angels,  and  in 
the  same  way  of  columns.  And  in  the  upper  tower,  which 
will  be  more  slender,  you  make  long  and  rounded  windows, 
and  on  the  top  of  the  towers  bulwarks  around ;  in  the  middle 
of  these  you  will  fashion  a  lamb,  and  upon  its  head  a  crown 
and  cross,  and  about  its  back  a  small  arch,  in  the  top  of  which 
a  ring  must  be,  to  which  the  middle  chain  is  fixed.  This  is 
the  upper  part  of  the  censer  with  its  work. 

In  the  lower  part,  similarly  covered  with  wax,  you  will  form 
in  each  space  single  figures  of  the  prophets  with  their  writ- 
ings,  and  will  adapt  to  each  apostle  a  corresponding  prophet, 
that  their  testimonies,  which  are  inscribed  upon  the  scrolls, 
may  agree  with  each  other1.)  But  you  make  no  doors  around 
the  prophets,  but  only  let  the  spaces  be  quadrangular  and 
their  names  be  written  upon  the  borders  over  their  heads. 
You  also  make  in  the  angles  four  towers,  in  which  the  chains 
are  fixed  that  they  may  be  fitted  with  those  higher  up.  In 
the  lower  round  space  you  make  as  many  circles  as  you  can 
or  wish,  in  which  you  form  single  feminine  half  figures  of  the 
virtues,  the  names  of  which  you  write  in  the  circles.  At  the 
last  also  you  will  fashion  and  turn  the  foot,  and  all  the  spaces 
about  the  figures  above  and  below  will  be  transpierced. 
Then,  the  tunnels  and  air  holes  being  placed  in  every  part, 
you  plaster  thin  clay  carefully  about  it,  and  will  dry  it  in  the 
sun,  and  you  do  this  again,  and  a  third  time ;  these  parts  are 

1  The  text  n.ithiu  tliese  brackets  is  taken  from,  Lessinfs  Ed.  of  the   Wolferibxittel 
MS.,  by  the  scribe'omilted  here. 


300  THEOPHILI    LIBER    III. 

jam  formae.     Quas  omnino  siccatas  pones  ad  ignem,  et  cum 
calefactae  fuerint,  ceram  liquescentem  funde  in  aquam,  rursum- 
que  pone  ad  ignem,  sicque  facies  donec  ceram  omnino  eicias. 
Post  haec  in  loco  apto  et  aequali  pones  carbones  grossos  et 
frigidos,  super  quos  stabilies  formas,  foraminibus  inferius  con- 
versis,  et  circumpones  eis  lapides  duros,  qui  resilire  non  pos- 
sint  ad  calorem  ignis,  et  ordinabis  eos  lapidem  super  lapidem 
in  similitudinem  muri  absque  temperamento  siccos,  ita  ut  inter 
lapides  multa  foramina  et  parvula  remaneant.     Quibus  ita 
compositis,  altius  quam  formae  sint  spatio  dimidii  pedis,  cir- 
cumfunde  carbones  ardentes,  ac  deinde  frigidos   usque   ad 
summum,  et  cave  ut  tantum  spatii  sit  inter  formas  et  lapides, 
quod  carbones  capere  possit.     Cumque  carbones  omnes  incan- 
duerint,  interdum  gracili  ligno  movendi  sunt  circumquoque  per 
foramina  inter  lapides  ut  se  conjungant,  et  calor  ex  omni 
parte  aequalis  sit.     Et  cum  in  tantum  descenderint  ut  formas 
videre  possis,  iterum  imple  frigidis  carbonibus  usque  ad  sum- 
mum,  sicque  tertio  facies.     Et  cum  videris  formas  exterius 
candescere,  pone  vas  in  ignem  cum  auricalco  quod  fundere 
volueris,  et  primum  modice,  deinde  magis  magisque  sufflabis, 
donec  omnino  liquefiat.     Quo  facto  cum  curvo  ferro  et  in 
Iigno  infixo  diligenter  commove,  et  vas  in  latus  aliud  con- 
verte;  rursumque  auricalco   imple  et  calefac,  sicque   facies 
donec  vas  plenum  fiat,  et  denuo  cum  curvo  ferro  commovebis, 
et  a  carbonibus  purgabis,  et  sufflatore  fortiter  flante  cooperies 
magnis  carbonibus.     Deinde  amotis  lapidibus  formas  eicies  ab 
igne,  et  argillam  abundanter  aqua  perfusam  atque  in  modum 
fecis  attenuatam  cum  panno  diligenter  circumlinies,   sicque 
juxta  fornacem,  in  quam  fundis,  fossa  facta  formas  inpone  et 
terram  circumquaque  exaggera,  et  ligno  inferius  aequali  cre- 
brius  inpingendo    diligenter   comprime.     Statimque    habeas 
prae  manibus  panniculum  multipliciter  complicatum  et  fisso 
ligno  impositum,  ejectoque  vassiculo  ab  igne  cum  forcipe  cur- 
vato  rostro,  et  panniculo  apposito,  qui  sordes  et  favillas  de- 


TRANSLATION.  301 

now  called  moulds.  You  place  these,  perfectly  dry,  at  the 
fire,  and  when  they  have  become  warm,  pour  out  the  melted 
wax  into  water,  and  you  again  place  them  at  the  fire,  and  you 
do  thus  until  you  have  removed  all  the  wax.  After  this  you 
]ay  large  and  cold  coals  in  a  fit  and  smooth  place,  upon  which 
you  establish  the  moulds  with  the  openings  turned  down- 
wards,  and  you  place  around  them  some  hard  stones  which 
cannot  fly  to  pieces  by  the  heat  of  the  fire,  and  you  will 
arrange  them  stone  upon  stone  like  a  wall,  dry  without  mor- 
tar,  so  that  betvveen  the  stones  many  small  openings  may  re- 
main.  These  being  thus  arranged,  higher  by  half  a  foot  than 
are  the  moulds,  spread  around  the  hot  coals,  and  then  the 
cold,  unto  the  top,  and  take  care  that  such  space  be  between 
the  moulds  and  the  stones  as  may  contain  the  coals.  When 
all  the  coals  are  glowing,  they  are  sometimes  to  be  stirred 
with  a  thin  wood  on  every  side  through  the  openings  between 
the  stones,  that  they  may  be  closed  together,  and  the  heat  be 
equal  everywhere.  And  when  they  have  descended  so  much 
that  you  can  see  the  moulds,  again  fill  up  to  the  top  with  cold 
coals,  and  do  thus  a  third  time.  And  when  you  see  the 
moulds  glow  outside,  place  the  vessel  in  the  fire  with  the 
brass  which  you  wish  to  cast,  and  you  will  blow  slightly  at 
first,  then  more  and  more  until  it  be  quite  liquefied.  This  being 
done,  carefully  stir  it  with  an  instrument  bent  and  fixed  in 
wood,  and  turn  it  into  another  wide  (vessel),  again  fill  it  with 
brass  and  heat  it,  and  do  thus  until  the  vessel  be  filled,  and 
you  will  again  stir  it  with  the  curved  instrument  and  will 
purge  it  from  coals,  and  blowing  strongly  with  the  bellows 
you  will  cover  it  with  large  coals.  The  stones  being  then 
removed,  you  take  the  moulds  from  the  fire  and  carefully 
plaster  clay,  plentifully  sprinkled  with  water  and  thinned  like 
lees,  with  a  cloth,  and  so  a  trough  being  made  near  the  fur- 
nace  in  which  you  found,  you  place  in  the  moulds  and  heap 
up  earth  on  every  side  and  carefully  compress  it  with  a  piece 
of  wood  flat  at  the  bottom,  by  frequently  pounding  it.  And 
directly  have  ready  a  small  cloth  many  times  folded  and 
placed  in  a  piece  of  split  wood,  and  the  vessel  being  taken 
from  the  fire  with  the  pincers  curved  at  the  ,end,  and  the 
small  cloth  being  applied  which  can  defend  it  from  dust  and 


302  THEOPHILI    LIBER    III. 

fendat,  diligenter  infunde.  Hoc  modo  formis  utrisque  fusis 
sine  stare,  donec  infusorium  superius  nigrescat;  deinde  re- 
mota  terra  et  a  fossis  extractas  repone  in  tuto  loco,  donec 
omnino  frigescant,  cavens  summopere  ne  calidis  formis  aquam 
superjacias,  quia  interiores  nuclei,  si  humorem  persenserint, 
statim  inflantur  et  omne  opus  disrumpetur.  Cumque  per  se 
refrigeratis  argillam  removeris,  diligenter  circumspice,  et  si 
quid  negligentia  vel  casu  defuerit,  locum  illum  circumliman- 
dum  attenuabis,  et  apposita  cera,  nec  non  argilla  addita,  cum 
sicca  fuerit,  calefacies,  sicque  superfundes,  donec  rivo  in 
partem  decurrente,  quod  superfundis  adhsereat.  Quod  cum 
respexeris,  si  minus  firmum  fuerit,  cum  combustione  viniceae 
petrse,  et  limatura  ex  mixtura  argenti  et  cupri,  sicut  praescrip- 
simus,  solidabis.  Post  hsec  diversis  limis  quadrangulis,  trian- 
gulis,  atque  rotundis  campos  omnes  primo  translimabis. 
Deinde  ferris  fossoriis  fodies,  et  rasoriis  rades;  ad  ultimum 
sabulo  cum  lignis  in  summitate  modice  conquassatis  undique 
purgatum  opus  deaurabis. 


CAPUT   LXII. 

DE    CATENIS1. 


CATENAS  facturus  primum  trahe  fila  subtilia  sive  gross- 
iora  in  cupro  sive  argento,  et  circumflecte  cum  subula 
in  tribus  auriculis,  aut  quatuor,  vel  quinque,  sive  sex,  secun- 
dum  grossitudinem  quam  volueris,  ad  mensuram  uniuscujusque 
turibuli  minoris  sive  majoris.  Et  cum  omnes  catenas  unius 
turibuli  in  unam  partem  plexueris,  tolle  lignum  tenue  ex 
quercu  sive  fago,  et  fac  in  eo  multa  foramina  cum  gracili  ferro 
rotundo  et  calido,  per  quee  foramina  catenam  igne  recoctam 
et  refrigeratam  transduces  et  denuo  recoques,  rursumque  per 
aliud  foramen  transduces  et  recoques,  sicque  facies,  donec  per 
omnia  aequaliter  sit  grossam  et  rotundam.     Deinde  incide  ip- 

1  vitios^  "  chatenis  "  in  MS.  Harlei. 


TRANSLATION.  303 

cinders,  carefully  pour  in.  The  two  moulds  being  in  this 
manner  founded,  allow  them  to  remain  until  the  funnel  above 
grow  black ;  then,  the  earth  being  removed,  taking  them  from 
the  trough,  place  them  in  a  safe  place  until  they  grow  quite 
cold,  above  all  things  taking  care  that  you  cast  no  water  over 
the  hot  moulds,  because  the  nuclei  which  are  inside  are  in- 
stantly  swelled  if  they  feel  humidity,  and  all  the  work  is  burst 
asunder.  When  they  have  cooled  by  themselves  you  remove 
the  clay,  and  carefully  examine  them ;  and  if  anything  be  de- 
ficient  through  negligence  or  casualty,  filing  about  that  place 
you  will  thin  it,  and  wax  being  applied  and  the  clay  added, 
when  dry  you  warm  it,  and  thus  found  over  it,  until  that 
which  you  pour  over  adhere,  the  jet  flowing  over  the  place. 
When  you  have  examined  this,  should  it  be  insecure,  you  will 
solder  it  with  the  burnt  wine  stone  and  the  filing  from  the 
mixture  of  silver  and  copper,  as  we  have  before  prescribed. 
After  this,  with  different  files,  square,  triangular,  and  round, 
you  will  first  file  across  all  the  surfaces.  You  then  sculp 
them  with  the  sculping  instruments,  and  scrape  them  with 
the  scrapers;  at  last,  the  work  being  cleansed  everywhere 
with  sand  with  wood  slightly  crushed  at  the  end,  you  will 
gild  it. 


CHAPTER  LXII. 

OE   THE    CHAINS. 


In  making  the  chains,  first  first  draw  out  very  fine,  or  thicker, 
wires  in  copper  or  silver,  and  bend  them  with  the  bodkin  into 
three,  or  four,  or  five,  or  six  ears,  according  to  the  breadth  you 
may  wish,  to  the  proportion  of  each  large  or  small  censer. 
And  when  you  have  bent  all  the  chains  of  one  censer  in  one 
piece  take  a  thin  wood  of  oak  or  beech,  and  make  numerous 
holes  in  it  with  a  pointed  iron  instrument,  round  and  hot; 
through  these  holes  you  draw  the  chain,  cooked  in  the  fire 
and  again  cooled,  and  you  again  cook  it ;  again  you  draw  it 
through  another  hole  and  re-cook  it,  and  you  act  thus  until  it 
is  equally  thick  and  round.     Then  cut  this  chain  into  pieces, 


304 


THEOPHILI    LIBER    III. 


sam  catenam  per  partes  ad  quantitatem  turibuli,  mediam  autem 
partem  breviorem,  et  longiores  reliquas ;  aptatis  foraminibus 
in  utrisque  summitatibus  catenarum,  obfirmabis  eas,  quae 
longiores  sunt,  in  inferiore  parte  turibuli  clavis  firmis  et  trans- 
ductis ;  compositae  per  superiorem  partem  impones  anulos 
parvulos,  cum  quibus  aptabis  et  obfirmabis  eas  ad  lilium  in- 
ferius,  per  quod  manu  gestari  debet  cum  magno  anulo  eidem 
superius  imposito.  Mediam  vero  catenam,  quae  brevior  est, 
obfirmabis  clavo  in  superiori  parte  turibuli  in  uno  capite,  et 
alterum  imposito  anulo  aptabis  inferius  sub  lilio ;  et  sic  pro- 
curabis  ut  turibulum  ex  omni  parte  aequaliter  pendeat. 

Possunt  etiam  eodem  modo  et  ordine,  quo  praediximus, 
turibula  diversae  formae  et  diversi  operis  percuti  et  fundi  in 
auro  et  argento  atque  auricalco.  Sed  magnopere  cavendum 
est,  ut  auricalcum,  quod  deaurari  debet,  omnino  purum  sit  et 
purgatum  a  plumbo,  propter  diversa  infortunia,  quae  deauran- 
tibus  evenire  solent.  Quod  auricalcum  si  vis  componere, 
primo  naturam  cupri,  ex  quo  efficitur,  disce. 


CAPUT    LXIII. 


DE   CUPRO. 


CUPRUM  in  terra  nascitur.  Cujus  vena  cum  invenitur, 
summo  labore  fodiendo  et  frangendo  acquiritur.  Est 
enim  lapis  colore  viridis  ac  durissimus  et  plumbo  naturaliter 
mixtus.  Qui  lapis  abundanter  efFossus  rogo  inponitur  et  com- 
buritur  in  modum  calcis,  nec  tamen  mutat  colorem,  sed  du- 
ritiam  amittit  ut  confrangi  possit.  Deinde  minutatim  con- 
fractus  fornaci  imponitur,  follibus  atque  carbonibus  adhibitis, 
incessanter  die  ac  nocte  conflatur.  Quod  ipsum  diligenter  et 
caute  fieri  debet;  id  est,  ut  primo  carbones  inponantur1,  et 

1  "  Deinde  lapidis  minutiae  superfundantur,  rursumque  carbones."  JSx  Cod.  Quelph. 


TRANSLATION.  305 

according  to  the  size  of  the  censer,  the  middle  piece,  how- 
ever,  shorter,  the  rest  longer;  openings  being  adapted  at 
both  ends  of  the  chains,  you  will  fasten  the  longest  of  them 
to  the  lower  part  of  the  censer  with  solid  nails  passed  through 
them  ;  joined  together  at  the  upper  part,  you  place  small  rings 
upon  them,  with  which  you  will  adjust  them  and  fasten  them 
upon  the  lily  at  bottom,  by  which  it  should  be  carried  in  the 
hand  with  a  large  ring  placed  upon  its  summit.  But  the  middle 
chain,  which  is  shorter,  you  will  fasten  by  a  nail  to  the  upper 
part  of  the  censer  at  one  end,  and  you  will  adjust  the  other 
under  the  lily  by  a  ring  placed  below ;  and  you  will  thus 
take  care  that  the  censer  may  hang  equally  on  every  side. 

Censers  of  various  forms  and  various  workmanship  can  be 
beaten  and  founded  in  gold  and  silver  and  brass,  in  the  same 
manner  and  fashion  as  we  have  related.  But  it  is  greatly 
to  be  heeded  that  the  brass,  which  should  be  gilt,  be  quite 
pure  and  purged  from  lead,  on  account  of  divers  mishaps 
which  are  wont  to  happen  to  the  gilders.  If  you  wish  to 
compose  this  brass,  first  learn  the  nature  of  copper,  from 
which  it  is  made. 


CHAPTER  LXIII. 

OF    COPPER. 


Copper  is  engendered  in  the  earth.  When  a  vein  of  which 
is  found,  it  is  acquired  with  the  greatest  labour  by  digging 
and  breaking.  It  is  a  stone  of  a  green  colour,  and  most  hard 
and  naturally  mixed  with  lead.  This  stone,  dug  up  in  abund- 
ance,  is  placed  upon  a  pile  and  burned,  after  the  manner  of 
chalk,  nor  does  it  change  colour,  but  yet  loses  its  hardness,  so 
that  it  can  be  broken  up.  Then,  being  bruised  small,  it  is  placed 
in  the  furnace ;  coals  and  the  bellows  being  applied,  it  is  in- 
cessantly  forged  by  day  and  night.  This  should  be  done 
carefully  and  with  caution ;  that  is,  at  first  coals  are  placed 
in,  (*  then  small  pieces  of  stone  are  distributed  over  them,  and 

1  From  the  Wolfenbuttel  MS. 


306  THEOPHILI    LIBER    III. 

denuo  lapis  ;  sicque  fiat  donec  ad  capacitatem  sufficiat  for- 
nacis.  Cumque  lapis  cceperit  liquefieri,  per  cavernulas  quas- 
dam  plumbum  effluit  et  cuprum  intro  remanet.  Quod  cum 
diutissime  conflatum  fuerit,  refrigeratum  et  eicitur,  et  rursum 
aliud  eodem  ordine  imponitur.  Huic  cupro  taliter  fuso  ad- 
miscetur  quinta  pars  stagni,  et  conficitur  metallum,  quo  cam- 
panae  funduntur. 

Invenitur  etiam  genus  lapidis  subcrocei  coloris,  et  inter- 
dum  rufus,  qui  calamina  dicitur,  qui  non  confractus  \  miscetur 
carbonibus  omnino  comminutis,  et  supradicto  cupro  in  for- 
nace  commiscetur,  quod  hoc  modo  componitur. 


CAPUT    LXIV. 

DE    FORNACE. 

STANT  quatuor  lapides  in  modum  crucis,  a  se  longitudine 
unius  pedis  separati,  partim  in  terra  firmati,  sed  alti- 
tudine  pedis  unius  super  terram  aequaliter  prominentes,  et 
omnes  in  superiori  parte  sequales.  Super  hos  lapides  ponun- 
tur  quatuor  ferri  quadranguli  grossitudine  unius  digiti,  et  lon- 
gitudine  ut  possint  ab  uno  lapide  ad  alterum  protendi.  Inter 
hos  medii  ponuntur  alii  ferri  ejusdem  mensurae,  aequali  spatio, 
id  est  latitudine  trium  digitorum  a  se  separati :  super  quos 
etiam  in  transverso  ponuntur  alii  forma  et  mensura  inferiorum 
aequali,  ita  ut  foramina  videantur  esse  quadrangula.  His  ita 
distinctis,  super  ipsos  ferros  ponatur  argilla  fortiter  macerata 
et  fimo  equi  commixta,  spissitudine  trium  digitorum,  ita  ut 
ipsis  ferris  atque  lapidibus  ex  omni  parte  adhaereat,  et  ita  sit, 
quasi  lares  rotunda  super  lapides  jaceat.    Deinde  cum  rotundo 

1  "  Sed  ita  ut  effoditur,  lignis  congestis  et  abundanter  succensis  imponitur,  et  donec 
omnino  candeat  comburitur.  Qui  lapis  post  haec  refrigeratus  et  minutissime  con- 
fractus."     Ex  Cod.  Guelph. 


TRANSLATION.  307 

again  coals,)  and  the  stone  anevv;  and  it  is  thus  arranged 
until  it  is  sufficientfor  the  size  of  the  furnace.  And  when  the 
stone  has  commenced  to  liquefy,  the  lead  flows  out  through 
some  small  cavities,  and  the  copper  remains  within.  When 
this  has  been  blown  upon  for  a  very  long  time,  and  cooled,  it 
is  taken  out  and  other  is  again  placed  in  after  the  same  order. 
To  this  copper  thus  melted  a  fifth  part  of  tin  is  added,  and  a 
metal  is  made  with  which  bells  are  founded. 

A  kind  of  stone  is  also  found  of  a  yellowish  colour,  and 
sometimes  red,  which  is  called  calamine,  which  is  not  broken 
up,  ( '  but  as  it  is  dug  up  it  is  placed  upon  wood,  heaped  up 
and  very  glowing,  and  is  burned  until  it  quite  glows.  This 
stone,  afterwards  cooled  and  broken  very  small,)  is  mixed  with 
coals  finely  divided,  and  is  mingled  with  the  above-mentioned 
copper  in  the  furnace,  which  is  composed  in  this  manner. 


CHAPTER  LXIV. 

OF    THE   FURNACE. 


Foun  stones,  in  the  fashion  of  a  cross,  stand,  separated 
from  each  other  the  length  of  a  foot,  partly  fixed  in  the 
earth,  but  rising  equally  to  the  height  of  a  foot  above  the 
ground,  and  all  equal  at  the  upper  part.  Upon  these  stones 
four  square  irons  are  placed,  of  the  thickness  of  a  finger,  and 
of  a  length  that  they  can  be  laid  across  from  one  stone  to 
another.  Between  these,  other  intervening  irons  are  placed 
of  the  same  size,  at  an  equal  distance,  that  is,  separated  from 
each  other  by  a  breadth  of  four  fingers :  upon  these  also 
others,  equal  in  form  and  measure  to  those  below,  are  placed 
across,  so  that  the  openings  may  appear  to  be  square.  These 
being  thus  separated,  clay,  strongly  beaten  and  mixed  with 
horse  dung,  is  placed  upon  the  same  irons,  to  the  thickness 
of  three  fingers,  so  that  it  may  adhere  to  these  irons  and 
stones  everywhere,  and  appear  as  if  a  round  hearth  lay  upon 
the  stones.     Then  with  a  round  wood  openings  are  made  in 

1  From,  the  Wolfenlmttel  MS. 

X   2 


308  THEOPHILI    LIBER    III. 

ligno  in  spatiis  inter  ferros  foramina  fiant  per  omnia  quanto 
possint  ampliora ;  et  sic  diligenter  siccetur. 

Deinde  ab  ipso1  sursum  fiat  murus  cum  minutis  lapidibus, 
et  eadem  argilla  in  modum  ollae,  ita  ut  a  medietate  superius 
aliquantulum  strictior  sit,  et  fiat  altior  quam  latitudo  sit, 
atque  cum  ligaminibus  ferreis  quinque  aut  quatuor  circum- 
ligetur,  et  eadem  argilla  interius  et  exterius  diligenter  illini- 
atur.  Quo  facto  imponantur  carbones  ardentes  commixti  ex- 
tinctis,  et  mox  ventus  per  inferiora  foramina  ingrediens  ab- 
sque  flatu  follis  educit  flammas,  et  quicquid  metalli  inponitur 
statim  per  se  liquescit.  Post  haec  hoc  modo  componantur 
vascula  huic  operi  necessaria. 


CAPUT    LXV. 

DE   COMPOSITIONE   VASORUM. 

TOLLE  fragmina  veterum  vasorum,  in  quibus  ante  cu- 
prum  sive  auricalcum  fusum  fuerat,  et  super  lapidem 
minutatim  confringe.  Deinde  accipe  terram,  ex  qua  fiunt 
ollae,  cujus  genera  sunt  duo ;  unum  album,  aliud  grisium ; 
ex  quibus  album  valet  ad  colorandum  aurum,  aliud  vero 
ad  heec  vasa  componenda;  et  cum  minutissime  contriveris, 
hanc  crudam  terram  in  mensura  commisces  alteri,  id  est 
combustae,  quam  primum  triveras,  hoc  modo.  Accipe  vas 
quodcunque  et  imple  illud  bis  ex  cruda  terra,  et  ter  ex  cocta, 
ita  ut  duae  partes  sint  crudse  et  tres  coctae,  et  ponens  simul 
in  vas  magnum  perfunde  aqua  tepida,  et  maJleis  ac  manibus 
fortiter  macera,  donec  omnino  in  se  tenax  sit.  Deinde  lig- 
num  rotundum  incide  ad  mensuram,  quam  volueris  habere 
vasam,  secundum  quantitatem  fornacis,  et  super  illud  for- 
mabis  vasculum  unum,  et  formatum  mox  circumlinies  cineri- 
bus  siccis,  et  sic  juxta  ignem  pone  donec  siccetur.    Hoc  modo 

1  "  lare."     Ex.  Cod.  Gwlph. 


TRANSLATION.  309 

the  spaces  betvveen  the  irons  everywhere,  as  many  as  possible; 
and  so  it  is  carefully  dried. 

Then,  from  the  same  (hearth),  a  wall  may  be  made  with 
minute  stones  and  the  same  clay,  after  the  fashion  of  a  pot, 
so  that  from  the  middle  upwards  it  may  be  somewhat  nar- 
rower,  and  may  be  higher  than  broad,  and  it  is  bound  round 
with  four  or  five  iron  bands,  and  the  same  clay  is  carefully 
plastered  inside  and  out.  Which  being  done,  glowing  coals, 
mixed  with  cinders,  are  placed  in,  and  soon  the  wind,  enter- 
ing  through  the  holes  below,  nourishes  the  flames  without 
the  breath  of  the  bellows,  and  whatever  metal  is  placed  in 
immediately  liquefies  by  itself.  Afterwards  the  small  cups 
necessary  for  this  work  are  made  in  this  manner. 


CHAPTER  LXV. 

OF    THE    COMPOSITION    OF    THE    VASES. 

Take  fragments  of  old  vases,  in  which  copper  or  brass  has  been 
before  fused,  and  break  them  small  upon  a  stone.  Then  take 
the  earth  of  which  pots  are  made,  of  which  kinds  there  are 
two,  one  white,  another  grey ;  of  these  the  white  is  useful  for 
colouring  gold,  but  the  other  for  composing  these  vases ;  and 
when  you  have  ground  it  together  very  finely,  you  mingle 
this  crude  earth  with  the  other,  in  proportion,  that  is,  to  the 
burnt  material  which  you  first  ground,  in  this  manner :  Take 
any  vase  and  fill  it  twice  with  this  crude  earth,  and  three 
times  with  the  burnt  (fragments),  so  that  two  parts  may 
be  crude  and  three  burnt,  and  placing  them  together  in  a 
large  vase,  pour  warm  water  over  them,  and  beat  strongly  with 
mallets  and  the  hands  until  it  has  become  quite  tenacious. 
Then  cut  wood  round,  to  the  size  which  you  wish  the  vase  to 
possess,  according  to  the  capacity  of  the  furnace,  and  upon  it 
you  will  form  a  small  vase,  and  being  made,  you  directly 
cover  it  round  with  dry  ashes,  and  so  place  it  near  the  fire 
until  it  be  dry.     In  this  manner  make  as  many  vases  as  you 


310  THEOPHILI    LIBER    III. 

compone  vasa  quot  volueris.  Sed  cum  diligenter  siccata  fue- 
rint,  pone  in  fornacem  tria  vel  quatuor  aut  quinque,  in  quan- 
tum  fornax  capere  possit,  et  circumfunde  carbones. 


CAPUT    LXVI. 

DE   COMPOSITIONE    JERIS. 

CUMQUE  canduerit1,  tolle  calaminam,  de  qua  supra  dixi, 
cum  carbonibus  minutissimam  tritam,  et  in  singulis 
vasculis  quasi  ad  sextam  partem  compone,  et  penitus  eam 
cupro  supradicto  imple  et  carbonibus  cooperi.  Interdum 
etiam  cum  ligno  gracili  et  recurvo  foramina  inferius  inpinge, 
ne  forte  obstruantur,  ut  et  favillse  exeant  ventusque  magis 
ingrediatur.  Cum  vero  cuprum  omnino  liquefactum  fuerit, 
tolle  ferrum  gracile,  longum  et  curvum,  ligneoque  manubrio 
infixum,  et  diligenter  commove,  ut  calamina  cupro  commis- 
ceatur.  Postea  autem  cum  forcipe  longo  vascula  singula 
modicum  eleva  et  a  locis  suis  paululum  remove,  ne  forte  lari 
adhaereant,  rursumque  in  omnibus  ut  prius  calaminam  pone, 
et  cupro  reple  atque  carbonibus  cooperi.  Cumque  denuo 
penitus  liquefactum  fuerit,  rursumque  diligentissime  com- 
move,  et  cum  forcipe  vas  unum  eiciens,  sulcis  in  terra  fossis 
totum  effunde,  vasque  in  suo  loco  repone.  Et  mox  sumens 
calaminam,  ut  prius  impone,  cuprumque  quod  eflfudisti,  quan- 
tum  capere  possit  superpone.  Eoque  ut  prius  liquefacto 
commove  et  calaminam  repone,  atque  efFuso  cupro  reple  et 
sine  liquefieri.  Sic  singulis  vasis  facito.  Cumque  per  omnia 
penitus  fuerit  liquefactum  atque  diutissime  commotum,  ef- 
funde  ut  prius,  et  serva  donec  opus  habueris.  Hsec  com- 
mixtio  vocatur  ses,  unde  caldaria,  lebetes  et  pelves  funduntur, 
sed  non  potest  deaurari,  quando  ante  commixtionem  cuprum 
non  fuit  penitus  a  plumbo  purgatum.  Deinde  facturus  auri- 
calcum,  quod  possit  deaurari,  sic  incipe. 

1  "  canduerint,"  imb. 


TRANSLATION.  311 

wish.  But  vvhen  they  have  been  carefully  dried,  place  three, 
fbur,  or  five  in  the  furnace,  as  much  as  the  furnace  can  con- 
tain,  and  heap  coals  over  them. 


CHAPTER  LXVI. 


OP    THE    COMPOSITION    OF    BRASS. 


When  they  are  glowing,  take  calamine,  of  which  I  have  be- 
fore  spoken,  very  finely  ground,  vvith  coals,  and  arrange  them 
in  each  cup  about  one  sixtli  part  full,  and  fill  it  quite  with  the 
above-mentioned  copper,  and  cover  with  coals.  From  time 
to  time  prick  the  openings  below  vvith  a  slender  and  curved 
piece  of  wood,  that  they  may  not  by  chance  be  obstructed, 
so  that  the  ashes  may  fall  out,  and  the  wind  may  have  more 
access.  And  when  the  copper  is  altogether  melted,  take  a 
slender  iron,  long  and  curved  and  fixed  to  a  wooden  handle, 
and  carefully  stir  it,  that  the  calamine  may  be  mixed  with 
the  copper.  But  after  this,  with  the  long  forceps  slightly 
raise  the  vases  separately,  and  remove  them  a  little  from 
their  places,  that  they  may  not  by  chance  adhere  to  the 
hearth ;  and  again,  as  before,  place  calamine  in  all  of  them, 
and  refill  them  with  copper,  and  cover  them  with  coals. 
When  they  have  anew  become  quite  fluid,  again  carefully  stir 
them,  and  taking  out  one  vase  with  the  forceps,  pour  out  the 
whole  into  the  trench  dug  in  the  earth,  and  return  the  vase 
to  its  place.  Taking  calamine,  directly  replace  it  as  before, 
and  place  upon  it  as  much  of  the  copper  which  you  poured 
out  as  the  vessel  can  contain.  And  being  liquefied  as  be- 
fore,  stir  it  and  re-add  calamine,  and  fill  it  up  with  the  copper 
(you)  poured  out,  and  leave  it  to  be  melted.  Do  this  to  each 
of  the  vases ;  and  when  in  all  it  has  become  melted,  and  has 
been  stirred  for  a  long  time,  pour  out  as  before  and  keep  it 
until  you  have  need.  This  mixture  is  called  brass,  from 
vvhich  caldrons  are  cast,  but  it  cannot  be  gilt  when  the 
copper  has  not  been  entirely  purged  from  lead  before  mixture. 
Then  in  making  brass  vvhich  can  be  gilt,  begin  thus. 


312  THEOPHILI    LIBER    III. 


CAPUT    LXVII. 

DE    PURIFICATIONE    CUPRI. 

TOLLE  patellam  ferream  cujus  magnitudinis  volueris,  et 
lini  eam  interius  et  exterius  argilla  fortiter  macerata,  et 
mixta,  et  diligenter  exsiccata.  Deinde  pone  eam  ante  for- 
nacem  ferrarii  super  carbones,  ita  ut  cum  folles  flaverint, 
ventus  partim  interius  partim  superius  procedat  et  non  in- 
ferius.  Et  circumpositis  minutis  carbonibus,  sequaliter  in- 
pone  cuprum,  et  superadde  congeriem  carbonum.  Quod  cum 
diu  sufflando  fuerit  liquefactum,  discooperi  et  mox  minutam 
carbonum  favillam  super  illud  proice,  et  cum  ligno  gracili  et 
sicco  quasi  miscendo  commove,  videbisque  statim  plumbum 
combustum  ipsi  favillse  quasi  gluten  adhserere.  Quo  ejecto 
iterum  carbones  superpone,  ut  primo  diu  sufflans,  rursumque 
discooperi,  et  tunc  fac  ut  ante  fecisti.  Quod  tamdiu  facies 
donec  plumbum  omnino  excoquendo  eicias.  Deinde  infunde 
.super  infusorium,  quod  ad  hoc  aptaveris,  et  sic  probabis  si 
purum  sit.  Tene  illud  cum  forcipe  ita  candens,  prius  quam 
refrigeretur  et  percute  grandi  malleo  super  incudem  fortiter, 
et  si  frangitur  aut  finditur,  denuo  oportebit  illud  liquefieri 
sicut  prius.  Si  vero  sanum  permanserit,  refrigerabis  in  aqua, 
et  aliud  eodetn  modo  coques.  Hoc  cuprum  vocatur  torridum. 
Ex  hoc  cupro  quicquid  facere  volueris  ductili  opere,  in  imagi- 
nibus,  et  bestiis  et  avibus,  in  turibulis  et  diversis  vasis,  in 
limbis  tabularum,  in  filis  et  catenis,  ad  deaurandum  operari 
poteris.  Ex  hoc  cupro  confice  auricalcum  cum  adjectione 
calaminse,  eodem  modo  quo  superius  ses  caldariorum  composu- 
isti.  Quod  cum  quater  aut  quinquies  recoxeris  in  vasculis 
furno  impositis,  quicquid  exinde  in  diversorum  operum  varie- 
tate  fuderis,  optime  deaurare  poteris. 


TRANSLATION.  313 

CHAPTER  LXVII. 

OF    THE    PURIFICATION    OF    COPPER. 

Take  an   iron   dish   of  the   size  you  wish,  and   line  it  in- 

side  and  out  with  clay  strongly  beaten  and  mixed,  and  it  is 

carefully  dried.     Then  place  it  before  a  forge  upon  the  coals, 

so  that  when  the  bellows  act   upon  it  the  wind  may  issue 

partly  within  and  partly  above  it,  and  not  below  it.     And 

very  small  coals  being  placed  round  it,  place  the  copper  in  it 

equally,  and  add  over  it  a  heap  of  coals.     When,  by  blowing 

a  long  time,  this  has  become  melted,  uncover  it  and  cast  im- 

mediately  fine  ashes  of  coals  over  it,  and  stir  it  with  a  thin 

and  dry  piece  of  wood  as  if  mixing  it,  and  you  will  directly 

see  the  burnt  lead  adhere  to  these  ashes  like  a  glue.     Which 

being  cast  out  again  superpose  coals,  and  blowing  for  a  long 

time,  as  at  first,  again  uncover  it,  and  then  do  as  you  did  be- 

fore.     You  do  this   until  at  length  by  cooking  it  you  can 

withdraw  the  lead  entirely.     Then  pour  it  over  the  mould 

which  you  have  prepared  for  this,  and  you  will  thus  prove  if  it 

be  pure.    Hold  it  with  the  pincers,  glowing  as  it  is,  before  it  has 

become  cold,  and  strike  it  with  a  large  hammer  strongly  over 

the  anvil,  and  if  it  be  broken  or  split,  you  must  liquefy  it 

anew  as  before.     If,  however,  it  should  remain  sound,  you 

will  cool  it  in  water,  and  you  cook  other  (copper)  in  the  same 

manner.     This  copper  is  called  burnt.     From  this  copper 

you  can  work  whatever  you  may  wish  to  make,  for  gilding,  in 

ductile  work,  in  figures  and  animals  and  birds,  in  censers  and 

different  vases,  in  borders  of  tablets,   in  wires  and  chains. 

Make  auricalcum  from  this  copper  with  the  addition  of  cala- 

mine,  in  the  same  manner  as  you  have  composed  the  brass  of 

caldrons  above.     When  you  have  recooked  this  four  or  five 

times  in  small  vessels  placed  in  the  furnace,  whatever  you 

have  cast  from  it  in  a  variety  of  divers  work,  you  can  gild 

in  the  best  manner. 


314  THEOPHILl    LIBER    III. 


CAPUT    LXVIII. 

QUALITER    DEAURETUR   AURICALCUM. 

DEAURARE  vis  igitur  thuribulum  ex  auricalco,  fac 
eodem  modo  sicut  superius  deaurasti  auriculas  argen- 
tei  calicis,  sed  cum  majori  cautela,  quia  argentum  et  simplex 
cuprum  facilius  deaurari  possunt  quam  auricalcum.  Debet 
enim  morosius  et  diligentius  invivari  et  spissius  deaurari,  et 
frequentius  lavari,  et  diutius  siccari.  Quod  cum  cceperit  cro- 
ceum  colorem  trahere,  si  videris  albas  maculas  undique  ex 
inde  exire,  ut  nolint  sequaliter  siccari,  haec  est  culpa  calaminae, 
quod  non  fuit1,  bene  purgatum  et  excoctum,  quod  sic  emen- 
dabis.  Tolle  smigma  et  pone  in  vasculum  mundum,  et  infunde 
ei  aquam,  et  digitis  tuis  quasi  lavando  commisce  diligenter, 
donec  fiat  quasi  fex  cerevisise,  atque  cum  setis  porci  linies 
illud  sequaliter  per  omnia  super  deauratum  turibulum.  Deinde 
pone  super  carbones,  et  tam  diu  calefac,  donec  confiectio  illa 
incipiat  nigrescere,  et  sic  elevans  cum  forcipe  per  omnia  dili- 
genter  asperges  aqua,  sicque  lavabis,  et  cum  filis  ex  auricalco, 
ut  supra  dictum  est,  polies.  Quo  facto  rursum  circumfri- 
cabis  cum  confectione  vinicei  lapidis,  et  vivo  argento,  et  denuo 
deaurabis  propter  calorem  carbonum,  qui  saepius  in  illud  mit- 
tuntur,  ne  forte,  si  tenue  deauratum  fuerit,  ipsum  aurum 
comburatur,  sicque  iterum  polies  cum  filis,  ac  denuo  super 
carbones  pones  diutius  calefaciens,  donec  rubeum  colorem 
trahat,  et  mox  refrigerabis  in  aqua,  et  cum  ferris  aequalibus 
et  ad  hoc  aptis  polies,  sicque  cum  atramento  combusto  inco- 
lorabis,  ut  praediximus. 

1  "  aequaliter  commixta,  sive  plumbi,  quod  cuprum  non  fuit "  Ex  Cod.  Guelph. 


TRANSLATION.  315 

CHAPTER  LXVIII. 

HOW   FINE    BRASS    CAN    BE   GILT. 

Do  you  therefore  wish  to  gild  a  censer,  of  fine  brass,  do 
in  the  same  manner  as  above,  when  you  gilded  the  handles 
of  the  silver  chalice,  but  with  greater  care,  because  silver 
and  simple  copper  can  be  more  easily  gilt  than  auricalcum. 
It  should  also  be  more  warily  and  carefully  revived,  and  more 
thickly  gilt,  also  more  frequently  washed  and  longer  dried. 
When  it  has  begun  to  show  a  yellow  colour,  if  you  see  white 
spots  spread  all  over  it,  which  will  not  become  equally  dry, 
this  is  the  effect  of  the  calamine,  which  was  not  well  purged 
and  cooked1,  which  you  will  thus  remedy.  Take  soap  and 
place  it  in  a  small  clean  cup  and  pour  water  upon  it,  and  with 
your  fingers,  as  if  in  washing,  mix  it  carefully  until  it  has 
become  like  the  lees  of  beer,  and  with  hog's  bristles  anoint  it 
smoothly  every  where  over  the  gilt  censer.  Then  place  it 
upon  the  coals  and  heat  it  until  this  mixture  begins  to  blacken, 
and  so  raising  it  with  the  pincers,  sprinkle  it  with  water  every 
where,  and  thus  you  will  wash  it,  and  you  polish  it  with  brass 
wires  as  before  mentioned.  Which  being  done,  you  will 
again  rub  it  around  with  the  wine-stone  and  quicksilver,  and 
will  gild  it  anew,  on  account  of  the  heat  of  the  coals  which 
are  more  often  placed  in  it,  unless  by  hazard,  if  it  were  thinly 
gilt,  the  gold  itself  may  be  burnt,  and  again  you  polish  it 
with  the  wires,  and  place  it  anew  upon  the  coals,  warming  it 
for  a  longer  time,  until  it  shows  a  red  colour,  and  you  will 
immediately  cool  it  in  water,  and  polish  it  with  smooth  instru- 
ments  proper  for  this  work,  and  will  colour  it  with  atrament, 
burnt,  as  we  have  before  said. 

1  which  was  not  well  mixed,  or  of  lead  which  was  not  well  purged  and  cooked 
from  it.     Frcmi  the  Wolfenbuttel  MS. 


316  TIIE0PIIILI    LIBER    III. 


CAPUT    LXIX. 

QUALITER    SEPARETUR   AURUM    A    CUPRO. 

QUOD  si  aliquando  vasa  cuprea  seu  argentea  deaurata 
fregeris,  vel  aliud  quodlibet  opus,  hoc  modo  aurum 
separare  poteris.  Tolle  ossa  cujuscumque  animalis  volueris, 
quae  per  plateam  inveneris,  et  conbure,  quae  refrigerata  minu- 
tatim  tere,  et  tertiam  partem  cinerum  ex  fago  admisce,  et  fac 
testas  sicut  in  purificando  argento  ut  superius  diximus ;  quas 
igne  sive  sole  siccabis.  Deinde  aurum  a  cupro  diligenter 
abrades,  et  ipsam  rasuram  complicabis  in  plumbo  tenue  per- 
cusso,  atque  una  ex  testis  illis  coram  fornace  prunis  imposita, 
jam  que  calefactae  ipsam  complicaturam  plumbi  cum  rasura 
impones,  et  superjectis  carbonibus  conflabis.  Cumque  lique- 
factum  fuerit,  eo  modo  quo  solet  argentum  purificari,  interdum 
prunas  amovendo  et  plumbum  addendo,  interdum  recoquendo 
et  morose  flando  combures,  donec  cupro  penitus  absumpto, 
purum  aurum  appareat. 


CAPUT    LXX. 

QUOMODO  SEPARETUR  AURUM  AB  ARGENTO. 

CUM  raseris  aurum  de  argento,  imponas  ipsam  rasuram  in 
vasculum,  in  quo  solet  aurum  vel  argentum  liquefieri,  et 
super  inprime  panniculum  lineum,  ne  forte  quid  inde  eiciatur 
a  vento  follis,  atque  coram  fornace  ponens  liquefac ;  et  mox 
fragmina  sulphuris  inpone,  secundum  quantitatem  ipsius 
rasurae,  et  cum  carbone  gracili  diligenter  commove,  donec 
fumus  ejus  cesset ;  statim  effunde  in  ferrum  infusorium. 
Deinde  super  incudem  leniter  percute,  ne  forte  quid  inde 
resiliat  illi  nigri,  quod  sulphur  combussit,  quia  ipsum  argentum 


TRANSLATION.  317 

CHAPTER  LXIX. 

HOW  GOLD  IS  SEPARATED  FROM  COPPER. 

But  if  at  any  time  you  have  broken  copper  or  silver  gilt  ves- 
sels,  or  any  other  work,  you  can  in  this  manner  separate  the 
goid.  Take  the  bones  of  whatever  animal  you  please,  which 
(bones)  you  may  have  found  in  the  street,  and  burn  them, 
being  cold,  grind  them  finely,  and  mix  with  them  a  third  part 
of  beech-wood  ashes,  and  make  cups  as  vve  have  mentioned 
above  in  the  purification  of  silver ;  you  wilf  dry  these  at  the 
fire  or  in  the  sun.  Then  you  carefully  scrape  the  gold  from 
the  copper,  and  you  will  fold  this  scraping  in  lead  beaten 
thin,  and  one  of  these  cups  being  placed  in  the  embers  before 
the  furnace,  and  now  become  warm,  you  place  in  this  fold  of 
lead  with  the  scraping,  and  coals  being  heaped  upon  it  you 
will  blow  it.  And  when  it  has  become  melted,  in  the  same 
manner  as  silver  is  accustomed  to  be  purified,  sometimes  by 
removing  the  embers  and  by  adding  lead,  sometimes  by  re- 
cooking  and  warily  blowing,  you  burn  it,  until,  the  copper 
being  entirely  absorbed,  the  gold  may  appear  pure. 


CHAPTER  LXX. 

HOW    GOLD    IS    SEPARATED    FROM    SILVER. 

When  you  have  scraped  the  gold  from  silver,  place  this 
scraping  in  a  small  cup  in  which  gold  or  silver  is  accustomed 
to  be  melted,  and  press  a  small  linen  cloth  upon  it,  that  no- 
thing  may  by  chance  be  abstracted  from  it  by  the  wind  of  the 
bellows,  and  placing  it  before  the  furnace,  melt  it ;  and 
directly  lay  fragments  of  sulphur  in  it,  according  to  the  quan- 
tity  of  the  scraping,  and  carefully  stir  it  with  a  thin  piece  of 
charcoal  until  its  fumes  cease ;  and  immediately  pour  it  into 
an  iron  mould.  Then  gently  beat  it  upon  the  anvil,  lest  by 
chance  some  of  that  black  may  fly  from  it  which  the  sulphur 


318  THEOPHILI    LIBER    III. 

est.  Non  enim  sulphur  auri  quicquam  consumit,  sed  solum 
argentum,  quod  taliter  ab  auro  separat,  quodque  diligenter 
servabis.  Rursum  in  eodem  vasculo  sicut  prius  liquefac 
ipsum  aurum  et  adice  sulphur.  Quo  commoto  atque  effuso, 
quod  nigrum  fuerit  frange  et  serva,  sicque  facies  donec  aurum 
purum  appareat.  Deinde  omne  illud  nigrum,  quod  servasti 
diligenter,  compone  super  testam  compositam  ex  osse  et 
cinere,  et  adice  plumbum,  sicque  combure,  ut  recipias  ar- 
gentum.  Quod  si  ad  usum  nigelli  servare  volueris,  prius 
quam  comburas,  adde  ei  cuprum  et  plumbum  secundum  men- 
suram  superius  memoratam,  et  confunde  cum  sulphure. 


CAPUT    LXXI. 

QUOMODO    DENIGRETUR   CUPRUM. 

DE  cupro  supradicto,  quod  rubeum  dicitur,  fac  tibi  laminas 
attenuare1,  quantae  longitudinis  velis.  Quas  cum  inci- 
deris  et  aptaveris  operi  tuo,  pertrahe  in  illis  fiosculos,  sive 
bestias,  aut  aliud  quod  volueris,  et  fode  cum  gracili  ferro  fos- 
sorio.  Deinde  tolle  oleum,  quod  fit  de  semine  lini,  et  cum 
digito  superlinies  per  omnia  tenue,  atque  cum  penna  anseris 
aequabis,  et  tenens  cum  forcipe  pones  super  prunas  ardentes. 
Cumque  modicum  incaluerit,  et  oleum  liquefactum  fuerit,  de- 
nuo  cum  penna  sequabis  rursumque  impones  prunis,  sicque 
facies  donec  exsiccetur.  Quod  si  videris  per  omnia  sequaliter 
esse,  mitte  super  carbones  valde  ignitos,  et  tam  diu  jaceat, 
donec  cesset  fumare.  Et  si  satis  nigrum  fuerit,  bene ;  sin 
autem,  valde  parum  olei  cum  penna  super  calidum  ita  linies, 
aequatumque  denuo  conflatis  carbonibus  superpone,  faciens 
sicut  prius.  Cumque  refrigeratum  fuerit,  non  in  aqua  sed 
per  se,  cum  ferris  rasoriis  valde  acutis  rade  diligenter  flos- 
culos,  ita  ut  campi  appareant  nigri.     Si  vero  litterae  fuerint, 

1  attenuari? 


TRANSLATION.  319 

has  burnt,  because  it  is  itself  silver.  For  the  sulphur  con- 
sumes  nothing  of  the  gold,  but  the  silver  only,  which  it  thus 
separates  from  the  gold,  and  which  you  will  carefully  keep. 
Again  melt  this  gold  in  the  same  small  cup  as  before,  and  add 
sulphur.  This  being  stirred  and  poured  out,  break  what  has 
become  black  and  keep  it,  and  do  thus  until  the  gold  appear 
pure.  Then  gather  together  all  that  black,  which  you  have 
carefully  kept,  upon  the  cup  made  from  the  bone  and  ash, 
and  add  lead,  and  so  burn  it  that  you  may  recover  the  silver. 
But  if  you  wish  to  keep  it  for  the  service  of  niello,  before  you 
burn  it  add  to  it  copper  and  lead,  according  to  the  measure 
mentioned  above,  and  mix  it  with  sulphur. 


CHAPTER  LXXI. 

HOW    COPPER    IS    BLACKENED. 


Cause  leaves  of  the  above-mentioned  copper,  which  is  called 
red,  to  be  thinned  for  you,  of  the  length  you  wish.  When  you 
have  cut  and  adapted  these  to  your  work,  portray  upon  them 
small  flowers,  or  animals,  or  other  thing  which  you  wish,  and 
sculp  it  with  a  fine  sculping  iron.  Then  take  oil  which  is 
made  from  linseed,  and  anoint  it  all  over  thinly  with  the 
finger,  and  smooth  it  with  a  goose  feather,  and  holding  it 
with  the  forceps,  place  it  upon  the  glowing  embers ;  and 
when  it  is  a  little  warmed  and  the  oil  has  become  liquid,  you 
will  smooth  it  anew  with  the  pen,  and  you  again  place  it  upon 
the  embers,  and  do  thus  until  it  is  dried.  But  if  you  see  that 
it  is  smooth  every  where,  place  it  over  some  very  hot  coals, 
and  let  it  lie  until  it  be  dried.  And  if  it  be  black  enough,  it 
is  well ;  but  if  not,  you  anoint  a  very  little  oil  with  the  feather 
over  the  hot  copper,  and  being  made  smooth,  again  place  it 
upon  the  lighted  coals,  acting  as  before.  When  they  have  be- 
come  cold,  not  in  water,  but  alone,  scrape  small  flowers  care- 
fully  with  very  sharp  scraping  instruments,  so  that  the  grounds 
may  appear  black.     Should  they  be  letters,  however,  it  is  at 


320  THEOPHILI    LIBER    III. 

in  tuo  sit  arbitrio,  utrum  eas  nigras  volueris  esse  an  deauratas. 
Cum  vero  lamina  diligenter  rasa  fuerit,  statim  invivabis  eam 
cum  confectione  vinicei  lapidis  et  vivo  argento,  et  mox  deau- 
rabis,  deauratamque  non  exstingues  in  aqua,  sed  per  se  refrige- 
rabitur,  poliesque  sicut  supra  dictum  est,  et  eodem  modo 
colorabis. 


CAPUT   LXXII. 

DE    OPERE    INTERRASILI. 

ATTENUA  tibi  laminas  ex  eodem  cupro  sicut  superius, 
sed  spissius,  quas  pertractas  quocumque  opere  volueris 
fodies,  ut  suprerius.  Deinde  habeas  ferros  graciles  et  lati- 
ores,  secundum  quantitatem  camporum,  qui  sint  in  una  sum- 
mitate  tenues  et  acuti,  in  altera  obtusi,  qui  vocantur  meizil ' ; 
ponensque  laminam  super  incudem,  campos  omnes  perforabis, 
cum  supradictis  ferris  percutiens  cum  malleo.  Cumque 
omnes  campi  tali  modo  fuerint  perforati,  cum  limis  parvulis 
requabis  eos  per  omnia  usque  ad  tractos.  Quo  facto  deau- 
rabis,  et  polies  laminam,  ut  supra. 

Eodem  modo  fiunt  tabulae,  et  laminse  argenteae  super  libros 
cum  imaginibus,  floribus  atque  bestiolis  et  avibus,  ex  quibus 
pars  deauratur,  videlicet  coronae  imaginum  et  capilli  atque 
vestimenta  per  loca,  et  pars  remanet  argentea.  Fiunt  etiam 
et  laminae  cupreae  et  fodiuntur,  et  denigrantur  ac  raduntur; 
deinde  in  patella  liquefacto  stagno  mittuntur,  ut  rasurae  albse 
fiant,  quasi  deargentatae  sint.  Ex  his  ligantur  cathedree  pictae, 
et  sedilia,  atque  lecti ;  ornantur  etiam  libri  pauperum. 

1  Godex  Guelplierb.  "  meizel "  liabet. 


TRAN8LATION.  321 

your  option  whether  you  choose  them  to  be  black  or  gilt. 
When  a  plate  has  been  carefully  scraped,  you  will  imme- 
diately  revive  it  with  the  mixture  of  wine-stone  and  quick- 
silver,  and  will  directly  gild  it,  and  you  do  not  quench 
the  gilding  in  water,  but  it  will  become  cool  by  itself,  you 
polish  it  as  above  mentioned,  and  will  colour  it  in  the  same 
manner. 


CHAPTER  LXXII. 

OF    PIERCED  WORK. 


Thin  out  plates  from  the  same  copper  as  above,  but  thicker; 
these  being  designed,  sculp  whatever  work  you  may  wish, 
as  above.  You  then  have  thin  and  wide  instruments,  ac- 
cording  to  the  size  of  the  grounds,  which  must  be  at  one  ex- 
tremity  thin  and  sharp,  at  the  other  blunt,  which  are  called 
meizil;  and  placing  the  plate  upon  the  anvil,  you  will  per- 
forate  all  the  grounds  with  the  above  mentioned  instruments, 
striking  with  the  hammer.  And  when  all  the  grounds  have 
been  perforated  in  such  manner,  you  will  smooth  them  all 
over  with  very  small  files  down  to  the  designs.  Which  being 
done  you  will  gild  it,  and  you  polish  the  plate  as  above. 
Tablets  are  made  in  the  same  manner,  and  silver  plates  upon 
books,  with  figures,  flowers,  animals  and  birds,  of  which  a  part 
is  giit,  namely  the  crowns  of  figures,  and  hair,  and  garments, 
in  places,  and  part  remains  silver.  Copper  plates  are  also 
made,  and  they  are  carved  and  blackened  and  scraped ;  they 
are  then  placed  in  a  vessel  with  melted  tin,  that  the  scrapings 
may  become  white,  as  if  they  were  silvered.  With  these, 
painted  chairs  and  seats,  and  beds  are  bound ;  the  books  of 
the  poor  are  also  (thus)  ornamented. 


322  THEOPHILI    LIBER    III. 


CAPUT    LXXIII. 

DE    OPERE   PUNCTILI. 

IjMUNT  etiam  laminse  de  cupro,  modo  quo  superius,  et 
-*-  fodiuntur  gracili  opere  imaginum,  florum  sive  bestiarum, 
et  ita  disponitur  opus,  ut  campi  parvuli  sint,  deinde  purgantur 
cum  subtili  sabulo,  et  cum  ferris  ad  hoc  opus  aptis  poli- 
untur  et  colorantur.  Post  hsec  ferro  punctorio  punguntur, 
quod  hoc  modo  formatur.  Ex  chalybe  fit  ferrum  ad  men- 
suram  digiti  longum,  in  una  summitate  gracile,  in  altera 
grossius.  Quod  cum  in  graciliori  parte  aequaliter  limatum 
fuerit,  cum  subtilissimo  ferro  et  malleolo  percutitur  in  medio 
ejus  subtile  foramen,  deinde  circa  ipsum  foramen  diligenter 
limatur,  donec  ora  ejus  in  circuitu  aequaliter  acuta  fiat,  ita  ut 
quocunque  percutiatur  brevissimus  circulus  appareat.  Post 
hsec  ipsum  ferrum  modice  calefactum,  ut  vix  candescat,  tem- 
peretur  in  aqua.  Deinde  tene  ipsum  ferrum  sinistra  manu 
et  malleolum  dextra,  sedeatque  puer  ante  te  qui  laminam 
teneat  super  incudem,  et  aptet  in  locis  suis  in  quibus  percus- 
surus  es,  sicque  mediocriter  percutiens  super  ferrum  cum 
malleolo  imple  campum  unum  subtilissimis  circulis  quanto 
propius  possis  conjungere  unum  alteri.  Impletis  campis  om- 
nibus  in  hunc  modum  pone  ipsam  laminam  super  prunas  can- 
dentes,  usque  percussiones  illae  fulvum  colorem  recipiant. 


CAPUT    LXXIV. 


DE    OPERE    DUCTILI. 


PERCUTE  tabulam  auream  sive  argenteam  quantae  longi- 
tudinis  et  latitudinis  velis  ad  elevandas  imagines.  Quod 
aurum  vel  argentum,  cum  primo  fuderis,  diligenter  circum- 
radendo  vel  fodiendo  inspice,  ne  forte  aliqua  vesica^ive  fis- 


TRANSLATION.  323 

CHAPTER  LXXIII. 

OF    PUNCHED    WORK. 

Plates  are  also  made  frorn  copper  in  the  above  manner,  and 
are  carved  with  delicate  work  of  figures,  flowers,  or  animals, 
and  the  work  is  so  disposed  that  the  grounds  may  be  small, 
they  are  then  cleaned  with  fine  sand  and  are  polished  and 
coloured  with  instruments  proper  for  this  work.  They  are 
afterwards  punched  with  the  punching  instrument,  which 
is  formed  in  this  manner.  An  instrument  is  made  from  steel, 
long  as  the  measure  of  a  finger,  fine  at  one  extremity,  at  the 
other,  thicker.  When  this  has  been  smoothly  filed  at  the 
finer  end,  a  small  hole  is  struck  in  the  middle  of  it  with  a 
very  fine  instrument  and  small  hammer;  this  hole  is  then 
carefully  filed  round  until  its  rim  become  equally  sharp 
around,  so  that  a  very  small  circle  may  appear  wherever  it 
may  be  struck.  This  instrument  slightly  warmed  afterwards, 
so  that  it  scarcely  glows,  is  tempered  in  water.  Then  hold 
this  iron  in  the  left  hand  and  the  small  hammer  in  the  right, 
and  let  the  boy  sit  before  you,  who  can  hold  the  plate  upon 
the  anvil  and  adjust  it  in  the  places  in  which  you  are  about 
to  strike,  and  thus  fill  up  a  ground  with  very  fine  circles  as 
closely  as  you  can  join  one  to  another,  gently  striking  upon 
the  iron  with  the  small  hammer.  All  the  grounds  being 
filled  in,  in  this  manner,  place  the  plate  itself  upon  the  hot 
embers,  until  these  beatings  take  a  yellow  colour. 


CHAPTER  LXXIV. 

OF    BEATEN    WORK. 


Beat  a  gold  or  silver  plate  as  long  and  wide  as  you  wish  for 
relieving  the  figures.  Which  gold  or  silver,  when  you  have 
first  melted  it,  carefully  examine  by  scraping  or  carving  around 
it  lest  perchance  any  bubble  or  fissure  may  exist  in  it,  which 

y  2 


324  THEOPHILI    LIBER    III. 

sura  in  eo  sit,  quse  ssepe  contingunt  ex  incuria,  sive  negli- 
gentia  vel  ignorantia  aut  inscitia  fundentis,  cum  aut  nimis  cali- 
dum,  aut  nimis  frigidum,  aut  nimis  festinato,  aut  nimis  pro- 
ductim  effunditur.  Cumque  considerate  et  caute  fuderis,  si 
hujusmodi  vitium  in  eo  deprehenderis,  cum  ferro  ad  hoc  apto 
diligenter  effodies,  si  possis.  Quod  si  tantae  profunditatis 
vesica  sive  fissura  fuerit,  ut  efFodere  non  possis,  rursumque 
oportebit  te  fundere,  et  tamdiu  donec  sanum  sit.  Quod  cum 
fuerit,  provide,  ut  incudes  et  mallei  tui  omnino  sequales  et 
politi  sint,  cum  quibus  operari  debes,  et  omni  diligentia  pro- 
cura,  ut  tabula  aurea  vel  argentea  ita  aequaliter  ex  omni  parte 
attenuetur,  ut  in  nullo  loco  spissius  sit  quam  in  alio.  Cum- 
que  sic  attenuata  fuerit  ut  unguis  vix  inpressus  appareat  ex 
altera  parte,  et  omnino  sanissima,  statim  pertrahe  imagines 
quod  volueris,  secundum  libitos  tuos.  Pertrahes  autem  in  ea 
parte,  quee  sanior  et  decorior  videtur,  leniter  tamen  et  sic  ut 
ex  altera  parte  modice  appareat.  Deinde  cum  ferro  curvo 
bene  polito  fricabis  leniter  caput  imprimis,  quod  altius  debet 
esse;  sicque  convertens  tabulam  in  recta  parte  fricabis  circa 
caput  et  cum  ferro  sequali  et  polito,  ita  ut  campus  descendat 
et  caput  elevetur,  et  statim  circa  caput  cum  malleo  mediocri 
super  incudem  percuties  leniter,  sicque  coram  fornace  super- 
positis  carbonibus  in  ipso  loco  recoques,  donec  candescat. 
Quo  facto  et  tabula  per  se  refrigerata,  iterum  in  inferiore 
parte  cum  curvo  ferro  fricabis  leniter  et  diligenter  fossam 
capitis  interius,  convertensque  tabulam  in  superiori  parte 
denuo  cum  aequali  ferro  fricabis,  et  depones  campum  ut  mon- 
ticulus  elevetur  capitis,  rursumque  cum  malleo  niediocri  circa 
ipsum  leniter  percutiens,  appositis  carbonibus  recoques ;  sic- 
que  saepe  facies,  diligenter  elevando  interius  et  exterius,  et 
crebro  percutiendo,  totiensque  recoquendo  donec  monticulus 
ille  ducatur  ad  altitudinem  trium  digitorum  aut  quatuor,  sive 
plus  vel  minus  secundum  quantitatem  imaginum.  Si  autem 
ipsum  aurum  vel  argentum   adhuc  aliquantum  spissius  est, 


TRANSLATION.  325 

things  often  happen  through  carelessness  or  negligence,  or  ig- 
norance  or  unskilfulness  of  the  founder,  when  it  is  cast  either 
too  hot  or  too  cold,  or  in  too  great  haste,  or  too  slowly.  When 
you  have  considerately  and  cautiously  cast  it,  should  you 
perceive  a  fault  of  this  kind  in  it,  carefully  sculp  it  out  with 
the  instrument  fit  for  this  work,  if  you  can.  But  should  the 
bubble  or  fissure  be  of  such  depth  that  you  cannot  dig  it  out, 
you  must  again  melt  it,  and  so  until  it  is  become  sound.  When 
it  has  become  so,  see  beforehand  that  the  anvils  and  your 
hammers,  with  which  you  should  work,  are  quite  smooth  and 
polished;  and  take  care  that  the  gold  or  silver  plate  be 
so  equally  thinned  everywhere,  that  it  be  in  no  place  thicker 
than  in  another.  And  when  it  has  been  thinned  so  that  the 
nail,  slightly  pressed  upon  it,  may  show  upon  the  other  side, 
and  it  is  perfectly  sound,  directly  portray  the  figures  you  may 
wish,  according  to  your  will.  You  design,  also,  in  that  part 
which  is  seen  to  be  the  most  sound  and  beautiful,  gently  how- 
ever,  and  so  that  it  may  slightly  appear  on  the  other  side. 
You  will  then  with  a  curved  iron,  well  polished,  gently  rub 
the  head,  in  the  first  place,  which  must  be  more  raised ;  and 
so  turning  the  plate  upon  the  right  side  you  will  rub  around 
the  head,  also  with  the  smooth  and  polished  iron,  so  that  the 
ground  may  descend  and  the  head  be  raised,  and  you  directly 
beat  around  the  head  with  a  middling  sized  hammer  upon  the 
anvil,  gently,  and  you  thus  cook  it  before  the  furnace,  until  it 
glovvs,  coals  being  superposed  in  that  place.  Which  being 
done,  and  the  plate  cooled  by  itself,  you  will  again  rub  it 
with  the  curved  instrument  on  the  undemeath  part,  inside 
the  hollow  of  the  head,  slightly  and  carefully,  and  turning 
the  plate  you  will  again  rub  with  the  smooth  iron  upon  the 
upper  part,  and  you  depress  the  ground  that  the  relief  of  the 
head  may  be  raised,  and  again  gently  striking  it  with  the 
middling  hammer  about  this,  you  recook  it,  by  applying  the 
coals ;  and  thus  you  act  often,  by  carefully  raising  it  inside 
and  outside  and  frequently  hammering,  as  often  cooking 
until  the  relief  is  brought  to  the  height  of  three  or  four  fingers, 
or  more  or  less,  according  to  the  number  of  the  figures.  If, 
however,  the  gold  or  silver  is  yet  somevvhat  too  thick,  you 


326  THEOPHILI    LIBER  III. 

poteris  interius  cum  longo  malleo  et  gracili  percutere  et  attenu- 
are,  si  opus  fuerit.  Quod  si  duo  capita,  vel  tria  seu  plura  in 
tabula  esse  debeant,  circa  unumquodque  ita  facere  debes  sicut 
dixi,  usque  ad  altitudinem  quantam  volueris.  Deinde  cum 
pertractorio  ferro  designa  corpus  vel  corpora  imaginum,  et  ita 
deducendo  et  interdum  percutiendo,  elevabis  ea  quantum  libu- 
erit;  hoc  tamen  procurans  ut  caput  semper  sit  altius.  Post 
haec  designabis  nares  et  oculorum  supercilia,  os  et  aures,  capil- 
los,  oculos,  manus  et  brachia,  caeterasque  vestimentorum  um- 
bras,  scabella  et  pedes,  et  sic  interius  cum  minoribus  curvis 
ferris  elevabis  leniter  et  diligenter,  summopere  cavens  ut  non 
rumpatur  aut  perforetur.  Quod  si  ex  ignorantia  seu  negli- 
gentia  contigerit,  hoc  modo  solidari  debet.  Tolle  ipsius  auri 
vel  argenti  modicum,  et  admisce  tertiam  partem  cupri,  fun- 
densque  pariter  limabis  subtiliter,  combustoque  viniceo  lapide, 
et  addito  sale  commiscebis  aqua,  ex  quo  tenuiter  liniens, 
fracturam  supersparge  limaturam.  Qua  siccata  denuo  confec- 
tionem  superlinies  spissius,  et  sic  inferius  et  superius  admotis 
carbonibus  leniter  flabis,  donec  videas  solidaturam  deffluere. 
Quod  videns  statim  asperge  leniter  aqua,  et  si  firmum  fuerit, 
bene;  sin  autem,  denuo  similiter  fac  usque  dum  firmum 
fuerit.  Si  autem  fractura  lata  fuerit,  diligenter  conjunge  ei 
particulam  ejusdem  auri  vel  argenti  aequaliter  tenuem,  quam 
simili  modo  solidabis,  donec  ex  omni  parte  adhaereat.  Cumque 
elevatura  imaginum  perducta  fuerit  usque  ad  subtiles  tractus, 
si  aurum  fuerit,  statim  facies  eos  et  polies  diligenter,  atque 
colorabis  cum  atramento  usque  ad  ruborem  combusto,  et  sale, 
ut  supra  in  opere  calicis.  Si  vero  argentea  fuerit  tabula,  et 
volueris  in  ipsis  imaginibus  deaurare  coronas,  capillos,  barbas, 
et  partes  vestimentorum,  hoc  oportet  fieri  prius — quam  sub- 
tiles  tractus  fiant,  hoc  modo.  Compone  duas  partes  argillae 
simplices,  subtiliter  tritae,  et  tertiam  salis,  et  in  vasculo  com- 
misce  cum  fece  cervisiae  mediocriter  spissse,  qua  confectione 


TRANSLATION.  327 

can  beat  and  thin  it  with  a  long  and  slender  hanimer,  if  need- 
ful.  But  if  two  or  three,  or  more,  heads  should  be  in  the 
picture,  you  should  do  about  each  one  as  I  have  said,  until 
the  height  which  you  may  wish  is  attained.  Then  with 
the  tracing  instrument  design  the  body  or  bodies  of  the 
figures,  and  so,  by  depressing  and  sometimes  by  beating,  you 
will  relieve  them  as  much  as  it  may  please  you;  providing 
this,  however,  that  the  head  be  always  the  most  relieved. 
After  these  things  you  will  design  the  nostrils  and  eyebrows, 
the  mouth  and  ears,  the  hair,  eyes,  hands  and  arms,  and  the 
other  shadows  of  the  draperies,  the  footstools  and  feet,  and 
you  will  raise  them  inside  thus,  with  the  smallest  curved  in- 
struments,  above  all  taking  care  that  it  be  not  broken  or  per- 
forated.  But  if  through  want  of  knowledge,  or  negligence, 
this  should  happen,  it  should  be  soldered  in  this  manner. 
Take  a  little  of  the  gold  itself,  or  silver,  and  mix  with  it  a  third 
part  of  copper,  and  melting  them  together  you  will  file  it 
finely,  and  wine-stone  being  burnt  and  salt  added,  you  will 
mix  it  with  water ;  thinly  anointing  it  with  which,  spread 
the  filing  over  the  fracture.  This  dry,  again  anoint  the  mix- 
ture,  more  thickly,  and  coals  being  applied  above  and  below, 
you  will  blow  gently,  until  you  can  see  the  solder  flow.  See- 
ing  which,  immediately  sprinkle  it  with  water,  and  if  it  be 
hard,  well ;  if  not,  however,  do  the  like  again  until  it  has  be- 
come  firm.  Should  the  fracture,  however,  be  broad,  carefully 
join  a  small  piece  of  the  same  gold  or  silver,  equally  thin,  to 
it,  which  you  will  solder  in  the  like  manner  until  it  adhere 
everywhere.  And  when  the  relief  of  the  figures  shall  have 
been  carried  to  the  point  of  the  chasings,  should  it  be  gold, 
you  immediately  make  them,  and  polish  carefully,  and  you 
will  colour  it  with  "  atrament,"  '  burnt  to  redness,  and  salt, 
as  above  in  the  work  of  the  chalice.  Should,  however,  the 
picture  be  silver,  and  you  should  wish  upqn  these  figures  to 
gild  the  crowns,  the  hair,  beard  and  portions  of  the  draperies, 
this  should  be  done  before  the  fine  lines  are  made,  in  this 
manner.  Arrange  two  parts  only  of  clay,  finely  ground,  and 
a  third  of  salt,  and  mix  them  together  in  a  small  vessel  with 

1  "  grccn  vilriol",  or  swlphale  of  iron.     Trans.  see  note. 


328  THEOPHILI    LIBER    III. 

cooperies  omne  argentum  quod  volueris  ut  album  remaneat, 
et  quod  deaurandum  est,  maneat  intectum.  Quod  cum  sic- 
caveris  super  prunas,  deaurabis  loca  singula  diligenter  sine 
aqua,  deaurataque  lavabis  '  et  polita  incolorabis.  Deinde 
cum  carbonibus  subtiliter  tritis  et  lignis  gracilioribus  et  gross- 
ioribus  fricabis  diligenter,  usque  per  omnia  seque  clarum  sit. 
Post  hsec  et  in  auro  et  in  argento  fac  subtiles  tractus,  quos  et 
faciendo  pariter  polies,  donec  ad  perfectionem  perducas. 
Cum  vero  tabulas  illas  aureas  vel  argenteas  pleniter  elevatas 
atque  politas  configere  volueris,  tolle  ceram  et  liquefac  in  vase 
fictili  vel  cupreo,  atque  commisce  ei  tegulam  subtiliter  tritam 
sive  sabulum,  ita  ut  sint  hujus  duse  partes  et  cerae  tertia. 
Quod  cum  pariter  liquefactum  fuerit,  cum  cochleari  ligneo 
fortiter  commovebis,  et  inde  implebis  omnes  imagines  in  auro, 
argento,  sive  cupro,  vel  quodcunque  in  his  elevatum  fuerit,  et 
refrigeratum  confige  ubi  velis.  In  cupreis  vero  tabulis  eodem 
modo  attenuatis  simile  opus  fit,  sed  majori  virium  instantia  et 
diligentia,  quam  durioris  naturse  est.  Quod  opus  cum  perve- 
nerit  ed  subtiles  tractus,  debet  in  exteriori  parte  purgari  cum 
laneo  panno  et  sabulo,  donec  nigra  cutis  auferatur,  et  sic 
deaurari  atque  poliri,  perfectisque  decolorari8  tractibus,  et 
praedictis  confectionibus  impleri. 


CAPUT    LXXV. 

DE    OPERE    QUOD    SIGILLIS    INPRIMITUR. 

FIANT  etiam  ferri  ad  mensuram  unius  digiti  spissi,  tribus 
digitis  vel  quatuor  lati,  longitudine  3  unius,  qui  sanis- 
simi  debent  esse,  ut  in  eis  nulla  sit  macula,  nulla  fissura  in 
superiori  latere.     In  his  sculpantur  in  similitudine  sigillorum 

1  vitiose  "  levabis, "  in  Cod.  Harl. 

8  "  incolorari,"  in  Cod.  Guelph. 

3    erbum  "  pedis,"  in  Cod.  Gmlph.  inveniiur. 


TRANSLATION.  329 

the  dregs  of  beer,  moderately  thick,  with  which  mixture  you 
cover  all  the  silver  which  you  may  wish  should  remain  white, 
and  that  which  is  to  be  gilt  can  remain  bare.     When  you 
shall  have  dried  this  over  the  embers,  you  will  gild  the  places 
one  by  one  without  water,  being  gilt,  you  will  wash  it,  and 
polished,  you  will  colour  it.      Then   with  finely  pulverized 
charcoal,  and  with  pieces  of  wood,  larger  and  smaller,  you 
will   rub  it  carefully  until   it  be   equally  bright  everywhere. 
You  afterwards  make  the  fine  lines,   both  on  the  gold  and 
on  the  silver,  which  in  the  making  you  likewise  polish,  until  you 
bring  it  to  perfection.     When  you  wish  to  affix  these  gold  or 
silver  plates  fully  relieved  and  polished,  take  wax  and  melt  it 
in  an  earthenware  or  copper  vessel,  and  mix  tile,  finely  ground, 
with  it,  or  sand,  so  that  there  may  be  two  parts  of  this  and  a 
third  of  wax.      When  this  has   been  likewise  melted,  you 
will  strongly  stir  it  with  a  wooden  spoon,  and  fill  up  all  the 
figures  with  it  in  gold,   silver,   or  copper,  or  whatever  may 
have  been  relieved  in  these,  and  cold,  you  will  attach  it  where 
you  wish.    Also  in  copper  plates,  thinned  in  the  same  manner, 
the  like  work  is  made,  but  with  greater  attention  and  care  as 
to  strength,  as  its  nature  is  more  hard.     When  this  work  has 
been  brought  to  the  fine  lines,  it  should  be  cleaned  on  the 
outside  part  with  a  woollen  cloth  and  sand,  until  the  black 
coat  be  taken  off,  and  so  be  gilt  and  polished,  and  the  draw- 
ings  being  finished,    be  coloured  and   filled  with  the  above 
mentioned  composition. 


CHAPTER  LXXV. 

OF    WORK    WHICH    IS    IMPRESSED    WITH    STAMPS. 

Irons  are  also  made,  thick  as  the  size  of  a  finger,  wide  as 
three  or  four  fingers,  in  length  one  (foot1),  which  should  be 
sound,  that  no  blemish  may  exist  in  them,  no  fissure  in  the 
upper  side.     In  these  are  sculptured,  in  resemblance  of  seals, 

1  This  word  is  wanting  in  the  Harleian  MS.,  it  is  supplied  from  the  Wolfen- 
b.ittel  MS. 


330  THEOPHILI    LIBER    III. 

limbi  graciles  et  latiores,  in  quibus  sint  flores,  bestiae  et  avi- 
culae,  sive  dracones  concatenati  collis  et  caudis,  et  non  scul- 
pantur  profunde  nimis,  sed  mediocriter  ac  studiose.  Deinde 
attenuabis  argentum  multo  tenuius  quam  ad  elevandum  quantae 
longitudinis  volueris,  atque  purgabis  cum  carbonibus  subtiliter 
tritis,  et  panno,  polies  cum  creta  desuper  rasa.  Quo  facto 
conjunge  argentum  cuicunque  lirnbo,  suppositoque  ferro  in- 
cudem,  ita  ut  sculptura  superius  sit,  ac  superlocato  ei  argento, 
desuper  pone  plumbum  (spissum1,  percutiesque  cum  maleo 
fortiter,  ita  ut  plumbum)  impingat  argentum  tenue  in  sculp- 
turam  tam  valide,  ut  omnes  tractus  in  eo  pleniter  appareant. 
Quod  si  lamina  longior  fuerit,  trahe  eam  de  loco  ad  locum, 
et  conjunctam  ferro  cum  forcipe  aequaliter  tene,  ut  una  parte 
percussa,  alia  percutiatur,  sicque  fiat  donec  lamina  tota  im- 
pleatur.  Hoc  opus  satis  utile  est  circa  limbos  in  fabricandis 
tabulis  altarium,  in  pulpitibus,  in  sanctorum  corporum  scriniis, 
in  libris  et  in  quibuscunque  locis  opus  fuerit,  quando  elevatura 
decora  est  et  subtilis,  et  leviter  fit.  Fit  etiam  in  cupro  hujus- 
modi  quod  simili  modo  attenuatur,  purgatur  et  deauratur  at- 
que  politur ;  quod  ferro  superpositum,  ita  ut  deauratura  ver- 
tatur  ad  ferrum,  plumbo  superposito  percutitur  donec  tractus 
appareant.  Sculpitur  quoque  in  ferro,  modo  supradicto,  imago 
crucifixi  Domini,  quse  cum  argento  vel  cupro  deaurato  inpin- 
gitur,  et  fabricantur  inde  phylacteria,  id  est  capsellae  reliqui- 
arum  et  scriniola  Sanctorum.  Fit  etiam  sculptura  imaginis 
Agni  Dei  in  ferro,  et  imagines  quatuor  evangelistarum,  qui- 
bus  auro  vel  argento  impressis  ornantur  scyphi  ligni  pretiosi, 
stante  rotula  agni  in  medio  scyphi,  quatuor  evangelistis  in 
modum  crucis  in  circuitu,  et  procedentibus  quatuor  limbis  ab 
agno  usque  ad  quatuor  evangelistas :  fiunt  imagines  piscicu- 
lorum  et  avium  atque  bestiarum,  quae  figuntur  per  reliquum 
scyphi  campum,  praebentes  ornatum  multum.  Fit  etiam 
imago  Majestatis  eodem  modo,  aliaeque  imagines,  cujuscun- 

1  addidimits,  ex  Cod.  Guelph. 


TRANSLATION.  331 

borders  slender  and  wide,  in  which  can  be  flowers,  animals 
and  small  birds,  or  dragons  linked  together  by  the  necks  and 
tails,  and  they  are  not  sculptured  too  deeply,  but  moderately 
and  carefully.  You  will  then  thin  silver,  much  more  thinly 
than  for  the  relief,  of  the  length  you  wish,  and  you  will 
cleanse  it  with  charcoal,  finely  pulverized,  and  a  cloth ;  you 
polish  it  with  chalk  scraped  upon  it. 

Which  being  done,  affix  the  silver  to  any  border,  and  the 
iron  being  placed  upon  an  anvil,  so  that  the  engraving  may 
be  uppermost,  and  the  silver  lying  upon  it,  place  above  it 
some  thick  lead  and  strike  strongly  with  the  hammer,  so  that 
the  lead  may  beat  upon  the  thin  silver,  into  the  sculpture,  so 
strongly,  that  all  the  designs  may  fully  appear  in  it.  But 
should  the  plate  be  longer  (than  the  stamp)  draw  it  from  place 
to  place,  and,  affixed  to  the  iron,  hold  it  evenly  with  the  pin- 
cers,  and  one  part  being  struck,  another  can  be  hammered, 
and  do  thus  until  all  the  plate  be  filled  up.  This  kind  of 
work  is  rather  useful,  about  the  borders,  in  manufacturing 
the  tables  of  altars,  in  pulpits,  in  caskets  for  sacred  sub- 
stances,  and  in  whatever  places  needful ;  and  when  the  relief 
is  beautiful  and  delicate,  it  is  easily  done.  Work  of  this  kind 
is  also  made  in  copper,  which  is  thinned  in  a  similar  manner, 
is  cleansed  and  gilt  and  polished ;  this  placed  upon  the  iron, 
so  that  the  gilding  be  turned  towards  the  iron,  the  lead  being 
superposed,  it  is  struck  until  the  designs  appear.  The  image 
of  the  crucifixion  of  the  Lord  is  also  sculptured  in  iron,  in  the 
above  mentioned  manner,  of  which,  when  impressed  upon 
silver  or  copper,  phylacteria  are  made,  that  is,  coflers  of  relics 
and  small  shrines  of  saints.  A  sculpture  is  also  made  in  iron 
of  the  image  of  the  Lamb  of  God,  and  the  figures  of  the  four 
evangelists,  with  which,  impressed  upon  gold  or  silver,  the 
cups  of  precious  wood  are  ornamented,  the  circle  of  the  lamb 
standing  in  the  middle  of  the  cup,  the  four  evangelists  in 
fashion  of  a  cross  around,  and  with  four  borders  proceeding 
from  the  lamb  to  the  four  evangelists ;  figures  of  small  fish 
and  of  birds  and  beasts  are  made,  which  are  fixed  upon  the 
remaining  ground  of  the  cup,  affording  much  ornament. 
The  image  of  the  Divinity  is  also  made  in  the  same  manner, 


332  THEOPHILI    LIBER    III. 

que  formae  et  sexus,  quse  impressae  auro  vel  argento  seu  cu- 
pro  deaurato,  plurimum  decoris  prsestant  locis,  quibus  inpo- 
nuntur,  propter  subtilitatem  et  operositatem.  Fiunt  et  ima- 
gines  regum  et  equitum  eodem  modo  ferro,  ex  quibus  auri- 
calco  Hispanico  inpressis  ornantur  pelves,  quibus  aqua  in 
manibus  funditur,  eodem  modo  quo  ornantur  scyphi  auro  vel 
argento,  cum  suis  limbis  ejusdem  metalli,  in  quibus  bestiolae 
vel  aves  et  flosculi,  qui  tamen  non  configuntur,  sed  stagno 
solidantur. 


CAPUT    LXXVI. 

DE    CLAVIS. 

FIUNT  autem  clavi  ferrei  longitudine  unius  digiti,  in  una 
summitate  grossiores,  in  altera  gi-aciliores,  in  qua  etiam 
chalybe  solidandi  sunt,  quorum  unus  limetur  quadrangulus, 
alius  triangulus,  tertius  rotundus,  secundum  convenientem 
grossitudinem.  Deinde  sculpantur  in  eis  flosculi  eodem 
modo,  quo  supra,  ita  ut  ora  ferri  circa  flosculum  acuta  fiat. 
Cumque  valde  attenuatum  fuerit  argentum  sive  cuprum  de- 
auratum,  vel  auricalcum,  in  superiori  parte  polies,  ut  supra ;  in 
inferiori  vero  superstagnabis  valde  tenue  cum  ferro,  quo  fe- 
nestrse  solidantur,  ponesque  plumbum  spissum  super  incudem 
et  desuper  argentum,  sive  cuprum  deauratum,  ita  ut  deaura- 
tura  superius  sit  et  stagnum  inferius;  sumptoque  uno  ex  ferris, 
quale  velis,  junge  sculpturam  ad  argentum,  percutiesque 
malleo  ita  ut  sculptura  in  eo  appareat,  et  cum  acuta  ora  ferri 
in  circuitu  incidatur.  Quod  cum  per  totum  argentum  feceris, 
serva  tibi  flosculos  omnes,  quia  illi  erunt  capita  clavorum, 
quorum  caudas  hoc  modo  facies.  Commisce  duas  partes 
stagni,  et  tertiam  plumbi,  et  percute  illud  gracile  et  longum, 
deinde  pertrahe  per  foramina  ferri,  in  quo  fila  trahuntur,  ita 
ut  longissimum  filum  habeat,  et  non  gracile  nimis,  sed  me- 


TRANSLATION.  333 

and  other  figures  of  any  form  or  sex,  which  being  impressed 
upon  gold  or  silver,  or  gilt  copper,  give  the  greatest  ornament 
to  the  places  upon  which  they  are  placed,  on  account  of  their 
fineness  and  labour.  The  figures  of  kings  and  knights  are 
also  made  in  the  same  manner  in  iron,  with  which,  impressed 
upon  Spanish  brass,  the  basins,  from  which  water  is  poured 
upon  the  hands,  are  ornamented  inthe  same  manner  in  which 
cups  are  embellished,  with  gold  or  silver,  with  their  borders 
of  the  same  metal,  in  which  are  small  animals  or  birds  and 
flowers,  which,  however,  are  not  fixed  together,  but  are  sol- 
dered  with  tin. 


CHAPTER  LXXVI. 


OP    NAILS. 


Iron  nails  are  made  the  length  of  a  finger,  thicker  at  one  end, 
more  pointed  at  the  other,  in  which  also  they  are  to  be  made 
strong  with  steel,  of  which  one  is  filed  square,  another  tri- 
angular,  a  third  round,  according  to  the  size  convenient. 
Small  flowers  are  then  sculptured  upon  them  in  the  same 
manner  as  above,  so  that  the  rim  of  the  iron  around  the 
flower  may  become  sharp.  And  when  silver,  or  gilt  copper, 
or  brass,  has  been  well  thinned,  you  polish  it  upbn  the  upper 
surface  as  above ;  but  on  the  lower  you  will  tin  it  over  very 
thinly,  with  the  iron  with  which  windows  are  soldered,  and 
you  place  thick  lead  upon  the  anvil  and  the  silver  or  gilt 
copper  upon  it,  so  that  the  gilding  may  be  upwards  and  the 
tin  below ;  and  one  of  the  irons  being  taken,  whichever  you 
may  wish,  apply  the  sculpture  to  the  silver,  and  strike  with 
the  hammer,  so  that  the  sculpture  may  appear  upon  it,  and 
it  may  be  cut  around  with  the  sharp  rim  of  the  iron.  When 
you  have  done  this  through  all  the  silver,  keep  all  the  small 
flowers  by  you,  because  they  will  be  the  heads  of  the  nails, 
the  stems  of  which  you  make  in  this  manner.  Mix  together 
two  parts  of  tin  and  a  tbird  of  lead,  and  beat  it  out  thin  and 
long,  then  draw  it  through  the  openings  of  the  instrument,  in 
which  wires  are  drawn,  so  that  it  may  have  a  long  thread, 


334  THEOPHILI    LIBER    III. 

diocre.  Post  hsec  fac  tibi  ferrum  gracile,  longitudine  dimidii 
pedis,  quod  in  una  summitate  sit  modice  latum,  ad  men- 
suram  unguis,  et  mediocriter  cavum,  et  altera  summitas  in- 
figatur  ligneo  manubrio.  Deinde  sedens  juxta  fornacem  ad 
hoc  opus  aptam,  ante  quam  stet  vasculum  cupreum  cum  cera 
liquefacta,  tenensque  sinistra  manu  manubrium  illius  gracilis 
ferri  in  latiori  parte  calefactum,  in  dextra  vero  stagneum  filum, 
quasi  globum  involutum  cujus  caput  facies  in  cera  liquefacta 
humidum,  ponensque  super  unum  ex  flosculis,  ea  parte  ubi 
stagnum  est,  ita  ut  adhaereat,  levabis,  et  pones  in  fossulam 
ferri  candentis,  tenebisque  donec  liquefiat,  statimque  remov- 
ebis  utrumque  ab  igne,  incidesque  filum  cum  forcipe  secundum 
longitudinem  quam  vis  habere  caudam  clavi.  Sicque  facies 
donec  expendas  in  hujusmodi  clavis  argentum  illud  cuprum- 
que  deauratum.  Cumque  clavorum  copiam  habueris,  et  eos 
configere  volueris  in  corrigiis  ascensoriis  sellee  equi,  sive  circa 
capitium  freni,  primum  cum  subula  fac  foramina,  et  sic  im- 
pone  clavos  ordinatim,  ita  ut  sint  tres  aurei  et  tres  argentei, 
rursumque  tres  aurei,  et  smili  modo  per  totum.  Si  vero  duos 
ordines  vel  tres  habere  volueris,  pone  semper  unum  argenteum 
et  alterum  aureum  per  omnia,  sicque  ponens  corrigiam  cum 
captibus  super  tabulam  ligneam  aequalem,  confige  caudas 
cum  mediocri  malleo.  Fiunt  etiam  eodem  opere  clavi  ex 
auricalco,  sed  spissiores,  quomm  caudse  cupreae  solidantur  in- 
terius  stagno  puro  eodem  modo.  His  configuntur  vaginae 
cultellorum,  et  coria  super  libros,  multaque  hujusmodi. 


CAPUT     LXXVII. 

DE   SOLIDANDO   AURO    ET   ARGENTO    PARITER. 

(URIFICATURUM  argentum  pondere  duodecim  num- 
morum,    percutitur    strictim  longitudine    dimidii  digiti 


TRANSLATION.  335 

and  not  too  slender,  but  middling.  After  this  make  for  your- 
self  a  thin  iron  half  a  foot  in  length,  which  must  be  rather 
wide  at  one  extremity,  to  the  size  of  your  nail,  and  slightly 
hollow,  and  the  other  end  can  be  fixed  to  a  wooden  handle. 
Then  sitting  near  the  furnace  proper  for  this  work,  before 
which  a  small  copper  vessel  with  melted  wax  can  stand,  and 
in  the  left  hand  holding  the  handle  of  this  thin  iron,  made  hot 
in  the  wider  part,  and  in  the  right  the  tin  wire,  the  extremity 
of  which  rolled  like  a  ball,  you  moisten  in  the  melted  wax, 
and  placing  it  upon  one  of  the  flowers  in  that  part  where  the 
tin  is,  so  that  it  may  adhere,  you  will  raise  it,  and  you  place 
it  in  the  hollow  of  the  heated  iron  and  will  hold  it  until  it 
liquefy,  and  you  will  instantly  remove  both  from  the  fire  and 
you  cut  the  wire  with  the  forceps  according  to  the  length 
which  you  wish  the  stem  of  the  nail  to  possess.  And  you  do 
thus  until  you  expend,  in  nails  of  this  kind,  that  silver  and 
gilt  copper.  And  when  you  have  an  abundance  of  nails,  and 
may  wish  to  fix  them  upon  the  stirrup  leathers  of  a  horse- 
saddle,  or  about  the  head-piece  of  a  bridle,  first  make  holes 
with  the  awl,  and  so  place  the  nails  in  order,  so  that  three 
may  be  golden  and  three  silver,  and  again  three  gold,  and 
similarly  throughout.  But  should  you  wish  to  have  two  or 
three  rows,  always  place  one  silver  and  the  other  golden 
throughout,  and  so  placing  the  strap  with  the  heads  upon  a 
smooth  wooden  table,  fasten  on  the  stems  with  a  middle  sized 
hammer.  Nails  are  also  made  by  the  same  workmanship 
from  brass,  but  thicker,  the  copper  stems  of  which  are  sol- 
dered  inside  with  pure  tin  in  the  same  manner.  With  these 
the  sheaths  of  knives  are  fixed,  and  leathers  upon  books,  and 
many  things  of  this  kind. 


CHAPTER  LXXVII. 

OF    SOLDERING    GOLD    AND    SILVER   TOGETHER. 

Silver  of  the  weight  of  twelve  nummi  having  been  purified 
is  beaten  straightly  to  the  length  of  half  the  little  finger,  pre- 


336  THEOPHILI    LIBER    III. 

minoris,  deinde  percutitur  aurum  coctum  pondere  unius 
nummi  eadem  latitudine  et  longitudine,  atque  consolidantur 
haec  duo  praescripta  solidatura  auri,  donec  omnino  sibi  adhae- 
reant,  sicque  simul  percutiantur  usque  dum  tenuissima  lamina 
fiat.  Hoc  opus  videtur,  quasi  argentum  in  una  parte  deau- 
ratum  sir,  nec  possit  cum  duobus  aut  tribus  nummis  auri 
tantae  longitudinis  lamina  tam  fulgide  deaurari.  Ex  hac  la- 
mina  fiunt  limbi,  modo  quo  superius  inpressi  ferri.  Inde 
etiam  inciduntur  subtiles  corrigise,  et  in  serico  filando  circum- 
torquentur,  unde  texuntur  aurifrigia  apud  pauperes  eodem 
modo  quo  apud  divites  ex  auro  puro. 


CAPUT    LXXVIII. 

DE    OPERE    DUCTILI    QUOD    SCULPITUR. 

PERCUTE  tabulam  cupream  quantse  longitudinis  et  lati- 
tudinis  volueris,  sic  spissam  ut  vix  plicari  possit,  et  sit 
sanissima  ab  omni  fissura  et  macula,  et  pertrahe  in  ea  imagi- 
nem,  quam  volueris.  Deinde  percute  in  loco  capitis  fossam 
cum  mediocri  malleo1  in  circuitu,  sicque  recoques  in  prunis. 
Qua  refrigerata  per  se,  facies  per  totam  imaginem  cum  malleis 
sicut  fecisti  in  tenui  cupro  cum  curvis  ferris  et  aequalibus, 
semper  ex  utraque  parte  deducendo  et  frequenter  recoquendo. 
Cumque  elevaveris  imaginem  quam  alte  volueris,  accipe  ferros 
ad  mensuram  palmi  longos,  in  una  summitate  grossiores, 
super  quos  possit  cum  malleo  percuti,  et  in  altera  graciliores, 
tenues,  rotundos  atque  subtiles,  quos  ad  hoc  opus  aptaveris, 
et  sedente  coram  te  puero  hujus  artis  docto,  tene  sinistra 
manu  tabulam  et  dextera  ferros,  puero  desuper  feriente  cum 
mediocri  malleo,  designabis  oculos  et  nares,  capillos  et  ma- 
nuum  digitos,  pedum  articulos,  et  omnes  tractus  vestimen- 
torum  in  superiori  parte,  ita  ut  interius  appareant,  ubi  etiam 

1  "  Rotundo  in  inferiori  parte,  et  ex  superiori  parte  curn   tenui  malleo." — Ex, 
Codice  Guelplierbytano. 


TRANSLATION.  337 

pared  gold  of  the  weight  of  a  numraus  is  then  beaten  to  the 
same  breadth  and  length,  and  these  two  are  united  together 
with  the  prescribed  gold  solder,  until  they  perfectly  adhere  to 
each  other,  and  they  are  thus  beaten  together  until  a  very  fine 
plate  is  made.  This  work  appears  as  if  the  silver  were  gilt 
on  one  side ;  nor  can  a  leaf  of  such  length  be  so  brilliantly 
gilt  with  two  or  three  nummi  of  gold.  From  this  leaf  borders 
are  made,  from  the  iron  stamp,  in  the  before-mentioned 
manner.  Fine  strips  are  also  cut  from  it  and  are  wreathed 
round  in  spun  silk;  gold  fringes  are  rnade  from  it  for  the 
poor  in  the  same  manner  as  from  pure  gold  for  the  rich. 


CHAPTER  LXXVIII. 

OF    BEATEN    WORK    WHICH    IS    SCULPTURED. 

Beat  a  copper  plate  as  long  and  wide  as  you  wish,  so  thick 
that  it  can  scarcelv  be  bent,  and  let  it  be  sound,  free  from  all 
crack  and  blemish,  and  portray  the  figure  upon  it  which  you 
may  wish.  Then  beat  the  cavity  in  the  place  of  the  head  with 
a  moderate  round  hammer  on  the  under  side,  and  around  it,  on 
the  upper  side,  with  the  slender  hammer,  and  so  you  cook  it  in 
the  embers.  This  being  cooled  by  itself,  you  will  do  through- 
out  the  whole  figure  with  the  hammer  as  you  did  in  the  thin 
copper  with  the  curved  and  smooth  irons,  by  always  depressing 
it  on  each  side  and  frequently  reheating  it.  And  when  you 
shall  have  relieved  the  figure  as  high  as  you  wish,  take  irons, 
long  to  the  measure  of  a  palm,  thicker  at  one  end,  upon  which 
it  may  be  beaten  with  the  hammer,  and  at  the  other  more  fine, 
round,  and  pointed,  which  you  had  prepared  for  this  work, 
and  the  boy  initiated  in  this  art  sitting  before  you,  hold  the 
plate  in  the  left  hand  and  the  irons  in  the  right,  the  boy 
striking  upon  them  with  a  moderate  sized  hammer,  you  will 
design  the  eyes  and  nostrils,  the  hair  and  fingers  of  the  hands, 
the  articulations  of  the  fret,  and  all  the  drawings  of  the  gar- 
ments  upon  the  upper  side,  so  that  they  may  show  inside, 

z 


338  THEOPHILI    LIBER    III. 

cum  eisdem  ferris  percuties,  ut  (exterius  eleventur  tractus '). 
Quod  cum  tam  diu  feceris  donec  imago  omnino  formetur, 
cum  ferris  fossoriis  et  rasoriis  fodies  circa  oculos  et  nares,  os 
et  mentum  et  aures,  designabisque  capillos  et  omnes  subtiles 
vestimentorum  tractus,  et  ungues  manuum  et  pedum.  Quo 
facto,  si  volueris  coronas  imaginum  ornare  gemmis,  electro 
atque  margaritis,  statim  operare  singulas  partes  in  auro  cum 
filis  et  solidatura,  sicut  superius  in  opere  calicis,  et  adjungens 
unamquamque  loco  suo,  fac  foramina,  per  quae  configi  debent, 
videlicet  sub  majoribus  gemmis,  et  in  cupro  aequaliter;  sicque 
deaurabis  tabulam  et  polies  eam  in  primis  cum  filis  ex  auri- 
calco  sicut  supra,  deinde  cum  ferris  aequalibus ;  sicque  color- 
abis  et  configes  auri  partes  unamquamque  in  suo  loco,  impo- 
nesque  gemmas  et  circumligabis  margaritas. 

Eodem  modo,  si  facultas  in  censu2  fuerit,  potes  in  auro  et 
argento  facere  imagines  super  libros  evangeliorum  et  missales, 
et  bestias  atque  aviculas  ac  flores  super  sellas  equestres  ma- 
tronarum  exterius.  Fiunt  eodem  modo,  in  scyphis  aureis 
sive  argenties  vel  scutellis,  in  medio,  equites  contra  dracones 
sive  leones  vel  gryphes  pugnantes,  imago  Samsonis  vel  David 
ora  leonum  confringentes ;  leones  quoque  simplices  et  gryphes, 
idem  etiam  singuli  singulas  pecudes  suffocantes,  sive  aliud 
quod  libuerit,  quodque  secundum  operis  quantitatem  decens 
vel  aptum  fuerit. 


CAPUT    LXXIX. 

DE  PURGANDA  ANTIQUA  DEAURATURA. 

TOLLE  smigma  et  pone  in  pelve,  sive  alio  vase  mundo, 
superfundens  ei  aquam  mundam  atque  diligenter  com- 
misce  usque  sit  spissum  ut  fex,  ita  ut  ubicumque  superpona- 
tur  non  possit  fluere.     Deinde  cum  setis  porci  linies  hanc  di- 

1   lacuna  est,  in  Cod.  Harl.  in  hoc  loco  :  implerimus  ex  Cod.  Qudph. 
*  imb  "  sensu." 


TRANSLATION.  339 

where  also  you  strike  with  the  same  irons  that  the  designs 
may  be  raised  outside.  When  you  have  done  this  until  the 
figure  be  altogether  formed,  you  sculp  with  the  sculping  and 
scraping  instruments  about  the  eyes  and  nostrils,  the  mouth 
and  chin  and  ears,  and  you  will  design  the  hair  and  all  the  fine 
drawing  of  the  draperies,  and  the  nails  of  the  hands  and  feet. 
Which  being  done,  if  you  wish  to  decorate  the  crowns  of  the 
figures  with  gems,  enamel,  and  pearls,  immediately  work 
single  pieces  in  gold  with  wires  and  solder,  as  above  in  the 
work  of  the  chalice,  and  fitting  each  one  in  its  place,  make 
holes  through  which  they  should  be  fastened  on,  namely, 
under  the  larger  gems,  and  equally  in  the  copper ;  and  you 
will  thus  gild  the  plate,  and  you  polish  it  at  first  with  the 
brass  wires,  as  above,  then  with  the  smooth  irons;  and  thus 
you  will  colour  it,  and  you  fix  on  the  pieces  of  gold,  each  one 
in  its  place,  and  you  lay  on  the  gems,  and  you  will  fasten  the 
pearls  around.  In  the  same  manner  should  you  possess  fa- 
cility  of  invention,  you  can  make  figures  in  gold  and  silver 
upon  the  books  of  the  evangelists  and  missals,  and  animals 
and  small  birds  and  flowers  outside  upon  the  horse-saddles  of 
matrons.  Upon  golden  or  silver  cups  or  platters,  in  the 
middle,  knights  are  made  in  the  same  manner,  fighting 
against  lions  or  griffins;  the  figure  of  Sampson,  or  David 
breaking  the  mouths  of  the  lions ;  lions  alone,  also,  and  grif- 
fins  ;  the  same  also,  each  strangling  single  (figures  of)  cattle ; 
or  other  thing  which  it  may  please  you,  and  which  may  be 
proper  and  fit,  according  to  the  size  of  the  work. 


CHAPTER  LXXIX. 

OF    CLEANING    OLD    GILDING. 


Take  soap  and  place  it  in  a  basin,  or  other  clean  vessel,  pour- 
ing  clean  water  upon  it,  carefully  mix  it  together,  until  it  be 
as  thick  as  lees,  so  that  it  cannot  flow  wheresoever  it  may  be 
placed.     Then  with  hogs'  bristles  anoint  this  carefully  over 

z  2 


340 


THEOPHILI    LIBER    III. 


ligenter  super  vetustam  deauraturam  in  cupro  sive  argento, 
quae  fulgorem  suum  perdiderit,  sic  ut  omnino  cooperiatur,  et 
sines  ita  manere  per  noctem.  Secunda  vero  die  aqua  lavabis 
cum  eisdem  setis  semel  et  iterum,  atque  tertio  perfundes  lim- 
pida  aqua,  videbisque  eam  fulgere  sicut  placuerit  oculis  tuis. 


CAPUT    LXXX. 

DE  PURGANDO  AURO  ET  ARGENTO. 

SI  aurum  et  argentum  laminis  attenuatum  atque  clavis  ali- 
cubi  confixum  denigratum  vetustate  fuerit,  tolle  car- 
bones  nigros  et  minutissime  tere  eos  atque  per  pannum  cribra, 
sumensque  pannumlineum  sive  Janeumaquamadefactum,pones 
super  ipsos  carbones,  elevansque  fricabis  diligenter  per  omnia 
aurum  vel  argentum,  donec  omnem  nigredinem  auferas,  sicque 
lavabis  aqua,  et  sole  sive  igne  vel  panno  siccabis;  deinde 
tolle  cretam  candidam,  et  minutissinie  rade  in  vase,  et  cum 
lineo  panno  ita  siccam  fricabis  super  aurum  vel  argentum 
tamdiu,  donec  pristinum  fulgorem  recipiat.  Eodem  modo 
purgantur  vasa. 


CAPUT    LXXXI. 


DE    ORGANIS. 


FACTURUS  organa  primum  habeat  lectionem  mensurae, 
qualiter  metiri  debeant  fistulae  graves  et  acutse  et  super- 
acutae ;  deinde  faciat  sibi  ferrum  longum  et  grossum  ad  men- 
suram,  qua  vult  habere  fistulas,  quod  sit  in  circuitu,  rotundum 
summa  diligentia  limatum  et  politum.  in  una  summitate  gros- 
sius  et  modice  attenuatum,  ita  ut  possit  inponi  in  alterum  fei- 


TRANSLATION.  341 

the  old  gilding  in  copper  or  silver,  which  may  have  lost  its 
brightness,  so  that  it  may  be  entirely  covered,  and  you  allow 
it  so  to  remain  for  a  night.  But  on  the  second  day  you  will 
wash  it  in  water  with  the  same  bristles  once  and  again,  and 
on  the  third  time  pour  clear  water  over  it,  and  you  will  see  it 
shine  so  as  to  gratifv  your  eyes. 


CHAPTER  LXXX. 

OF    CLEANSING    GOLD    AND    SILVER. 

If  gold  and  silver,  thinned  into  leaves  and  fixed  anywhere 
by  nails,  has  become  blackened  through  age,  take  black  char- 
coal  and  grind  it  very  small  and  sift  it  through  a  cloth,  and 
taking  a  linen  or  woollen  cloth  wetted  with  water,  place  it 
upon  these  coals,  and  raising  it  you  will  rub  it  carefully  over 
all  the  gold  or  silver,  until  you  take  away  all  the  blackness,  and 
thus  you  will  wash  it  with  water,  and  will  dry  it  in  the  sun,  or 
by  the  fire,  or  with  a  cloth ;  then  take  white  chalk,  and  scrape 
it  very  finely  into  a  vessel,  and  thus  you  will  rub  it  dry  with 
a  linen  cloth  upon  the  gold  or  silver  until  it  take  its  original 
lustre.     Vases  are  cleaned  in  the  same  manner. 


CHAPTER  LXXXI. 


OF    ORGANS. 


The  manufacturer  of  organs  should  first  possess  the  know- 
ledge  of  the  measure,  how  the  grave  and  sharp  and  treble 
pipes  should  be  meted  out ;  he  may  then  make  for  himself  a 
long  and  thick  iron  to  the  size  which  he  wishes  the  pipes  to 
possess  ;  this  must  be  round,  filed  and  polished  with  great 
care,  thicker  at  oue  extremity  and  slightly  diminished,  so  that 


342  THEOPHILI    LIBER    III. 

rum  curvum  per  quod  circumdatur,  juxta  modum  ligni  in  quo 
volvitur  runcina,  et  in  altera  summitate  gracile,  secundum 
mensuram  inferioris  capitis  fistulae,  qua  conflatorio  debet  im- 
poni.  Deinde  attenuetur  cuprum  purum  et  sanissimum,  ita 
ut  unguis  impressus  altera  parte  appareat.  Quod  cum  fuerit 
secundum  mensuram  ferri  lineatum  et  incisum  ad  longiores 
fistulas,  quse  dicuntur  graves,  fiat  secundum  prseceptum  lec- 
tionis  foramen,  in  quo  plectrum  imponi  debet,  et  circumradatur 
modice  ad  mensuram  festucae l,  ac  superliniatur  stagnum  ferro 
solidatorio,  radaturque  in  ora  longitudinis  interius,  in  altera 
ora  exterius  eadem  mensura,  et  superstagnetur  tenue.  Quae 
stagnatura,  priusquam  rasi  tractus  noviter  facti,  modice  cale- 
facto  cupro  lineantur  cum  resina  abietis,  ut  stagnum  facilius 
adhsereat.  Quo  facto  complicetur  ipsum  cuprum  circa  ferrum 
et  circumligetur  filo  ferreo  mediocriter  grosso  fortiter,  ita  ut 
stagnati  tractus  conveniant  sibi.  Quod  filum  primo  induci 
debet  parvulo  foramini,  quod  est  in  gracili  summitate  ferri,  et 
in  eo  bis  contorqueri,  sicque  deduci  in  volvendo  usque  ad  al- 
teram  summitatem,  ibique  similiter  obfirmari.  Deinde  junc- 
turis  sibi  convenientibus  et  diligenter  conjunctis,  ponatur  ipsa 
ligatura  pariter  cum  ferro  ante  fornacem  super  prunas  ardentes, 
et  sedente  puero  et  mediocriter  flante,  teneatur  dextera  manu 
lignum  gracile,  in  cujus  summitate  fissa,  adhsereat  panniculus 
cum  resina,  et  sinistra  teneatur  stagnum  longum  gracile  percus- 
sum,  ut  mox  cum  fistula  incaluerit,  lineat  juncturam  cum  pan- 
niculo  resina  infecto,  appositumque  stagnum  liquefiat,  ipsamque 
juncturam 2  diligenter  consolidet.  Quo  factore  frigerata  fistula, 
ponatur  ferrum  in  instrumento  tornatoris  more  parato,  in  posito 
que  curvo  ferro  et  filo  soluto  circum  volvat  unus  ferrum  cur- 
vum,  alter  vero,  utrisque  manibus  chirothecis 3  indutis,  fistulam 
fortiter  teneat,  ita  ut  ferrum  circumducatur  et  fistula  quieta 

1  "  fistulae,"  in  Cod.  Quelph. 
*  addidimus  ex  Cod.  GhielpL 
3  Hic  codex  "  cyrotecis  "  habet. 


TRANSLATION.  343 

it  can  be  placed  in  another  curved  iron,  by  which  it  is  en- 
compassed,  after  the  fashion  of  the  wood  in  which  the  auger 
is  revolved,  and  at  the  other  extremity  let  it  be  slender,  ac- 
cording  to  the  size  of  the  lower  end  of  the  pipe  which  should 
be  placed  on  the  bellows.  Then  pure  and  very  sound  copper 
is  thinned,  so  that  the  impression  of  the  nail  may  appear  on 
the  other  side.  When  this  has  been  marked  out  and  cut 
according  to  the  size  of  the  iron  for  the  longer  pipes,  which 
are  called  grave,  an  opening  is  made  according  to  the  precept 
of  the  lesson,  into  which  the  valve  should  be  placed,  and  it 
is  rasped  round  a  little  to  the  size  of  the  rod ',  and  tin  is 
anointed  over  it  with  the  soldering  iron,  and  it  is  rasped  upon 
one  edge  of  the  length  inside,  and  outside,  upon  the  other 
edge,  and  it  is  tinned  over  thinly.  Which  tinnings,  before 
the  newly  made  lines  are  scraped,  are  slightly  anointed,  the 
copper  being  warmed  with  resin  of  the  fir,  that  the  tin  may 
the  more  easily  adhere.  Which  being  done  this  copper  is 
folded  around  the  iron  and  is  strongly  bound  round  with  an 
iron  wire  moderately  thick,  so  that  the  tinned  lines  may 
agree  with  each  other.  This  wire  should  be  first  carried 
through  a  very  small  hole  which  is  at  the  thin  extremity  of 
the  iron,  and  be  twisted  twice  round  in  it,  and  so  be  carried 
down  revolving  to  the  other  extremity,  and  be  there  similarly 
fastened.  Then  with  its  joinings  agreeing  together  and  care- 
fully  fastened,  it  is  placed  with  its  ligature,  as  with  the  iron, 
before  the  furnace  upon  the  glowing  embers,  and  the  boy 
sitting  and  slightly  blowing,  in  the  left  hand  is  held  a  thin 
wood,  at  the  split  top  of  which  a  small  cloth  with  resin  is 
fixed,  and  in  the  right  can  be  held  a  long  piece  of  tin  beaten 
thin,  so  that  directly  the  pipe  has  become  hot  he  can  anoint 
the  join  with  the  rag  filled  with  resin,  and  the  tin  applied 
may  liquefy,  and  he  must  carefully  solder  the  join  together. 
Which  being  done,  the  pipe  cold,  the  iron  is  placed  in  the 
instrument  prepared  like  that  of  a  turner,  and  the  curved 
iron  being  placed  on,  and  wire  loosened,  one  (hand)  can  re- 
volve  the  curved  iron,  the  other,  both  hands  being  provided 
with  gloves,  can  hold  the  pipe  firmly,  so  that  the  iron  may 

1  "  pipe,"  in  the  Wolfenbuttel  MS. 


344  THEOPHILI    LIBER    III. 

maneat,  donec  omnino  oculis  gratiosa  sit,  quasi  tomata  sit. 
Deinde  educto  ferro  percutiatur  ipsa  fistula  cum  malleo  medio- 
criter  juxta  foramen  inferius  et  superius,  ita  ut  pene  usque  ad 
medium  descendat  ipsa  rotunditas  spatio  duorum  digitorum ; 
fiatque  plectrum  ex  cupro  aliquantulum  spissiori,  quasi  dimidia 
rotula,  et  superstagnetur  circa  rotunditatem  sicut  fistula  supe- 
rius,  sicque  ponatur  in  inferiori  parte  foraminis,  ut  sub  ipsius 
ora  sequaliter  stet,  nec  procedat  inferius  aut  superius.  Ha- 
beat  quoque  ferrum  solidatorium  ejusdem  latitudinis  et  rotun- 
ditatis,  qua  plectrum  est.  Quo  calefacto  ponat  modicas  par- 
ticulas  stagni  super  plectrum,  parumque  resinae,  et  diligenter 
circumducat  calidum  ferrum  ne  plectrum  moveatur,  sed  lique- 
facto  stagno  sic  adhaereat  ut  in  circuitu  ejus  nichil  spiraminis 
exeat,  nisi  tantum  in  superiori  foramine.  Quo  facto  apponat 
ori  et  sufnet  primum  modice,  deinde  amplius,  sicque  fortiter,  et 
secundum  quod  auditu  discernit,  disponat  vocem,  ut  si  eam 
vult  esse  grossam,  foramen  fiat  latius;  si  vero  graciliorum, 
fiat  strictius.  Hoc  ordine  omnes  fistulae  fiant;  mensurem 
vero  singularum,  a  plectro  superius,  secundum  magisterium 
lectionis  faciat,  a  plectro  autem  inferius,  omnes  unius  mensurae 
et  ejusdem  grossitudinis  erunt. 


CAPUT    LXXXII. 

DE    DOMO    OBGANARIA. 

DOM  US  vero  facturus  super  quam  statuendae  sint  fistulae, 
vide  utrum  volueris  eam  ligneam  habere  aut  cupream. 
Si  ligneam,  acquire  tibi  duo  ligna  de  platano,  valde  sicca,  lon- 
gitudine  duorum  pedum  et  dimidii,  et  latitudine  modice  am- 
plius  quam  unius,  unum  quatuor,  alterum  duobus  digitis  spis- 
sum,  quae  non  sint  nodosa  sed  pura.  Quibus  diligentissime 
sibi  conjunctis,  in  inferiori  parte  spissioris  ligni  fiat  in  medio 


TRANSLATION.  345 

be  carried  round  and  the  pipe  remain  still,  until  it  appear 
elegant  to  the  eyes,  as  if  turned.  The  iron  being  then 
taken  out,  the  pipe  is  struck  slightly  with  the  hammer  near 
the  opening,  above  and  below,  so  that  this  round  shape  may 
depress  almost  to  the  centre  for  a  space  of  two  fingers ;  the 
valve  may  be  made  from  copper  somewhat  thicker,  like  a 
half  wheel,  and  be  soldered  over  about  the  round  part,  as 
the  pipe  above,  and  be  so  placed  in  the  lower  part  of  the 
opening  that  its  edge  may  stand  equally  under  it,  nor  pro- 
trude  below  or  above.  He  can  have  also  a  soldering  iron  of 
the  same  breadth  and  roundness  as  is  the  valve.  Wit.h  this, 
heated,  he  can  place  sniall  particles  of  tin  upon  the  valve, 
and  a  little  resin,  and  can  carefully  pass  over  the  hot  iron 
that  he  may  not  move  the  valve,  but  that  the  tin  being  melted 
it  may  so  adhere  that  no  wind  can  come  out  in  its  circum- 
ference,  unless  only  into  the  upper  opening.  Which  being  done 
he  can  bring  it  to  his  mouth  and  blow  at  first  slightly,  then 
more,  and  then  strongly ;  and  according  to  what  he  discerns 
by  hearing,  he  can  arrange  the  sound,  so  that  if  he  wish  it 
strong,  the  opening  is  made  wider;  if  slighter,  however,  it  is 
made  narrower.  In  this  order  all  the  pipes  are  made ;  he  can 
make  the  measure  of  each,  from  the  valve  upwards,  according 
to  the  rule  inculcated,  but  from  the  valve  below,  all  will  be  of 
one  measure  and  of  the  same  thickness'. 


CHAPTER  LXXXII. 

OF    THE    ORGAN    ERECTION. 


In  the  manufacture  of  the  construction,  upon  which  the  pipes 
are  to  stand,  see  whether  you  intend  to  have  it  of  wood  or 
copper.  If  of  wood,  procure  for  yourself  two  pieces  of  wood 
of  the  plane  tree,  very  dry,  two  feet  and  a  half  in  length,  and 
in  breadth  rather  more  than  one;  one  four,  the  other  two 
fingers  thick,  which  must  not  be  knotty,  but  without  blemish. 
Which  being  carefully  joined  together,  in  the  lower  part  of 

1  Here  end  the  most  voluminous  of  the  MSS.  of  Theophilus  hitherto  known. 


346  THEOPHILI    LIBER    III. 

foramen  quadrangulum,  amplitudine  quatuor  digitorum  et 
circa  quod  reliquantur  de  eodem  ligno  limbus,  unius  digiti 
latitudinis  et  altitudinis,  in  quo  conflatorium  inponatur.  In 
superiori  parte  vero  lateris  fiant  cavaturae,  per  quas  flatus  ad 
fistulas  possit  pervenire.  Altera  vero  pars  ligni,  quae  et  su- 
periori  esse  debet,  metiatur  interius  sequaliter,  ubi  disponantur 
septem  vel  octo  cavaturae,  in  quibus  diligenter  jungantur  lin- 
guse,  ita  ut  habeant  facilem  cursum  educendi  et  reducendi, 
sic  tamen  ut  nichil  spiraminis  inter  juncturas  exeat. 


In  superiori  autem  parte  tonde  cavaturae,  contra  inferiores, 
quae  sint  aliquantulum  latiores,  in  quibus  jungantur  totidem 
ligna,  ita  ut  inter  haec  et  majus,  ligni  cavatura  remaneat 
vacua,  per  ventus  ascendat  ad  fistulas,  nam  in  eisdem  lignis 
foramina  fieri  debent,  in  quibus  fistulae  stabiliendse  sunt. 
Cavaturae  in  quibus  linguse  junctae  sunt  in  anteriori  parte, 
procedere  debeant  quasi  obliquse  fenestrse,  per  quas  ipsae  lin- 
guae  introducantur  et  extrahantur. 


In  posteriori  vero  parte,  sub  fine  ipsarum  linguarum,  fiant  fo- 
ramina  aaqualiter  lata  et  longa,  mensura  duorum  digitorum,  per 
quas  ventus  possit  ascendere  ab  inferioribus  ad  superiora,  ita  ut 
cum  linguse  impinguntur,  illa  foramina  ab  eis  obstruantur,  cum 
vero  trahuntur  denuo  pateant.  In  his  vero  lignis  quse  super  lin- 
guas  junguntur  fiant  foramina  diligenter  et  ordinate,  secundum 
numerum  fistularum,  uniuscujusque  toni,  in  quibus  ipsae  fistulae 
imponantur,  ita  ut  firmiter  stent,  et  ab  inferioribus  ventum 
suscipiant.  In  caudis  autem  linguarum  scribantur  litterae  se- 
cundum  ascensum  et  descensum,  cantus  quibus  possit  cog- 
nosci  quis  ille,  vel  ille  tonus  sit.  In  singulis  autem  linguis 
fiant  foramina  singula  gracilia,  longitudine  dimidii  digiti  mi- 
noris,  in  anteriore  parte,  juxta  caudas  in  longitudine,  in  qui- 
bus  ponantur  singuli  clavi  cuprei  capitati,  qui  pertranseant  in 
medio  fenestallas,  quibus  inducuntur  ipsse  linguae  a  superiori 
latere  domus  usque  ad  inferius,  et  appareant  clavorum  capita 


TRANSLATION.  347 

the  thicker  wood  a  square  hole  must  be  made  in  the  centre, 
four  fingers  in  breadth,  and  about  which,  borders  must  be  left 
of  the  same  wood  of  one  finger  in  breadth  and  height,  in 
which  the  bellows  can  be  placed.  In  the  upper  part  of  the 
side,  however,  small  hollows  are  made,  through  which  the 
wind  can  arrive  at  the  pipes.  But  the  other  part  of  the 
wood,  which  should  also  be  uppermost,  is  measured  out  in- 
side  equally,  where  seven  or  eight  small  openings  are  dis- 
posed,  in  which  the  stops  are  carefully  joined,  so  that  they 
may  have  an  easy  means  of  being  drawn  out  or  restored,  so 
however,  that  no  air  can  come  out  between  the  joins. 

In  the  upper  part,  however,  cut  small  openings  opposite 
the  lower  ones,  which  may  be  rather  wider,  in  which  may  be 
joined  so  many  pieces  of  wood,  so  that  between  these  and 
the  larger,  the  openings  of  the  wood  may  reniain  empty 
through  which  the  wind  can  mount  to  the  pipes ;  for  in  these 
same  pieces  of  wood  openings  should  be  made  in  which  the 
pipes  are  to  be  made  fast.  The  openings  in  which  the  stops 
are  fitted  in  the  front  part  should  increase,  like  slanting  win- 
dows,  through  which  these  stops  are  introduced  and  removed. 

In  the  hinder  part,  under  the  end  of  these  stops,  holes  are 
made  equally  wide  and  long  of  the  size  of  two  fingers,  through 
which  the  wind  can  ascend  from  the  lower  to  the  upper  parts, 
so  that  when  the  stops  are  pressed  upon  them  these  holes 
may  be  stopped  by  them ;  when,  however,  they  are  withdrawn 
they  may  again  lie  open.  In  those  pieces  of  wood  which  are 
joined  upon  the  stops  openings  are  made,  carefully  and  in 
order,  according  to  the  number  of  the  pipes  of  every  tone, 
in  which  these  pipes  are  placed,  so  that  they  may  stand  firmly 
and  receive  the  wind  from  the  lower  parts.  But  in  the  handles 
of  the  stops  letters  are  marked,  according  to  the  rise  and  fall 
of  the  sound,  by  which  it  can  be  known  which  tone  it  may 
be.  In  each  one  of  the  stops  single  slender  holes  are  made, 
half  of  the  little  finger  in  length,  in  the  front  part,  near  the 
handles,  lengthwise,  in  which  single  copper  headed  nails  may 
be  placed,  which  may  pass  through  the  small  windows  in  the 
middle,  by  means  of  which  these  stops  are  drawn  from  the 
upper  side  of  the  construction  down  to  the  lower,  and  the 


348 


THEOPHILI    LIBER    III. 


superius  ita,  ut  cum  linguee  cantantibus  organis  educuntur, 
non  penitus  extrahantur.  His  ita  dispositis  conglutinentur 
hsec  duo  ligna,  quae  domum  organorum  conficiunt  glutine 
casei ;  deinde  partes  illse  quae  super  linguas  sunt  junctae,  in 
quibus  foramina  stant,  sicque  circumcidantur  diligenter  et  ra- 
dantur. 


CAPUT    LXXXIII. 

DE    CONFLATORIO. 

CONFLATORIUM  facturus,  conjunge  tibi  duo  ligna  de 
platano  modo  quo  supra,  longitudine  pedis  unius,  quo- 
rum  sit  una  palma  spissum,  alterum  tribus  digitis,  sintque  in 
una  fronte  rotunda  in  modum  scuti,  et  ibi  pede  et  dimidio 
lata;  in  altera  fronte  obtusa,  latitudine  unius  palmi.  Quae 
cum  diligenter  conjuncta  fuerint  incide  in  spissiori  ligno  in 
rotunda  fronte  foramina  quod  volueris,  secundum  numerum 
follium,  et  in  obtusa  fronte  unum,  quod  sit  majus.  Deinde 
incide  ab  unoquoque  foramine  fossam  unam  deductim  usque 
ad  majus,  per  quas  viam  possit  habere  ventus  flantibus  follibus. 
Sicque  conglutinabis  ipsa  ligna  glutine  casei,  et  circumdabis 
panno  lineo  novo  et  forti,  quem  linies  eodem  glutine  ut  ad- 
haereat,  facies  quoque  ligaturas  ferreas  fortes,  interius  et  ex- 
terius  circumstagnatas,.  ne  possint  ex  tignea  '  dissolvi,  quas 
configes  clavis  longis  capitatis  atque  stagnatis,  ita  ut  inter 
duo  foramina  ligatura  sit,  quse  comprehendat  utrumque  lignum 
a  superius  latere  usque  ad  inferius.  Deinde  acquire  tibi  lignum 
curvum  de  quercu,  sanum  et  forte,  quod  habeat  in  una  fronte, 
a  curvatura  longitudinem  pedis  unius,  in  altera  duorum,  quod 
perforabis  in  utraque  fronte  terebro  magno,  quo  forantur 
medioli  in  rotis  aratri.  Sed  quia  foramina  non  possunt  sibi 
obviare  propter   curvaturam,    fac   tibi    ferrum    quod    habeat 

'  ex  tignaria  1  quasi  opere. 


TRANSLATIOX.  349 

heads  of  the  nails  appear  above,  so  that  when  the  stops  are 
vvithdrawn  from  the  sounding  instruments,  they  cannot  be 
quite  extracted.  These  things  being  thus  arranged,  these  two 
pieces  of  wood,  which  perfect  the  organ  house,  are  joined  to- 
gether  with  cheese-glue;  then  those  parts  which  are  joined 
over  the  stops,  in  which  the  holes  exist,  are  also  pared  round 
carefully,  and  scraped. 


CHAPTER  LXXXIII. 

OF    THE    BELLOWS. 


In  making  the  wind-chamber,  join  together  two  pieces  of  wood 
of  the  plane  tree,  in  the  above  mode,  of  one  foot  in  length,  one 
of  which  may  be  a  paim  thick,  the  other  three  fingers,  and  let 
them  be  round  at  one  end,  like  a  shield,  and  there  a  foot  and 
a  half  wide,  at  the  other  end  blunt,  a  palm  in  breadth.  When 
these  have  been  carefully  fitted  together,  cut,  in  the  round 
front  in  the  thicker  wood,  the  openings  which  you  wish,  ac- 
cording  to  the  number  of  the  bellows,  and  in  the  blunt  end 
one,  which  must  be  larger.  Then  cut,  from  each  opening,  a 
hollow  leading  to  the  larger  opening,  through  which  the  wind 
may  have  way  to  the  working  bellows;  and  you  will  thus 
glue  these  woods  together  with  the  cheese-glue,  and  you  will 
bind  them  round  with  a  linen  cloth,  new  and  strong,  which 
vou  anoint  with  the  same  casein  glue  that  it  may  adhere :  you 
also  make  strong  iron  bindings  tinned  over  within  and  with- 
out,  that  they  may  not  become  disunited  from  the  woodwork, 
these  you  will  fix  on  with  long  nails,  headed  and  tinned,  so 
that  between  two  openings  a  binding  may  exist,  which  may 
include  each  wood  from  the  upper  to  the  lower  side.  Then 
procure  for  yourself  a  curved  piece  of  oak  wood,  sound  and 
strono-,  which  must  have  at  one  end,  from  the  curve,  the 
length  of  one  foot,  in  the  other  of  two,  which  you  will  pierce 
in  each  end  with  a  large  auger,  with  which  the  middle  por- 
tions  are  pierced  in  the  wheels  of  ploughs.  But  because  the 
openings  cannot  nieet  together,  on  account  of  the  curve,  make 


350  THEOPHILI    LIBER    III. 

caput  rotundum  in  modum  ovi,  et  caudam  longam  gracilem, 
quse  imponatur  manubrio,  sitque  juxta  caput  modice  curvum, 
cum  quo  calefacto,  combures  foramina  interius  in  curvatura, 
donec  sibi  aequaliter  conveniant.  Quo  facto,  incide  ipsum 
lignum  '  quadrico  statum,  ita  ut  in  unoquoque  latere  uno 
palmo  latum  sit,  ad  mensuram  conflatorii  in  obtusa  parte. 
Post  hsec  conjunge  ipsum  lignum  in  longiori  parte,  ad  infe- 
rius  foramen  domus  organariae,  ita  ut  eidem  ligno  cauda  inci- 
datur,  unius  pollicis  longa,  quse  ipsi  foramini  inponatur,  vel 
inferatur,  et  junctura  tam  subtiles  sit,  ut  nichil  flatus  inter 
eam  exire  quseat.  Alteram  vero  frontem  conjunges  eodem 
modo  ad  conflatorium,  et  ipsum  lignum  glutine  casei  firmabis, 
atque  circumvolves  panno  totum  lignum  cum  junctura,  cui 
etiam  circumfiges  cuprum  latum  quod  utriusque  ligni  oram 
capiat.  His  ita  completis,  si  volueris  organa  ultra  maceriam 
muri  stabilire,  ita  ut  infra  monasterium  nichil  appareat,  nisi  sola 
domus  cum  fistulis,  et  ex  altera  parte  muri  folles  jaceant,  ita 
oportebit  te  ipsam  domum  convertere  ut  linguae  versus  folles 
extrahantur,  et  in  ipso  muro  arcus  fiat  in  quo  cautor  sedeat, 
cujus  sedes  ita  aptetur,  ut  pedes  supra  conflatorium  teneat. 
Est  autem  foramen  quadrum  in  medio  arcus  trans  maceriam, 
per  quod  domus  cum  fistulis  exponitur ;  et  super  collum  con- 
flatorii,  quod  in  muro  infra  foramen  lapidibus  obfirmatum 
est,  in  sua  junctura  sistitur,  atque  super  duos  clavos  ferreos 
sequaliter  in  muro  confixos  nititur,  cui  foramini  fenestra  lignea 
appendet,  quae  dum  clausa,  sera  et  clave  munitur,  nemo 
ignotus  superveniens  congnoscere  valet  quid  in  ea  contineatur. 
Exterius  quoque,  super  organa,  pannus  spissus  lignis  interius 
extensus,  iu  modum  domunculae,  a  laqueari  in  funiculo  ad 
arcendum  pulverem  dependeat,  qui  funiculus  super  ipsum 
Jaqnear  circa  rotulam  arte  compositus,  dum  cantandum  est 
organis  trahitur,  et  domunculam  elevat,  finitoque  cantu,  denuo 

1  quadrato? 


TRANSLATION.  35 1 

for  yourself  an  iron  which  may  have  a  round  head,  like  an 
egg,  and  a  long  thin  stem,  which  is  fitted  with  a  handle,  and 
let  it  be  slightly  curved,  near  the  head,  with  which,  made  hot, 
you  burn  the  holes  curved  inside,  until  they  meet  together  in 
an  even  manner.  Which  being  done,  cut  this  wood  in  a  square 
manner,  set  so  that  it  be  one  palm  wide  in  each  side,  to  the  size 
of  the  wind-chamber  in  the  blunt  part.  After  these  things  join 
this  wood  on  the  longer  part,  to  the  lower  opening  of  the  organ 
construction,  so  that  a  projection  may  be  cut  to  the  same 
wood  a  thumb  in  length,  which  can  be  placed,  or  forced  into 
this  opening,  and  that  the  join  be  so  subtle  that  no  wind  can 
escape  from  it.  You  join  on  in  the  same  manner  the  other 
end  to  the  bellows,  and  will  fasten  this  wood  with  cheese 
glue,  and  will  wrap  round  the  whole  wood,  with  the  join, 
with  cloth,  to  which  you  also  fix  a  wide  piece  of  copper  which 
may  also  compass  the  edge  of  each  wood.  These  things 
being  thus  completed,  should  you  wish  to  establish  the  organ 
beyond  the  masonry  of  the  wall,  so  that  nothing  may  appear 
beneath  the  cloister,  unless  the  erection  alone  with  the 
pipes,  and  that  the  bellows  may  extend  from  the  other  side, 
you  must  so  turn  the  construction  that  the  stops  may  be 
drawn  out  towards  the  bellows,  and  an  arch  may  be  made  in 
the  wall  itself  in  which  the  chanter  can  sit,  whose  seat  is  so 
adapted  that  he  can  keep  his  feet  above  the  bellows.  There 
is  also  a  square  opening  in  the  middle  of  the  arch  through 
the  masonry,  through  which  the  construction  with  the  pipes 
is  laid  out ;  and  upon  the  neck  of  the  bellows  which  is  in  the 
wall,  beneath,  the  opening  is  made  firm  with  stones,  it  is  sup- 
ported  at  its  junction,  and  is  rested  upon  two  long  iron  nails 
evenly  fixed  in  the  wall ;  to  this  opening  a  wooden  window 
hangs,  which,  when  shut,  is  defended  by  a  lock  and  key,  that 
no  stranger  coming  unawares  be  able  to  learn  what  may  be 
contained  in  it.  Outside  also,  above  the  organ,  a  thick 
drapery,  extended  inside  with  wood  like  a  dome,  for  warding 
off  the  dust,  can  hang  by  a  rope  from  the  ceiling,  which  rope 
arranged  with  art  around  a  wheel  above  the  ceiling  itself,  is 
drawn  whilst  the  organ  is  sounding,  and  thus  raises  the  roof, 
and  the  chant  being  finished,  it  is  lowered  upon  the  organ. 


352  THEOPHILI    LIBER    III. 

super  organa  deponitur.  Habet  quoque  ipsa  domuncula 
pinnam  ex  eodem  panno,  lignis  quatuor  in  speciem  trianguli 
extensam,  in  cujus  summo '  sperula  lignea  stet,  cui  funiculus 
inhseret.  Folles  et  instrumentum  super  quod  jaceant,  secundum 
situm  loci  ad  libitos  tuos  dispone. 


CAPUT   LXXXIV. 

DE    DOMO    CUPREA    ET    CONFLATORIO    EJUS. 

SECUNDUM  abundantiam  fistularum  dispone  longitudi- 
nem  et.  latitudinem  domus,  et  fac  formam  in  argilla  ma- 
cerata,  siccatamque  diligenter  incide  quacunque  mensura 
volueris,  et  cooperi  cera,  diligenter  inter  duas  aequaliter  spissas 
hastulas  cum  rotundo  ligno  attenuata.  Deinde  incide  fora- 
mina  linguarum  in  ipsa  cera,  et  foramen  inferius,  per  quod 
ventus  introeat;  additis  spiraculis,  cum  infusorio  cooperi 
eadem  argilla  semel,  et  iterum  ac  tertio.  Cunque  siccata 
fuerit  forma,  eodem  modo  funde  quo  supra  formam  turibuli. 
Conflatorium  quoque  formabis  in  argilla  procedentibus  undi- 
que  inferius  venti  aditibus,  ad  similitudinem  radicis  unius 
arboris,  et  in  summo  in  ununi  foramen  convenientibus.  Quod 
cum  mensurate  dispositum  cultello  incideris,  cooperi  cera,  et 
fac  sicut  supra.  Cumque  domus  fuderis  conjunges  interius 
alritudine  unius  digiti  a  fundo,  tabulam  cupream  ductilem  sub 
foraminibus  linguarum  aequaliter,  ut  supra  eam  ipsae  linguae 
jaceant,  ita  ut  possint  aequaliter  produci  etinduci,  illitisque  ipsis 
linguis  tenui  argilla,  reliquum  domus  perfundes  liquefacto 
phunbo,  per  omnia,  super  ipsas  linguas  usque  ad  summum. 
Quo  facto,  ejicies  ipsum  plumbum  diiigenter  designabisque 
foramina  fistularum  in  linguis ;  dtinde  in  ipso  plumbo  et  cum 
gracili  ferro,  vel  terebro,  perforabis  diligentissime.  Deinde 
sub  linguis  ventorum  aditibus2  facies,  induces  ipsas  linguas 
singulas  in  suis  locis,  atque  repones  plumbum  et  cum  malleo 

1  spheiula  ?  *  "aditus"  imo. 


TRANSLATION.  353 

This  dome  also  lias  a  spire,  made  from  the  same  cloth,  ex- 
tended  by  four  pieees  of  wood  in  shape  of  a  triangle,  at  the  top 
of  which  a  small  wooden  ball  can  stand,  to  which  the  rope 
cleaves.  The  bellows  and  the  instrument  upon  which  they 
may  lie,  arrange  at  your  pleasure  according  to  the  situation 
of  the  spot. 


CHAPTER  LXXXIV. 

OF   THE    COPPER    CONSTRUCTION    AND    ITS    BELLOWS. 

Dispose  the  length  and  width  of  the  case  according  to  the 
number  of  the  pipes,  and  make  a  mould  in  beaten  clay,  and 
being  dry  cut  it  to  whatever  size  you  may  wish,  and  cover  it 
with  wax  carefully  thinned,  between  two  rods  equally  thick, 
vvith  the  round  wood.  Then  cut  the  openings  of  the  stops  in 
this  wax,  and  the  hole  below  through  which  the  wind  can 
enter ;  the  air-holes  with  the  funnel  being  added,  cover  alto- 
gether  with  the  same  clay,  and  again,  and  a  third  time.  And 
when  the  mould  has  become  dry,  cast  in  the  same  manner 
as  the  form  of  the  censer  abovementioned.  You  will  also 
fashion  the  bellows  in  clay,  the  wind-issues  proceeding  every- 
where  below  in  the  similitude  of  the  roots  of  a  tree,  and  meet- 
ing  at  the  top  in  one  opening.  Which,  when  disposed  in 
rule  you  have  cut  with  a  knife,  cover  with  wax  and  act  as 
above.  And  when  you  have  cast  the  case,  you  join,  inside, 
at  the  height  of  one  finger  from  the  bottom,  a  beaten  copper 
plate,  in  an  even  manner  under  the  openings  of  the  stops,  that 
these  stops  may  rest  upon  it,  so  that  they  can  be  smoothly 
drawn  forth  and  returned ;  and  lining  these  stops  with  thin 
clay,  you  pour  over  the  rest  of  the  case  some  melted  lead 
everywhere,  over  these  stops  up  to  the  top.  This  being  done, 
you  cast  out  this  lead  and  will  carefully  mark  the  openings  of 
the  pipes  in  the  stops ;  then  you  will  most  carefully  perforate 
in  this  lead  with  a  thin  iron  or  with  a  bore.  Then  you  make 
the  issues  for  the  wind  under  the  stops  ;  you  introduce  these 
stops  singly  in  their  places,  and  you  replace  the  lead  and  you 

A   A 


354  THEOPHILI    LIBER    III. 

in  percutiendo  conjunges  domui,  ut  nichil  spiraminis  exeat, 
nisi  per  foramina  quibus  fistulse  inponendse  sunt.  Cum  vero 
conflatorium  fuerit  fusum  et  limatum,  atque  uniuscujusque 
follis  fistula  suo  inductorio  coaptata,  conjungi  et  firmiter  con- 
solidari  debet  ad  domum  organariam  inferius,  ita  ut  ventus 
suos  aditus  libere  inveniat,  et  per  alias  juncturas  nulla- 
tenus J  exeat.  Hoc  quoque  sollerterius 2  procurandum  est, 
ut  in  capite  uniuscujusque  follis,  ante  foramen  fistulse  suae, 
cuprum  tenue  dependeat,  quod  spiraminis  claudat  aditum,  ita 
ut  cum  follis  flando  deponitur  illud  cuprum  se  elevet,  et  ventus 
pleniter  exeat;  cumque  follis  elevatur  ut  per  ventilabrum 
suum  flatum  resumat,  illud  cuprum  os  ejus  penitus  claudat,  et 
ventum  quem  emisit  redire  non  permittat. 


CAPUT    LXXXV. 

DE    CAMPANIS    FUNDENDIS. 

COMPOSITURUS  campanam  primum  incides  tibi  lignum 
siccum  de  quercu,  longum  secundum  quod  vis  habere 
campanam,  ita  ut  ex  utraque  parte  extra  formam  emineat  longi- 
tudine  unius  palmi,  et  quadrum  in  una  summitate  grossius,  in 
aliam  gracilius  et  rotundum,  ut  possit  in  foramine  circumvolvi. 
Sitque  deductim 3  grossius  et  grossius,  ut  cum  opus  fuerit 
perfectum  facile  possit  educi.  Quod  lignum  in  grossiori  parte 
una  palma  ante  summitatem  incidatur  in  circuitu,  ut  fiat  fossa 
duobus  digitis  lata,  sitque  lignum  ibi  rotundum,  juxta  quam 
fossam  summitas  ipsius  ligni  fiat  tenuis,  ut  in  aliud  lignum 
curvum  jungi  possit,  per  quod  valeat  in  modum  runcinae 
circumverti.  Fiunt  etenim  duo  asseres  longitudine  et  latitu- 
dine  sequales  qui  altrinsecus  conjungantur  et  confirmenter 
quatuor  lignis,  ita  ut  sint  ampli  4  inter  se  secundum  longitu- 
dinem  prsedicti  ligni ;    ut  in  uno  assere  fiat  foramen  in  quo 

1  "  nulla  teneus,"  habet  Codex.  *  "  Sollertius,"  imb. 

3  "deductum?"  4  "ampla,"  in  Codice  inven. 


TRANSLATION.  355 

fit  them  to  the  construction  by  beating  with  the  hammer,  so 
that  no  wind  can  issue,  unless  through  the  openings  in 
which  the  pipes  are  placed.  When  the  wind-case  has  been 
cast  and  filed,  and  the  pipe  of  each  air-issue  fitted  to  its 
conductor,  it  should  be  joined  together  and  firmly  soldered 
below  to  the  organ  construction,  so  that  the  wind  may  find 
its  access  freely,  and  can  in  nowise  issue  through  the  other 
joints.  This  also  is  to  be  carefully  provided,  that  a  thin  piece 
of  copper  may  hang  down  before  the  opening  of  its  pipe, 
which  can  close  the  access  of  the  air-hole,  so  that  when  by 
the  breathing  of  the  bellows  this  copper  is  displaced,  it  may 
rise,  and  the  wind  may  freely  issue;  and  when  the  bellows  is 
raised,  so  that  it  may  recover  air  through  its  own  ventilator, 
this  copper  can  quite  close  its  mouth  and  not  permit  the 
wind  which  it  emitted  to  return. 


CHAPTER  LXXXV. 


OF    FOUNDING   BELLS. 


In  making  a  bell,  first  cut  a  dry  piece  of  wood,  as  long  as  you 
wish  to  have  the  bell,  so  that  on  every  side  it  may  protrude 
beyond  the  shape  to  the  length  of  one  palm,  and  let  it  be 
square  at  one  larger  end,  at  the  other  more  pointed  and  round, 
so  that  it  can  be  revolved  in  a  hole.  And  let  it  be  drawn  out 
larger  and  larger,  so  that,  when  the  work  has  been  finished, 
it  can  easily  be  taken  out.  This  wood  must  be  cut  around 
in  the  thicker  part,  one  palm  before  the  end,  that  a  hollow 
may  be  made  two  fingers  wide,  and  let  the  wood  be  there 
round;  near  this  furrow  the  extremity  of  the  wood  is  made 
thin,  that  it  may  be  joined  in  another  curved  wood,  by  which 
it  is  able  to  be  revolved  like  a  lathe.  Two  planks  are  also 
made,  equal  in  length  and  width,  which  are  joined  together 
and  made  firm  with  four  pieces  of  wood,  so  that  they  may  be 
wide  between  each  other  according  to  the  length  of  the  afore- 
said  wood ;  a  hole  should  be  made  in  one  plank  in  which  the 

a  a  2 


356  THEOPHILI    LIBER    III. 

convertatur  rotunda  summitas,  et  in  altero  e  contra  aequaliter 
fiat  incisura  duobus  digitis  profunda,  in  qua  volvatur  rotunda 
incisura.  Quo  facto,  sume  ipsum  lignum  et  circumpone  ei 
argillam  fortiter  maceratam,  inprimis  duobus  digitis  spissam, 
qua  diligenter  siccata,  suppone  ei  alteram,  sicque  facies  donec 
forma  compleatur  quantam  eam  habere  volueris,  et  cave  ne 
unquam  superponas  argillam  alteri  nisi  inferior  omnino  sicca 
fnerit.  Deinde  colloca  ipsam  formam  inter  asseres  super- 
scriptos,  et  sedente  puero  qui  vertat,  cum  ferris,  ad  hoc  opus 
aptis,  tornabis  eam  sicut  volueris  et  tenens  pannum  in  aqua 
madefactum  eam  aequabis. 


Post  haec  tollens  adipem  concide  subtiliter  in  vase  atque 
manibus  macera,  confixisque  duobus  sequalibus  lignis  spis- 
situdine  qua  volueris,  super  asserem  aequalem  in  medio 
eorum  positum  adipem  attenuabis,  et  sequabis  cum  ro- 
tundo  ligno,  sicut  cera  superius,  supposita  aqua  ne  ad- 
hereat,  statimque  ita  repente  levabis  et  colocabis  super 
formam,  atque  calido  ferro  circumsolidabis.  Rursum  at- 
tenuans  eodem  modo  unam  partem  adipis,  juxta  priorem 
collocabis,  sicque  facies  donec  formam  cooperies.  Oram  vero 
campanae  ad  libitum  tuum  spissam  facies.  Adipem  autem 
omnino  refrigeratum  ferris  acutis  tornabis,  et  si  quid  rari 
operis  volueris  circa  latera  campanae,  florum,  sive  literarum, 
in  adipe  exarabis,  quatuorque  foramina  triangula  juxta  collum 
ut  melius  tinniat  formabis.  Deinde  argiliam  cribratam  et  di- 
ligenter  mixtam  superpones,  qua  siccata,  alteram  et  super- 
addes.  Ea  itidem  omnino  siccata  convertes  formam  in  latus, 
atque  leniter  percutiendo  educes  lignum,  rursumque,  elevata 
forma,  foramen  superius  implebis  argilla  molli,  et  curvum  fer- 
rum,  in  quo  batillus  pendere  debet,  in  meditullio  imprimes, 
ita  ut  summitates  ejus  foris  emineant.  Cumque  siccata  fuerit 
argilla,  fac  ut  sequalis  sit  reliquae  formse,  atque  cooperi  adipe, 
ita  ut  summitates  ferri  in  ipso  abundanter  hsereant.  Post 
hsec  forma  collum,  atque  aures,  et  spiraculum  sive  infusorium 


TRANSLATION.  357 

rounded  top  can  be  turned,  and  in  the  otber  alike,  opposite, 
an  incision  must  be  made  two  fingers  deep,  in  which  the 
round  cutting  can  be  revolved.  Which  beino-  done  take  the 
block  itself  and  apply  strongly  beaten  clay  round  it,  first  of  all 
two  fingers  thick,  which  being  carefully  dry,  apply  another 
upon  it,  and  you  do  thus  until  the  mould  be  supplied  as  you 
may  wish  to  have  it,  and  beware  that  you  never  at  any  time 
superpose  clay  upon  other  (clay),  unless  that  below  has  become 
perfectly  dry.  Then  set  this  mould  between  the  before-men- 
tioned  planks,  and,  the  boy  who  can  revolve  it  being  seated,  you 
will  turn  it  as  you  may  wish,  and  holding  a  cloth  moistened 
in  water  you  will  smooth  it. 

After  this,  taking  tallow,  cut  it  up  very  finely  and  macerate 
it  with  the  hands,  and  two  even  pieces  of  wood  being  fixed 
together  of  the  thickness  you  may  wish,  you  will  thin  out 
the  tallow  placed  between  them  upon  an  even  board,  witli 
the  wooden  roller,  as  the  wax  above,  water  being  placed 
under  that  it  may  not  adhere,  and  so  you  will  immediately  lift 
it  suddenly,  and  will  lay  it  upon  the  mould  and  will  fasten 
it  round  with  a  hot  iron.  Again,  thinning  a  piece  of  grease, 
in  the  same  manner,  you  will  fasten  it  next  to  the  first, 
and  do  thus  until  you  cover  the  mould.  You  make  the 
rim  of  the  bell  of  the  thickness  you  please.  You  will 
turn  the  grease,  when  quite  cold,  with  sharp  instruments, 
and  should  you  wish  any  ornament  about  the  sides  of  the 
bell,  of  flowers,  or  letters,  you  will  hollow  them  out  in  the 
tallow,  and  will  fashion  four  openings  near  the  neck,  that  it 
may  sound  better.  You  then  superpose  clay,  sifted  and  care- 
fully  mixed,  which  being  dry  you  add  other  above  it.  That 
again  being  quite  dry,  you  turn  the  mould  upon  its  side  and 
remove  the  wood  by  striking  gently,  and  the  mould  being 
again  raised  you  will  fill  the  opening  above  with  soft  clay, 
and  you  impress  the  curved  iron,  in  which  the  clapper 
should  hang  in  the  middle,  so  that  its  extremities  may  project 
outside.  And  when  the  clay  has  become  dry,  make  it  even 
with  the  rest  of  mould  and  cover  it  with  tallow,  so  that  the 
ends  of  the  iron  may  adhere  well  in  it.  After  these  things 
form  the  neck,  and  the  handles,  and  the  air-hole,  or  funnel, 


358  THEOPHILI    LIBER    III. 

desuper,  et  cooperi  argilla.  Dumque  tertio  argilla  per  om- 
nia  fuerit  siccata,  circumpone  ferreos  circulos  tam  dense,  ut 
non  plus  inter  duos  circulos  quam  latitudo  manus,  quibus  cir- 
culis  duas  argillas  superpone.  Quibus  siccatis  converte  ipsam 
formam  in  latus,  et  in  interiori  argilla,  incide  fossam  magnam 
in  circuitu  et  in  profundo,  ut  non  remaneat  spissior  uno  pede, 
quia  si  integra  esset  forma  interius,  prae  nimio  pondere  non 
possit  levari,  ne  prse  spissitudine  transcoqui. 


Deinde  fac  foveam  in  loco  ubi  volueris  ipsam  formam  subin- 
trare  ad  recoquendum,  profundam  secundum  altitudinem  ejus 
in  latitudine,  et  cum  lapidibus  atque  argilla  fac  in  similitudinem 
fundamenti,  pedem  fortem,  supra  quem  forma  stabit  altitudine 
unius  pedis,  ita  ut  in  medio  ultra  indirectum  remaneat,  spatium 
quasi  via,  pede  et  dimidio  lata,  in  qua  ardeat  ignis  sub  forma. 
Quo  facto  confige  quatuor  ligna  sursum  procedentia  usque  ad 
sequalitatem  terrse,  juxta  ipsum  pedem,  et  statim  reple  foveam 
terra.  Statimque  deduces  ipsam  formam  et  statues  eam  in 
medio  lignorum  illorum  cequaliter  et  ex  una  parte,  sub  ipsa 
forma,  incipe  terrain  ejicere.  Cumque  se  inclinaverit,  fode  in 
parte  altera,  donec  se  rursum  illic  inciinet,  sicque  facies  ex 
utraque  parte  quousque  forma  super  pedem  lapideum  aequa- 
liter  sedeat.  Mox  ejectis  lignis,  quse  ad  hoc  solum  contixa 
fuerint,  ut  formam  recte  deducerent,  assumptisque  lapid- 
ibus  qui  fiammam  possint  sustinere  atque  argilla  fac  oram 
ex  utraque  parte  ante  illud  spatium  viae,  quam  in  me- 
dio  pedis  reliquisti,  atque  in  circuitu  operare  fornacem, 
spatio  dimidii  pedis  a  forma.  Cumque  operando  perve- 
neris  ad  medium  formae,  purga  oram  fornacis,  et  in  ora  ip- 
sius  formae  ex  utraque  parte  fac  unum  foramen,  per  quod 
adeps  possit  effluere,  suppositisque  vasis,  ignem  et  sicca 
ligna  adhibe.  Et  cum  calefacta  forma  coeperit  adeps  exire, 
perfice  pede  tepentem  fornacem  usque  ad  summum  formae, 
et  super  os  pones  operculum  ex  argilla  sive  ex  ferro.     Educto 


TRANSLATION.  359 

above  them,  and  cover  with  clay.  And  when  the  clay  has  a 
third  time  become  dry,  place  iron  hoops  around  so  closely 
that  there  may  not  be  more  than  the  breadth  of  a  hand  be- 
tween  two  hoops,  upon  which  hoops  place  two  layers  of  clay. 
These  being  dry,  turn  the  mould  upon  its  side  and  cut  a  large 
hollow  in  the  inside,  in  the  circumference  and  in  depth,  that 
it  may  not  remain  thicker  than  one  foot,  because,  were  the 
mould  whole  within,  it  could  not  be  raised,  on  account  of  the 
exceeding  weight,  nor  be  cooked  through,  for  the  thickness. 

Then  make  a  cave  in  the  place  where  you  wish  this  mould 
to  enter  for  cooking,  deep,  according  to  the  height  of  the 
breadth,  and  make  a  strong  base,  as  a  foundation,  with  stones 
and  clay  upon  which  the  mould  will  stand  at  the  height 
of  one  foot,  so  that  in  the  middle  a  rough  space  as  a  path,  a 
foot  and  a  half  wide,  may  remain  on  either  side,  in  which  the 
fire  can  burn  under  the  mould.  Which  being  done,  fix  four 
posts,  projecting  upwards  to  the  level  of  the  ground,  about 
this  foundation,  and  immediately  fill  up  the  cave  with  earth. 
You  directly  lower  the  mould  and  establish  it  evenly  in  the 
midst  of  these  posts,  and  begin  to  cast  out  the  earth  on  one 
side,  from  under  the  mould.  And  when  it  shall  have  inclined, 
dig  on  the  other  side,  untii  it  again  incline  itself  there,  and  do 
thus  on  every  side  until  the  mould  lie  in  an  even  manner 
upon  the  stone  base.  Directly  withdrawing  the  posts,  which 
were  fixed  for  this  purpose  alone,  that  they  might  guide  the 
mould  down  straightly,  and  stones  which  can  sustain  the  fire, 
being  taken,  and  clay,  make  the  mouth  of  the  furnace  on 
each  side,  before  that  space  of  the  path  which  you  had  left  in 
the  midst  of  the  base,  and  build  the  furnace  around  at  the 
distance  of  half  a  foot  from  the  mould.  And  when,  in 
working,  you  have  reached  the  middle  of  the  mould,  clear 
the  mouth  of  the  furnace,  and  make  an  opening  in  the  rim  of 
the  mould  itself,  on  each  side,  through  which  the  grease  may 
be  able  to  flow  out,  and  vessels  being  placed  underneath, 
apply  fire  and  dry  wood.  And  when,  the  mould  being  heated, 
the  grease  has  commenced  to  issue  out,  finish  the  warm  fur- 
nace  from  the  foot  to  the  top  of  the  mould,  and  lay  a  cover 
over  the  mouth  with   clay  or  iron.     But  the  grease  being 


360  THEOPHILI    LIBER   III. 

autem  penitus  adipe,  obstrue  foramina  utraque  argilla  macc- 
rata  recta  mensura,  ita  ut  non  violetur  ora  campanae,  et  circa 
formam  abundantius  adhibe  ligna,  ut  per  totam  diem  sequen- 
temque  noctem  ignis  non  deficiat.  Interim  tolle  cacabum 
ferreum  in  fundo  rotundum,  huic  solummodo  operi  aptum, 
qui  ex  utraque  parte  aures  ferreas  duas  habeat,  aut  si  maxima 
campana  erit,  duos  vel  tres,  et  illinies  eos  interius  et  exterius 
argilla  fortiter  macerata,  semel  et  iterum  ac  tertio,  donec  duo- 
bus  digitis  spissa  sit,  et  sistes  eos  altrinsecus  contra  se,  ita  ut 
inter  eos  iri  possit,  et  sub  eis  pones  terram  simplicem  atque 
circumfiges  paxillos  ligneos  in  duobus  vero  locis,  vel  si  opus 
fuerit  tribus,  ubi  folles  apponi  debent,  figes  duos  paxillos 
fortiter  sequaliter  latos,  et  inter  eos  facies  foramen  contra  oram 
cacabi,  ita  ut  ventus  inter  eum  veniat,  et  singulis  foraminibus 
inpones  singulos  ferros  tenues  atque  complicatos,  ita  ut  in  eis 
possint  fistulse  follium  firmiter  jacere;  sicque  cum  lapidibus 
et  argilla  facies  super  ipsum  cacabum  in  circuitu  fornacem, 
pede  et  dimidio  altam,  atque  interius  aequaliter  linies  cuni 
eadem  argilla,  sicque  carbones  ignitos  appones.  Cumque 
singulis  cacabis  similiter  feceris,  folles,  et  cum  instrumentis 
suis  in  quibus  firmiter  jaceant,  appones,  unicuique  foramini 
duos,  et  unicuique  folli  deputabis  fortes  viros  duos.  Cum 
autem  cacabi  interius  bene  canduerint,  incide  unicuique  duo 
ligna  de  quercu  sicca  et  grossa,  sic  apta  ut  possint  fundum  in- 
terius  implere,  et  inter  ea  foramen  facies  per  quod  possit  eis  in- 
fluere,  atque  super  hsec  duo  ligna,  alia  ejusdem  mensurae,  et 
in  circuitu  ex  eodem  ligno  pone  quasi  paxillos  prominentes  ab 
his  lignis  usque  super  oram  fornacis. 


Quo  facto,  ponderabis  omne  aeramentum  quod  habes,  aut 
quatuor  partes  sint  cupri  et  quinta  stagni,  atque  dispones  unicui- 
que  cacabo,  secundum  suam  capacitatem,  suas  partes.  Deinde 
vadens  ad  fornacem  formae,  eleva  superius  operculum  et  consi- 
dera  qualiter  se  habeat.  Si  omnino  canduerit  interius  recurra 
ad  cacabos  et  primitus  immitte  carbones  grossos.     Deinde  im- 


TRANSLATION.  36 1 

utterly  withdrawn,  close  both  openings  vvith  beaten  clay,  to 
the  proper  measure,  so  that  the  rim  of  the  bell  may  not  be  in- 
jured,  and  supply  wood  more  abundantly  about  the  mould,  that 
for  the  whole  day  and  the  following  night  the  fire  may  not 
be  wanting.  In  the  mean  time  take  an  iron  pot,  round  at  the 
bottom,  fit  only  for  this  work,  which  must  have  on  each  side 
two  iron  handles,  or  should  the  bell  be  large,  two  or  three 
(pots)  and  you  anoint  them  inside  and  out  with  clay  beaten 
strongly,  once  and  again  and  a  third  time,  until  it  be  two 
fingers  thick,  and  stand  them  on  either  side  opposite  each 
other,  so  that  there  may  be  way  between  them,  and  place 
simple  earth  under  them,  and  fix  them  round  with  wooden 
stakes,  in  two,  or  if  necessary,  three  places ;  where  the  bel- 
lows  should  be  applied  you  fix,  strongly,  two  stakes  equally 
wide,  and  between  them  you  make  an  opening  against  the 
niouth  of  the  pot,  so  that  the  wind  can  come  into  it,  and  in 
separate  holes  you  insert  separate  irons,  thin  and  bent,  so 
that  the  pipes  of  the  bellows  may  be  able  to  lie  in  them  firmly ; 
and  thus  you  make  over  this  pot,  with  stones  and  clay,  a  fur- 
nace  around  it,  a  foot  and  a  half  high,  and  you  line  it  inside 
smoothly,  with  the  same  clay,  and  so  apply  ignited  coals. 
And  when  you  have  done  alike  to  the  separate  pots,  set  the 
bellows  with  their  instruments  in  which  they  may  lie  firmly, 
two  to  each  opening,  and  to  each  bellows  you  will  depute  two 
strong  men.  When,  however,  the  inside  of  the  pot  has  be- 
come  quite  glowing,  cut,  to  each  one,  two  blocks  of  oak,  dry 
and  thick,  so  fit  that  they  may  be  able  to  fill  the  bottom  of 
the  pot  inside,  and  make  an  opening  in  the  middle  of  them 
through  which  one  might  pour  in,  and  upon  these  place  two 
other  pieces  of  wood  of  the  same  size,  and  around  place  a 
kind  of  stakes,  from  the  same  wood,  protruding  from  these 
blocks  above  the  mouth  of  the  furnace.  This  being  done, 
you  will  weigh  all  the  brass-work  which  you  have,  or  four 
parts  may  be  of  copper  and  a  fifth  of  tin,  and  you  appoint  to 
each  pot  its  proportions,  according  to  its  capacity.  Then 
going  to  the  mould  furnace,  raise  the  covering  above  and  see 
how  it  niay  act.  If  it  should  quite  glow  inside,  run  back  to 
the  pots,  and,  first  of  all,  put  in  some  large  coals.     Then  lay 


362  THEOPHILI    LIBER    III. 

pone  cuprum  ordinatim  absque  stagno,  atque  intermisce  car- 
bones  adjiciens  abundanter  superius,  interjectisque  ignitis  car- 
bonibus  fac  ut  folles  incipiant  flare,  primo  mediocriter,  deinde 
magis  ac  magis.  Cumque  videris  flammam  viridem  ascendere, 
jam  incipit  cuprum  liquescere,  moxque  super  ponens  carbones 
abundanter,  recurre  ad  fornacem  formae,  et  a  superiori  incipe 
longis  forcipibus  lapides  evellere  et  foras  projicere.  Hoc 
opus  in  hoc  loco  non  quserit  pigros  operarios,  sed  agiles  atque 
studiosos,  ne  cujusquam  incuria,  vel  forma  frangatur,  vel  quis 
alium  impediat  aut  lsedat,  sive  ad  iracundiam  provocet,  quod 
omnino  cavendum  est.  Ejectis  vero  omnino  lapidibus  et  igne 
denu6  certatim  reponatur  terra,  ut  fossa  omnis  circa  formam 
diligenter  repleatur,  et  sint  qui  semper  circumeant  cum  lignis 
obtusis,  mediocriter  impingendo  et  pedibus  fortiter  calcando, 
ut  terra  quse  inponitur  formam  prernat,  ne  cum  pondus  aeris 
infunditur  ullomodo  frangi  possit. 


Repleta  igitur  hoc  modo  fossa  usque  ad  summum,  recurre  ad 
cacabos,  et  ligno  longo  et  torrido  commove  cuprum,  et  si  sense- 
ris  omnino  liquefactum  inpone  stagnum,  rursumque  commove 
diligenter  ut  bene  commisceatur,  fractaque  fornace  in  circuitu 
induce  duo  ligna  fortia  et  longa  in  aures  cacabi,  adhibitisque 
viris  strenuis  et  in  hac  arte  peritis,  fac  eum  levari  cum  omni  dili- 
gentia  et  ad  formam  deferri,  ejectisque  carbonibus  et  favillis  at- 
que  imposito  collatorio  panno  fac  morose  infundi.  Interim  cuba 
juxta  os  formse  auditu  diligenter  considerans  qualiter  eo  intro 
procedat ;  et  si  senseris  quasi  leve  murmur  tonitru,  dic  ut  mo- 
dice  teneant,  rursumque  infundant ;  sicque  interdum  tenendo 
et  iterum  infundendo  fiat  ut  ses  sequaliter  resideat,  donec 
evacuetur  cacabus  ille.  Quo  amoto,  mox  alter  delatus  in 
eodem  loco  statuatur,  fiat  de  eo  sicut  ex  priori,  et  pari  modo 
de  tertio  donec  ses  in  infusorio  videatur.     Nec  statim  cacabus 


TRANSLATION.  363 

in  the  copper,  in  order  without  the  tin,  and  intermingle  coals, 
casting  them  abundantly  above  it,  and  ignited  coals  being 
cast  in,  cause  the  bellows  to  commence  blowing,  at  first 
moderately,  then  more  and  more.  And  when  you  see  a  green 
flame  ascend,  now  the  copper  begins  to  melt,  and  immedi- 
ately  superposing  coals  plentifully,  run  back  to  the  mould 
fumace,  and  with  the  long  tongs  begin  to  pluck  out  the 
stones,  and  to  throw  them  away.  This  work  does  not  de- 
mand  in  this  place  slothful,  but  agile  and  diligent  workmen, 
lest  through  neglect  of  any  kind  either  the  mould  be  broken, 
or  one  may  hinder  or  hurt  the  other,  or  provoke  him  to  anger, 
which  is  above  all  to  be  guarded  against.  The  stones  and  fire 
being  ejected,  the  earth  must  be  again  hastily  replaced,  that 
the  hollow  about  the  mould  may  be  again  carefully  filled  up ; 
and  there  may  be  those  who  are  always  passing  round  with 
blunted  pieces  of  wood,  beating  moderately  and  trampling 
firmly  with  the  feet,  that  the  earth  which  is  placed  in  may 
press  upon  the  mould,  lest  when  the  weight  of  the  brass  is 
poured  in,  it  in  any  way  be  broken.  The  hollow  being  then 
rn  this  manner  filled  up  to  the  top,  return  quickly  to  the  pots, 
and  with  a  long  and  charred  piece  of  wood  stir  the  copper,  and 
if  you  should  feel  that  it  be  quite  melted,  put  in  the  tin,  and 
again  stir  it  carefully  that  it  may  be  well  mixed,  and,  the  fur- 
nace  being  broken  around,  introduce  two  strong  and  long  poles 
into  the  handles  of  the  pot,  and  active  men  being  called,  skilful 
in  this  art,  cause  it  to  be  raised  with  every  care  and  carried  to 
the  mould,  and  the  coals  and  ashes  being  thrown  out  and  the 
strainer  cloth  put  on,  cause  it  to  be  poured  in  hardily.  In  the 
mean  time  lie  down,  near  the  mouth  of  the  mould,  carefully 
remarking,  by  listening,  how  far  within  it  may  proceed;  and 
should  you  perceive  as  if  a  slight  murmur  of  thunder,  de- 
sire  that  they  hold  a  little,  and  then  again  that  they 
pour  in;  and  so  that  sometimes  by  holding  and  again  by 
pouring,  the  brass  be  made  to  subside  evenly,  until  that 
pot  be  empty.  Which  being  removed,  another  brought  into 
the  same  place  must  be  set  up  directly,  the  same  is  done  with 
this  as  with  the  former,  and  in  like  manner  with  a  third  until 
the  brass  is  seen  in  the  funnel.     Nor  may  the  pot  be  imme- 


364  THEOPHILI    LIBER    III. 

amoveatur,  sed  aliquanto  spatio  teneatur,  ut  si  aes  descenderit 
denuo  superfundatur.  Quod  si  tu  ab  hoc  labore  portantium 
et  diverse  fundentium  retrahere  volueris,  acquire  tibi  maxi- 
mum  cacabum  qui  sit  in  fundo  sequalis,  et  fac  ei  foramen 
unum  in  latere  ejusdem  fundi,  atque  cooperi  eum  argilla  intus 
et  extra,  sicut  superius.  Quo  facto  sistes  eum  juxta  formam 
non  longius  quam  quinque  pedum  spatio,  et  circumfige  ei 
paxillos  atque  ignem  cum  carbonibus  inpone.  Cumque  can- 
duerit  obstrue  foramen  cum  argilla,  quod  versum  erit  ad  for- 
mam,  et  compone  ei  ligna  quatuor,  et  paxillos  interius  forna- 
cemque  facito  in  circuitu,  sicut  superius.  Deinde  inposito 
cupro  cum  carbonibus  et  igne,  adpositisque  tribus  ordinibus 
follium,  fac  flari  viriliter.  Interim  habeas  lignum  siccum 
tantse  longitudinis  ut  possit  procedere  a  foramine  cacabi  us- 
que  ad  os  formse,  cujus  curvatura  sit  ampla.  Quod  cum  ex 
omni  parte  cooperiveris  argilla  et  maxime  superius,  infodies 
ita  ut  aequale  sit  terrse  sed  juxta  cacabum  modice  altius,  atque 
superfunde  ei  ignitos  carbones.  Mox  inposito  stagno  atque 
commoto  cupro,  sicut  superius  cum  curvo  ferro  quod  sit  ligno 
fortiter  afiixum,  aperi  foramen,  et  astantibus,  qui  teneant  duos 
colatorios  pannos,  sine  eis  fluere;  interdum  tamen  tenendo 
sicut  superius.  Cumque  forma  plena  fuerit,  si  quid  seris  in 
cacabo  remansit,  in  summitate  ligni  grossi  pone  massam 
argillae  et  ante  foramen  fortiter  impinge  ut  eum  obstruas. 
Hoc  utroque  modo  fundendi  possint  etiam  minores  campana? 
fundi  ut  secundum  quantitatem  earum  fiant  cacabi. 


Cum  vero  ses  in  infusorio  duraverit,  fac  ut  certatim  terra  ejici- 
atur  a  fossa  et  exterius  aliquantum  refrigeretur  terra.  Ejecta 
vero  terra,  ipsa  forma  inclinetur  in  uno  latere  et  terra  suppo- 
natur,  sicque  fiat  donec,  eodem  modo  quo  inposita,  est  a  fossa 
ejiciatur.  Quo  facto,  super  unum  latus  omnino  deponatur,  et 
cum  securibus  aliisque  ferris  acutis  qui  sint  infixi  longis  lignis, 
interior  argilla  certatini   ejiciatur,  quia  si  permittatur  in  ea 


TRANSLATION.  365 

diately  removed,  but  kept  for  a  space,  that,  should  the  brass 
sink,  it  may  again  be  poured  over.  But  should  you  wish 
to  withdraw  from  this  fatigue  of  carrying  and  founding  in 
parts,  procure  for  yourself  a  very  large  pot,  which  umst  be 
flat  at  the  bottom,  and  make  an  opening  in  it  on  the  side  at 
the  bottom,  and  cover  it  with  clay  inside  and  without,  as 
above.  This  being  done,  station  it  near  the  mould,  not 
farther  than  a  distance  of  five  feet,  and  fasten  it  round  with 
stakes,  and  lay  in  fire  with  coals.  And  when  it  has  become 
glowing  close  the  opening,  which  will  be  towards  the  mould, 
with  clay,  and  arrange  upon  it  four  pieces  of  wood,  and  make 
the  small  stakes  inside  the  furnace,  as  above.  Then,  the 
copper  being  placed  in  with  coals  and  fire,  and  three  ranges 
of  bellows  being  applied,  cause  them  to  be  manfully  blown. 
In  the  mean  time  you  have  a  dry  piece  of  wood  of  such  length 
that  it  can  reach  from  the  opening  in  the  pot  to  the  mouth  of 
the  mould,  the  bend  of  this  must  be  ample.  When  you  shall 
have  covered  this  everywhere  with  clay  and  especially  above, 
inter  it  that  it  may  be  even  with  the  ground,  but  rather  higher 
near  the  pot,  and  heap  ignited  coals  upon  it.  The  tin  being 
placed  in  and  stirred  with  the  copper,  as  above  with  the 
curved  iron  which  is  strongly  fixed  upon  wood,  open  the  hole, 
and  with  the  assistants,  who  can  hold  two  straining  cloths,  al- 
low  them  to  flow  out;  sometimes  withholding,  however,  as 
above.  And  when  the  mould  has  become  full  should  any 
brass  remain  in  the  pot,  place  a  mass  of  clay  upon  the  end  of 
a  stout  stick  and  press  strongly  in  front  of  the  opening  that 
you  may  close  it.  In  both  these  manners  also  smaller  bells 
can  be  founded,  according  to  the  quantity  the  pots  can  make. 
When  the  brass  shall  have  become  hard  in  the  funnel,  cause 
the  earth  to  be  hastily  cast  out  of  the  hollow  and  the  ground 
outside  to  become  somewhat  cold.  The  earth  being  thrown 
out,  this  mould  must  be  inclined  on  one  side  and  be  laid  upon 
the  ground,  and  this  is  done  until,  in  the  same  manner  as  it 
was  placed  in,  it  is  taken  out  of  the  hollow.  This  being  ac- 
complished,  it  is  laid  down  entirely  upon  one  side,  and  with 
hatchets  and  other  sharp  instruments  which  are  fixed  upon 
long  pieces  of  wood,  the  inside  clay  is  hastily  cast  out,  be- 


366  THEOPHILI    LIBER    III. 

refrigerari,  ab  humore  terrse  inflaretur  et  campana  absque, 
dubio  finderetur.  Qua  ejecta,  ipsa  forma  iterum  erigatur 
super  terram,  sicque  stet,  donec  exterius  omnino  refrigeretur ; 
sicque  frangatur  argilla  et  circuli  ejiciantur,  et  quicquid  in- 
aequale  exterius  fuerit,  malleis  acutis  incidatur.  Deinde  in 
medio  campanae  ponatur  lignum,  huic  simile  in  quo  primiim 
forma  tornata  est,  et  quatuor  aliis  lignis  in  modum  crucis  ob- 
firmetur  ora  ejus,  ita  ut  infusorium  jaceat  super  unum  asse- 
rem,  et  illud  lignum  super  alterum,  ut  inposito  curvo  ligno, 
possit  campana  tornari,  atque  cum  sabuleo  lapide  per  omnia 
aequari.  Post  hsec,  infusorium  ex  utraque  parte  limatum, 
diligenter  frangatur,  et  circa  collum  duo  ligna  conjungantur, 
inferius  per  medium  minus,  et  superius  in  circuitu  majus ; 
quae  ligna  duobus  circulis  fortiter  constringantur,  atque 
ferreis  vinculis  ex  omni  parte  circa  aures  colligantur.  Illud 
vero  majus  lignum  sit  modice  longius  quam  campana  sit  lata, 
sit  que  in  summitatibus  aliquantum  gracilius  quam  in  medio, 
et  in  ipsis  summitatibus  habeat  duos  ferros  grossos  et  ro- 
tundos,  quorum  longitudo  sit  intra  lignum  spacii  dimidii  pedis 
et  extra  unius  palmi.  Cumque  aptaveris  duas  trabes  ad  sus- 
cipiendam  campanam,  fac  in  eis  duas  mensuras  duobus  digitis 
profundas,  in  quibus  clavi  illi  magni  involvantur,  sub  quibus 
etiam  pones  duos  ferros  curvos,  ad  servandas  trabes.  Habeat 
etiam  illud  grossius  lignum  in  quo  pendet  campana  in  utraque 
parte  singula  foramina,  in  quibus  ponantur  duo  ligna  sursum 
respicientia,  quibus  funes  innectantur  ad  pulsandum.  Corium 
etiam  spissum,  de  collo  cervi  circumponatur  ferro  illi  curvo, 
quod  interius  haeret  in  medio  campanse,  in  quo  batillus  pen- 
deat ;  qui  sit  tantae  longitudinis  ut  promineat  extra  campanam 
spatio  latitudinis  manus,  sitque  grossior  in  fine  longitudine 
unius  palmae,  sursumque  gracilior. 


TRANSLATION.  367 

cause,  should  it  be  permitted  to  become  cold  in  it,  it  would 
be  swelled  out  from  the  damp  of  the  earth,  and,  without 
doubt  the  bell  would  be  cracked.  This  being  taken  out,  the 
mould  must  again  be  raised  upon  the  ground  and  may  so  re- 
main,  until  the  outside  has  become  quite  cold ;  and  so  the 
clay  may  be  broken  and  the  hoops  taken  away,  and  what- 
ever  inequality  should  be  outside,  may  be  cut  off  with  sharp 
hammers.  Then,  in  the  middle  of  the  bell  a  block  is  placed, 
similar  to  that  in  which  the  mould  was  first  turned,  and  four 
other  pieces  of  wood  are  fastened  firmly  to  its  edge,  so  that 
the  funnel  may  lie  upon  one  post  and  this  wood  upon  another, 
that,  a  curved  wood  being  placed  on,  the  bell  can  be  turned, 
and  with  a  sandstone  be  made  smooth  everywhere.  After- 
wards,  the  funnel,  filed  on  every  side,  is  carefully  broken,  and 
about  the  neck  two  pieces  of  wood  are  joined  together,  the 
lower,  smaller  one,  through  the  middle,  and  the  upper,  larger, 
around  it ;  which  pieces  of  wood  must  be  bound  fast  by  two 
hoops,  strongly,  and  are  tied  by  iron  chains  about  the 
handles  everywhere.  This  larger  wood  should  be  rather 
longer  than  the  bell  is  wide,  and  be  somewhat  thinner  at  the 
ends  than  in  the  middle,  and  at  these  ends  it  must  have  two  thick 
and  round  irons,  the  length  of  which,  within  the  wood,  may 
be  a  space  of  half  a  foot,  and  beyond  it,  of  one  palm.  And 
when  you  have  fitted  two  beams  for  sustaining  the  bell,  make 
two  measures  in  them  two  fingers  deep,  in  which  these  large 
nails  can  be  enclosed,  under  which  you  also  place  two  curved 
irons  for  preserving  the  beams.  That  larger  wood  in  which 
the  bell  hangs  must  also  have,  on  each  side,  single  holes,  in 
which  two  woods  projecting  upwards  are  placed;  to  these  the 
ropes  are  tied  for  tolling.  A  thick  leather  also,  of  the  stag's 
neck  may  be  placed  round  that  curved  iron,  which  rests  in- 
side  in  the  middle  of  the  bell,  in  which  the  tongue  must 
hang,  which  must  be  of  such  length  that  it  may  protrude  be- 
yond  the  bell  for  a  space  of  the  width  of  the  hand,  and  let  it 
be  thicker  at  the  end  for  the  length  of  a  palm,  and  thinner 
upwards. 


368  THEOPHILI    LIBER   III. 


CAPUT    LXXXVI. 

DE    MENSURA    CYMBALORUM. 

QUICUNQUE  vult  facere  cymbala  ad  cantandum  recte 
sonantia,  ad  unumquodque  debet  ceram  dividere  cum 
pondere,  et  a  superioribus  incipiat  ut  descendendo  possit 
pervenire  ad  graviora.  Unumquodque  autem  notet  cum  pro- 
pria  littera  ut  illud  in  divisione  cognoscat.  Inprimis  faciat 
duas  partes  cerse  aequales  cum  libra,  unam  ad  a  litteram, 
alteram  ad  g.  Ceram  a  litterae  dividat  in  octo  aequales  partes, 
et  tantum  ad  ceram  g  litterae  quantum  est  in  octava  parte 
cerae  a.  Similiter  dividat  ceram  g  per  octo  et  tantum  det  f 
litterae  quantum  est  in  summa  ejus,  et  insuper  octavam  ejus 
partem,  et  habebit  duos  tonos  continuos.  In  illo  loco  semi- 
tonium1  debet  esse,  et  hoc  ita  inveniat.  Summam  cerae  a 
litteraa  dividat  in  tres  partes,  ipsamque  summam  det  e  litterae, 
et  insuper  ejus  terciam  partem.  Deinde  det  tantum  cerae  d 
litterae,  quantum  est  in  summa  a  et  octavam  ejus  partem. 
Item  tantum  cerae  det  litterae  c  quantum  habet  g,  et  mediam 
ejus  partem,  itaque  haberet  duos  tonos  post  semitonium. 
Deinde  tantum  cerae  tribuat  b  litterae  quantum  est  in  tota 
summa  f  litterae,  et  insuper  terciam  ejus  partem,  et  habebit 
iterum  semitonium;  atque  septem  symphonias  ab  a  littera 
usque  ad  b  inveniat.  Dyapason  vero  necdum  haberet  sine 
octavo  cymbalo.  Duplicet  igitur  totam  ceram  a  litterae  et  sic 
eam  tribuat  a  litterae,  et  nichil  deerit.  Dyatesseron,  Dyapason, 
atque  Dyapente  Synemenon  autem  inveniat  ita,  tollat  sum- 
mam  cerae  litterae  et  tantum  det  f  litterae,  et  insuper  medie- 
tatem  ejus,  ac  constituat  illam  inter  a  et  b.  Omnino  autem 
caveat  qui  cymbala  formare  aut  fundere  debet,  ut  de  supra- 
dicta  cera  quae  tam  caute  ponderata  et  divisa  est,  nichil  mittat 
ad  juga  et  spiramina,  sed  de  altera  cera  faciat  illa  omnia. 

1  "  semitonus,"  imo. 


TRANSLATION.  369 

CHAPTER  LXXXVI. 

OF    THE    MEASURE    OF    CYMBALS. 

Whoever  wishes  to  make  cymbals  of  proper  sound  for  sing- 
ing,  should  divide  the  wax  for  each  one  with  a  weight,  and 
should  begin  from  the  highest,  that  by  descending  he  may  be 
able  to  arrive  at  the  graver  (cymbals) .  He  can  likewise  note 
each  one  with  its  own  letter,  that  he  may  know  it  in  the  par- 
tition.  In  the  first  place  let  him  make  two  portions  of  wax 
equal  with  the  balance,  one  for  letter  a,  the  other  for  g.  Let 
him  divide  the  wax  of  letter  a  into  eight  equal  parts,  and 
(give)  so  much  to  the  wax  of  letter  g  as  is  in  the  eighth  part 
of  wax  a :  let  him  similarly  divide  wax  g  by  eight,  and  give 
so  much  to  letter  f  as  is  in  its  total,  and  an  eighth  of  its  part 
beyond,  and  he  will  have  two  consecutive  notes.  In  that 
place  the  semitone  should  be,  and  let  him  thus  find  it.  Let 
him  divide  the  whole  of  the  wax  of  letter  a  into  three  parts, 
and  give  this  total  to  letter  e  and  beyond,  the  third  part  of  it. 
Then  let  him  give  so  much  wax  to  letter  d  as  is  in  the  total  a, 
and  the  eighth  part  of  it.  Likewise  let  him  give  as  much 
wax  to  letter  c  as  g  possesses  and  half  a  part  of  it,  and  he  will 
thus  have  two  notes  after  the  semitone.  Then  let  him  afford 
to  letter  b  so  much  wax  as  is  in  the  whole  amount  of  letter  f 
and  beyond,  the  third  part  of  it,  and  he  will  have  the  semi- 
tone  again ;  and  let  him  find  the  seven  concords  from  letter 
a  to  b.  The  octave  he  cannot  yet  have  without  the  eighth 
cymbal.  Let  him  therefore  double  all  the  wax  of  letter  a, 
and  so  give  it  to  letter  A,  and  nothing  will  be  wanting :  the 
fourth,  eighth  and  fifth  chord  let  him  find  thus,  let  him  take 
the  amount  of  the  wax  of  the  letter  and  give  so  much  to 
letter  f  and  the  half  of  it  beyond,  and  let  him  establish  it 
between  a  and  b.  He  who  should  fashion  or  found  the 
cymbals  should  above  all  take  care,  that  he  puts  none  of 
the  above  mentioned  wax,  which  is  so  cautiously  weighed 
and  divided,  to  the  necks  and  air-holes,  but  let  him  make 
all  these  from  other  wax.     Let  him  have  the  great  fore- 

b  b 


370  THEOPHILI    LIBER   III. 

In  magna  providentia  habeat  ut,  priusquam  aliquid  cymba- 
lum  fundatur,  stagnum  cum  cupro  misceatur,  ut  rectum  so- 
num  habeat.  Quod  si  aliter  fecerit  non  veniunt  ad  tonos. 
Quinta  aut  sexta  pars  debet  esse  stagnum,  utrumque  bene 
purificatum  priusquam  permisceatur  ut  clare  sonent.  Si 
autem  fusa  cymbala  minus  rectd  sonuerint,  hoc  emendetur 
lima  vel  lapide. 


CAPUT    LXXXVI. 

DE   CYMBALIS    MUSICIS. 

FACTURUS  cymbala,  primum  aquire  tibi  lectionem  et 
secundum  quod  docuerit  formam  facito,  atque  ceram  di- 
ligentdr  pondera.  Quas1  cum  fuderis,  sicut  supra  dictum  est, 
si  quid  per  negligentiam  vel  incuriam  de  equitate  tonorum  de- 
fuerit,  corriges.  Si  volueris  cymbalum  altius  habere,  in  ora 
inferius  limabis,  si  vero  humilius,  circa  oram  in  circuitu. 


CAPUT    LXXXVII. 

DE   AMPULLIS   STAGNEIS. 

FAC  tibi  duos  ferros  longitudine  manus  et  modice  gracili- 
ores  minimo  digito,  qui  sunt  in  una  parte  grossiores,  in 
altera  summitate  deductim  graciliores,  ut  possint  ex  forma  de- 
duci ;  habeantque  in  grossiori  parte  caudas  tenues,  ut  singulis 
manubriis  confingantur,  quse  manubria  sint  rotunda;  et  ha- 
beant  in  altera  summitate  breves  clavos  rotundos,  in  quibus 
tornari  possint.  His  ferris  circumpone  argillam,  primo  parum, 
deinde  amplius  secundum  magnitudinem  quam  volueris.  Qua 
siccata  fac  tornatorium  tuum  eodem  modo  quo  tornantur  scu- 

1  qua? 


TRANSLATION.  371 

sight  that  before  any  cymba!  be  cast,  the  tin  be  mixed  with 
the  copper  that  it  may  have  the  right  sound.  Because 
should  he  have  done  otherwise,  they  are  not  brought  to  their 
tones.  A  fifth  or  sixth  part  should  be  tin,  and  be  both  well 
purified  before  they  are  mixed  together,  that  they  may  sound 
clearly.  Should,  however,  the  cast  cymbals  sound  imper- 
fectly,  this  can  be  rectified  with  the  file,  or  stone. 


CHAPTER  LXXXVI. 

OF    MUSICAL   CYMBALS. 

Being  about  to  make  cymbals  first  procure  your  directions, 
and  according  to  what  they  may  have  taught,  make  the  mould, 
and  carefully  weigh  the  wax.  When  you  have  founded  these  as 
mentioned  above,  should  anything  be  wanting  in  justness  of 
tone  through  negligence  or  carelessness,  you  correct  it. 
Should  you  wish  the  cymbal  to  be  higher,  you  will  file  about 
the  mouth  underneath  (of  the  mould),  but  if  flatter,  round  the 
rim  in  circumference. 


CHAPTER  LXXXVII. 

OF   TIN   VIALS. 


Make  two  irons  for  yourself  the  length  of  the  hand  and  rather 
thinner  than  the  little  finger,  which  are  thicker  at  one  end, 
at  the  other  extremity  graduated  more  thinly,  that  they  can 
be  drawn  out  from  the  mould;  and  let  them  have  at  the 
thicker  part  thin  projections  that  they  may  each  be  forged 
with  handles,  which  handles  must  be  round ;  and  they  must 
have,  at  the  other  end,  short  round  nails  by  which  they  can 
be  turned.  Place  clay  round  these  irons,  little  at  first,  then 
more,  according  to  the  size  you  wish.  This  being  dry,  make 
your  lathe  in  the  same  manner  as  trenchers  and  other  wooden 

b  b  2 


37:2  THEOPHILI    LIBER    III. 

tellae  et  alia  vasa  lignea,  ita  ut  una  columpna  firmiter  stet,  et 
altera  moveatur,  quae  tamen  cum  apposita  fuerit  inferius  clavo 
tenui  firmabitur.  Inter  columpnas  statue  formam  et  utrosque 
clavos  in  suis  foraminibus,  corrigiaque  circa  lignum  posita, 
atque  sedente  puero  qui  eam  trahat,  tornabis  sicut  placuerit 
ceramque  superpones.  Qua  similiter  tornata,  educ  a  manu- 
brio  formam  cum  ferro,  appositisque  spiraculis  et  argilla  su- 
perducta  atque  siccata,  ejice  ceram  et  ad  recoquendum  in  forna- 
cem  pone,  modo  quo  superius.  Cumque  interius  omnino  can- 
duerit  ejice  ab  igne,  et  sic  sine  jacere  donec  refrigeretur,  ita  ut 
in  manu  aliquantum  possit  teneri.  Statimque  liquefacto  stagno 
in  patella  ferrea,  sive  in  testa,  cum  tempus  fuerit  infundendi 
adjiciatur  ei  modicum  vivi  argenti,  ita  ut,  si  est  libra  stagni 
quadrans  sit  vivi  argenti,  et  sine  mora  formse  infundatur.  Quae 
cum  fuerit  omnino  refrigerata,  frangatur  exterius  argilla,  et 
reposito  manubrio,  denuo  in  tornatorium  reponatur,  atque  ex 
omni  parte  aequaliter  tornetur,  ad  ultimum  vero  asperella  po- 
liatur.  Post  hsec  modicum  accipe  de  eisdem  rasuris  stagni  et 
commisce  parum  vivi  argenti,  digitisque  tuis  fricabis  donec  om- 
nino  liquefiat ;  sicque  cum  panniculo  circa  ampullam  tornando 
linies  quoadusque  sicca  et  clara  remaneat ;  deducto  autem 
ferro  et  interiori  argilla,  circa  foramen  inferius  in  quo  erat 
ferrum,  fodies  in  medio  stagno  fossulam,  et  in  eo  junges  par- 
ticulam  ejusdem  stagni,  modice  spissiorem  quam  sit  ampulla, 
atque  interius  pone  lignum  rotundum,  cui  innitatur  ut  non 
complicetur,  et  cum  mediocri  malleo  exterius  percute,  donec 
fossuris  illis  inducatur  et  firmiter  stet.  Aliter  etiam  ipsum 
foramen  obstruere  potes.  Inpone  ampullae  lignum  ut  supra, 
quod  in  summitate  panniculo  involves,  plumbumque  simplex, 
in  foramine,  rasa  et  cera  illico,  liquefactum  infundes,  et  ita 
festinanter  cum  malleolo  aequabis. 


TRANSLATION.  373 

vessels  are  turned,  so  that  one  column  may  stand  firmly,  and 
the  other  can  be  moved,  which,  however,  when  it  has  been 
adapted,  shall  be  fastened  below  with  a  thin  nail.  Adjust 
the  mould  between  the  columns  and  both  the  nails  in  their 
openings,  and  the  strap  being  placed  round  the  wood,  and  the 
boy  who  draws  it  being  seated,  you  will  turn  it  as  you  please, 
and  overlay  the  wax.  This  being  similarly  turned,  withdraw 
the  mould  from  the  handle  with  the  iron,  and  the  air-holes 
being  placed  on,  and  clay  overlaid  and  dry,  cast  out  the  wax 
and  place  it  in  the  furnace  to  recook,  in  the  above  mentioned 
manner.  And  when  it  has  quite  glowed  inside,  take  it  out  of 
the  fire,  and  so  allow  it  to  remain  until  it  has  become  cold,  so 
that  it  can  be  held  in  the  hand  awhile.  And  tin  being  in- 
stantly  melted  in  an  iron  basin,  or  pot,  a  little  quicksilver  is 
added  to  it  when  it  has  become  time  for  founding,  so  that,  if 
there  is  a  pound  of  tin,  a  fourth  part  must  be  (added)  of 
quicksilver ;  and  it  must  be  poured  into  the  mould  without 
delay.  When  this  has  become  quite  cold  the  clay  may  be 
broken  outside,  and  the  handle  being  replaced,  it  must  be 
again  placed  in  the  lathe  and  be  turned  smoothly  everywhere, 
but  at  last  it  is  polished  with  the  rough  grass.  After  this, 
take  a  little  of  the  same  scrapings  of  tin  and  mix  with  it  a 
little  quicksilver,  and  you  will  rub  it  with  your  fingers  until 
it  becomes  quite  liquid;  and  thus  with  a  small  cloth  you 
anoint  it,  about  the  jar,  by  turning,  until  it  remains  dry  and 
fair ;  the  iron  being  taken  out  and  the  inner  clay,  also,  you 
dig  a  small  hollow  in  the  middle  of  the  tin,  about  the  opening 
below,  in  which  the  iron  was,  and  you  join  in  it  a  small  piece 
of  the  same  tin,  a  little  thicker  than  is  the  vial,  and  inside,  you 
place  a  round  piece  of  wood,  upon  which  it  may  lean  so  that  it 
may  not  be  bent,  and  strike  it  outside  with  a  moderate  sized 
hammer  until  it  is  brought  into  these  hollows  and  can  stand 
firmly.  You  can  also  otherwise  close  this  opening.  Place 
the  wood  into  the  vial  as  above,  the  end  of  this  you  wrap 
in  a  small  cloth;  you  pour  pure  melted  lead  into  the  opening, 
wax  being  also  scraped  on  the  same  place,  and  you  will  thus 
quickly  smooth  it  with  the  small  hammer. 


374  THEOPHILI    LIBER   III. 


CAPUT    LXXXVIII. 

QUALITER    STAGNUM    SOLIDETUR. 

PERCUTE  in  stagno  quasi  duos  cyphos  aequales,  et  con- 
junge  illos  in  medio,  ita  ut  ora  unius  in  altera  procedat, 
inpositoque  illo  qui  continet  cineribus  calidis,  partem  ejusdem 
stagni,  plumbi  tercia  parte  admixta,  percute  tenuissime,  et 
intercidens  particulatim  circumpone ;  adhibitisque  modicis 
carbonibus  ignitis,  mox  ut  incaluerit  circumunge  resinam 
abietis,  et  mox  ipsas  particulas  liquescere  ac  circumnuere 
videbis.  Mox  carbonibus  amotis,  refrigeratum  firmum  erit. 
Hoc  modo  solidari  potest  quicquid  in  puro  stagno  est  opus, 
videlicet,  effusoria  in  ampullis  et  auriculae,  atque  ligaturae  in 
quibus  opercula  pendent,  et  si  aliquid  foramen  in  fusili  ampulla 
per  negligentiam  contigerit. 


CAPUT    LXXXIX. 

DE    FUNDENDO    EFFUSORIO. 

POTEST  etiam  effusorium  facile  ita  formari,  ut  incidatur 
fissile  lignum  rotundum,  et  foretur  terebro  in  longitu- 
dine,  non  usque  ad  finem,  et  findatur  per  medium,  atque  in 
integro  illo  formetur  foramen,  cui  ferrum  rotundum  secundum 
interiorem  amplitudinem  infusorii,  tenui  argilla  illitum  injun- 
gatur,  et  foris  valide  circumligetur,  stagnumque,  illi  calefacto, 
infundatur.  Quo  refrigerato  lignum  solvatur,  et  ferrum  ejici- 
atur,  effusoriumque  limatum  et  planatum,  modo  quo  superius 
dictum  est,  vasi  consolidetur. 


TRANSLATION.  375 

I 

CHAPTER  LXXXVIII. 

HOW    TIN    IS    SOLDERED. 

Beat,  from  tin  two  cups,  alike,  and  join  them  together  in  the 
middle,  so  that  the  rim  of  one  may  pass  into  the  other,  and 
that  which  contains  the  other  being  placed  upon  hot  ashes, 
beat  very  thinly  a  piece  of  the  same  tin  mixed  with  a  third 
part  of  lead,  and  cutting  it  up  very  small,  lay  it  around  (the 
join) ;  and  a  few  ignited  coals  being  applied,  as  soon  as  it  has 
glowed,  anoint  it  round  with  resin  of  the  fir-tree,  and  you 
will  instantly  see  these  particles  melt  and  flow  about.  The 
coals  being  directly  removed,  when  cold,  it  will  be  firm.  In 
this  manner,  whatever  work  is  in  pure  tin  may  be  soldered, 
namely,  the  spouts  and  handles  in  vials,  and  the  fastenings  in 
which  the  covers  hang,  also  should  any  hole  have  happened 
through  negligence  in  the  cast  vial. 


CHAPTER  LXXXIX. 

OF    CASTING   THE   SPOUT. 


The  spout  can  also  thus  be  easily  formed;  a  piece  of  cleft  wood 
is  cut  round,  and  is  bored  with  the  auger  lengthwise,  not  quite 
to  the  end,  and  it  is  splitthrough  the  middle;  and  in  its  whole 
part  a  hole  is  made  to  which  a  circular  iron,  according  to  the 
capacity  of  the  interior  of  the  spout,  overlaid  with  thin  clay, 
is  inserted,  and  it  is  well  bound  round  outside,  and  tin,  it 
being  made  warm,  is  poured  in.  Which  being  cold,  the  wood 
is  loosened,  and  the  iron  taken  out,  and  the  spout  being  filed 
and  smoothed  in  the  above  mentioned  manner,  is  fastened  on 
to  the  vase. 


376  THEOPHILl    LIBER    III, 


CAPUT    XC. 

DE    FERRO. 

FERRUM  nascitur  in  terra  in  modum  lapidum,  quod,  ef- 
fossum  eodem  modo  quo  cuprum  superius  frangitur  et 
in  massas  confunditur,  deinde  in  fornace  ferrarii  liquatur,  et 
percutitur  ut  aptum  fiat  unicuique  operi.  Calibs  dicitur  a 
monte  Calibe,  in  quo  ejus  usus  plurimus  invenitur ;  qui  simili 
modo  preparatur  ut  operi  aptus  fiat.  Cum  ergo  ferrum  prse- 
paraveris  et  inde  calcaria,  sive  csetera  equestria  utensilia 
feceris,  et  ea  auro  vel  argento  decorare  volueris,  sume  ar- 
gentum  purissimum,  et  percutiendo  valde  attenua.  Deinde 
habeas  rotulam  ligneam  de  quercu,  longitudine  pedis  latam  et 
tornatam,  quse  sit  in  circuitu  tenuis  et  in  medio  ex  utraque 
parte  spissam,  ubi  ei  aliud  lignum  curvum  transfigatur  in  quo 
possit  volvi,  cui  etiam  in  una  summitate  aliud  lignum  curvum 
apponatur  cum  quo  circumrotetur.  Cumque  ipsam  rotam 
aptaveris  inter  duas  columpnellas,  fac  circa  oram  ejus  ex- 
terius  incisuras  in  modum  gradus,  quae  retro  respiciunt,  ut 
ipsae  columpnellae  in  quibus  rota  vergitur,  firmiter  sint 
fixae  super  scamnum  in  latitudine,  ita  ut  curvum  lignum 
ad  dexteram  manus  sit.  Stet  quoque  adhuc  una  colump- 
nella  ad  sinistram  manum  in  anteriori  parte  juxta  rotam, 
in  qua  sit  fixum  gracile  lignum,  ita  ut  super  rotam  jaceat 
et  habeat  in  summitate  sua  particulam  calibis,  longitudine 
et  latitudine  majoris  unguis,  firmiter  per  foramen  infixam, 
et  valde  acutam,  ita  ut  cum  rota  volvitur  illud  lignum 
semper  cadat  ab  uno  gradu  in  alterum,  ut  sic  vibratus  calibs 
quicquid  adponitur  incidat.  Cum  vero  limaveris  calcar 
unum  aequaliter,  pone  illud  super  carbones  ardentes  donec  ni- 
grescat,  refrigeratumque  tene  manu  sinistra  et  rotam  volve 
dextra,  appositumque  calibi,  incide  subtiliter  per  omnia  ex- 


TRANSLATION.  377 


CHAPTER   XC. 


OF    IRON. 


Iron  is  forraed  in  the  earth,  in  form  of  stones,  which  (iron) 
is  dug  up  in  the  same  manner  as  the  copper,  above  mentioned, 
and  it  is  broken,  and  is  mixed  together  in  lumps,  it  is  then 
melted  in  the  iron  worker's  furnace,  and  it  is  hammered  that 
it  may  become  fit  for  any  kind  of  work.  It  is  called  Calibs, 
from  the  mount  Calybe,  in  which  the  most  is  known  of  its 
practice ;  wherefore  it  is  prepared  in  the  same  manner  that  it 
may  become  fit  for  work.  When,  therefore,  you  shall  have 
prepared  the  iron,  and  have  made  bits  from  it,  or  other  eques- 
trian  utensils,  and  wish  to  decorate  them  with  gold  or  silver, 
take  the  purest  silver,  and  thin  it  much  by  hammering. 
Then  you  have  a  wooden  wheel,  of  oak,  a  foot  in  dia- 
meter  and  turned,  which  must  be  narrow  at  the  outer  part, 
and  everywhere  thick  in  the  middle,  where  another  circular 
wood  is  fixed  on  to  it,  in  which  it  can  be  revolved,  to  which 
also,  at  one  end,  another  circular  wood  may  be  placed,  with 
which  it  can  be  turned  round.  And  when  you  have  adapted 
this  wheel  between  two  small  columns,  make  about  its  outer 
edge  small  cuttings  like  steps,  which  incline  backwards ;  these 
columns,  in  which  the  wheel  is  displayed,  must  be  firmly 
fixed  upon  a  bench  lengthwise,  so  that  the  round  wood  may 
be  on  the  right  hand.  There  may  also  stand  yet  another 
column  at  the  left  hand,  in  front,  near  the  wheel,  in  which  a 
thin  wood  must  be  fixed,  so  that  it  may  lie  upon  th#  wheel 
and  have  at  its  extremity  a  small  piece  of  steel,  of  the  length 
and  breadth  of  the  smallest  finger  nail,  firmly  fixed  through 
an  opening,  and  extremely  sharp,  so  that  when  the  wheel  is 
revolved,  this  wood  may  always  fall  from  one  step  to  another, 
that  being  so  vibrated,  the  steel  may  cut  into  whatsoever  is 
applied.  When  you  have  filed  a  spur  smoothly,  place  it  over 
the  glowing  coals  until  it  has  become  black,  and  hold  it, 
having  become  cold,  in  the  left  hand,  and  revolve  the  wheel 
with  the  right,  and  applying  it  to  the  steel,  cut  finely  over  the 


378  THEOPHILI    LIBER    III. 

terius  in  longitudine,  et  rursum  dupliciter  in  latitudine.  Quo 
facto,  cum  parvulo  forcipe  frica  particulas  argenti  sicut  vo- 
lueris  et  superpone,  atque  cum  eodem  forcipe  frica  sum- 
mitates  argenti  ut  adhereant.  Cumque  totum  operaveris, 
denuo  pone  super  prunas  ardentes  donec  rursum  nigrum 
fiat,  atque  elevans  forcipe,  cum  longo  ferro  ex  calibe  valde 
sequali  et  manubrio  infixo  diligenter  polies,  suppositumque 
prunis,  iterum  calefaties  rursumque  cum  eodem  ferro  fortiter 
polies.  Quod  si  volueris  illud  per  partes  aut  ex  toto  deau- 
rare,  in  tua  sit  potestate.  Hoc  modo  frsena  et  cetera  instru- 
menta  equestria  vel  quodcunque  in  ferro  volueris  incide  modo 
quo  superius,  sed  profundius,  habeasque  fila  ex  argento  sub- 
tilissima  atque  ex  auro,  formaris  tibi  inde  brevissimos  floscu- 
los  et  circulos,  sive  aliud  quodcunque  libuerit,  et  cum  gracili 
forcipe  super  ferrum  qualiter  volueris  pone,  atque  cum  brevi 
malleo  leniter  percute  ut  adhaereat ;  sitque  semper  unus  fios- 
culus  aureus  alter  argenteus.  Impleto  autem  taliter  spacio 
ferri  totius,  pone  super  prunas  donec  nigrescat,  atque  cum 
mediocri  malleo  percute  diligenter,  donec  ubicunque  ferrum 
apparet  incisurse  illse  sequales  fiant,  et  sic  opus  illud  videatur 
quasi  nigellum  sit.  Si  vero  in  cultellis  sive  in  aliis  ferris  lit- 
teras  habere  volueris,  cum  fossorio  ferro  fode  eas  inprimis, 
deinde  facto  filo  argenteo  grosso,  forma  cum  gracili  forcipe 
litteras,  et  inpone  eas  fossuris  illis,  percutiensque  superius 
cum  malleo  imple  eas.  Hoc  modo  etiam  flosculos  et  circulos 
facere  potes  in  ferro,  et  cum  filis  ex  cupro  et  auricalco  imple. 
Si  quid  vero  hujus  operis  vetustate  seu  negligentia,  fractum 
fuerit,  si  argentum  quod  est  volueris  acquirere,  mitte  illud 
in  ignem  donec  candeat,  tenensque  sinistra  manu  cum  for- 
cipe,  dextera  longum  plumbum  frica  super  omnia  loca  ubi 
argentum  apparet,  et  mox  liquescente  plumbo  ipsum  liquescit, 
et  ei  commiscetur;  sicque  plumbum  comburitur  et  argentum 
acquiritur. 


TRANSLATION.  379 

whole  outside  lengthwise,  and  again  doubly  in  its  breadth. 
This  being  done,  with  the  small  pincers  rub  and  overlay  small 
pieces  of  silver  as  you  may  desire,  and  with  the  same  forceps 
rub  the  tops  of  the  silver  particles,  that  they  may  adhere. 
And  when  you  have  worked  the  whole,  place  it  anew  over 
the  glowing  coals  until  it  is  again  made  black,  and  raising  it 
with  the  pincers,  you  carefully  polish  it  with  the  long  piece  of 
steel,  fixed  in  a  handle  and  very  smooth,  and  being  placed 
over  the  coals,  you  again  warm  it  and  again  polish  it  strongly 
with  the  same  instrument.  But  should  you  wish  to  gild  it  in 
parts,  or  wholly,  it  is  in  your  power.  In  this  manner  bits 
and  other  equestrian  utensils,  or  whatsoever  you  will  in  iron, 
you  cut  in  the  above  manner,  but  more  deeply,  you  can  also 
have  very  fine  wires  of  silver  and  of  gold,  with  them  you  can 
form  for  yourself  very  small  flowers  and  circles,  or  any  other 
thing  which  it  may  please  you,  and  place  it  with  the  slender 
forceps  upon  the  iron  as  you  may  wish,  and  with  the  short 
hammer  strike  gently,  that  it  may  adhere,  and  let  there  be 
always  one  small  flower  golden,  the  other  silver.  All  the 
space,  however,  of  the  whole  iron  being  filled  up,  lay  it  over 
the  coals  until  it  grow  black,  and  beat  it  carefully  with  the 
middling  sized  hammer,  until  wherever  the  iron  appear  these 
incisions  may  become  smooth,  and  thus  the  work  may  appear 
as  if  blackened.  Should  you  wish  to  have  letters  upon  blades 
or  other  instruments,  sculp  them  first  with  the  hollowing  iron, 
then  a  thick  silver  wire  being  made,  form  the  letters  with  the 
slender  forceps  and  lay  them  in  these  hollows,  and  beating 
above  them  with  the  hammer  fill  them.  You  can  also  in  this 
manner  make  flowers  and  circles  upon  the  iron,  and  fill  them 
with  wires  of  copper  and  brass.  Should,  however,  anything 
of  this  work  become  broken  through  age  or  carelessness,  if 
you  wish  to  acquire  the  silver  in  it,  place  it  in  the  fire  until  it 
glows,  and  holding  it  in  the  left  hand  with  the  forceps,  with 
the  right  rub  a  long  piece  of  lead  over  all  places  where  the 
silver  appears,  and  immediately  it  liquefies  with  the  melted 
lead  and  is  mixed  with  it ;  and  the  lead  is  thus  burned,  and 
the  silver  procured. 


380  THEOPHILI    LIBKR    III. 


CAPUT    XCI. 

DE    SOLIDATURA    FERRI. 

FIUNT  etiam  ex  ferro  circuli  tenues  qui  ponuntur  in  ma- 
nubriis  ferramentorum  qui  non  possunt  per  se  solidari, 
quibus  in  junctura  circumvolvitur  cuprum  tenue,  atque  cir- 
cumponitur  modicum  argillae.  Qua  siccata,  cum  ante  for- 
nacem  sub  carbonibus  sufflat  canduerit,  mox  liquefactum 
cuprum  circumfluit  et  solidat.  Hoc  modo  etiam  claves  stag- 
natse,  si  franguntur,  et  alia  quaelibet  in  ferro  solidari  possunt. 
Quod  si  vis  seras  componere  quibus  manticae  serantur,  per- 
cute  ferrum  tenue  et  circa  aliud  ferrum  rotundum  complica, 
atque  conjunge  ei  fundum  superius  et  inferius.  Deinde  cir- 
cumpone  ei  corrigiolos  ex  eodem  ferro  et  inter  eos  flosculos 
sive  circulos  qualiter  volueris,  sic  tamen  ut  una  particula 
semper  inpingatur  alteri  ut  adhaereat,  ne  cadere  possit. 
Commisce  quoque  duos  partes  cupri  et  tertiam  stagni,  et 
comminue  illud  malleo  in  vasculo  ferreo  subtiliter,  combu- 
rensque  viniceum  lapidem,  adde  ei  modicum  salis  atque  com- 
misce  aqua,  et  liniens  in  circuitu  circumsparge  ipsum  pul- 
verem.  Quo  siccato,  rursum  superlinies  confectionem  illam 
spissius,  inponensque  prunis  ac  diligenter  circumtegens,  sicut 
argentum  superius,  eodem  modo  solidabis;  refrigeratumque 
per  se  lavabis.  Hoc  modo  quicquid  volueris  in  ferro  solidare 
potes,  quod  tamen  nullo  modo  deauratur.  Quicquid  super 
stagnare  volueris  in  ferro,  primum  lima  et  priusquam  manu 
tangas,  noviter  limatum  in  patellam  stagni  liquefacti  cum 
adipe  projice,  et  cum  forcipe  commove,  donec  candidum  fiat, 
eductumque  fortiter  excute,  atque  cum  furfure  et  lineo  panno 
purga.  Seras  ferreas  atque  ligaturas  scriniorum  et  ostior,um 
cum  feceris,  ad  ultimum  calefacies  et  pice  linies,  clavi  vero 
stagnati  sint.  Cum  feceris  calcaria,  frenos  et  instrumenta 
sellae  humilium  clericorum  et  monachomm,  et  ea  aequaliter 


TRANSLATION.  381 

CHAPTER  XCI. 

OF    SOLDERING    IRON. 

Thin  rings  are  also  made  from  iron,  which  are  placed  upon 
the  handles  of  iron  instruments,  which  cannot  be  made 
firm  by  themselves,  a  thin  piece  of  copper  is  folded  round 
these  at  the  join,  and  a  little  clay  is  placed  around  it.  This 
being  dry,  when,  being  blown  upon,  it  has  become  glowing 
under  the  coals  before  the  furnace,  the  melted  copper  in- 
stantly  flows  around  and  solders  it.  In  this  manner  also 
tinned  keys,  and  any  other  things  in  iron  can  be  soldered. 
But  should  you  wish  to  make  locks  with  which  clothes  chests 
are  fastened,  beat  a  thin  piece  of  iron,  and  bend  it  round 
another  round  iron,  and  join  a  bottom  to  it  above  and  below. 
Then  place  round  it  small  hoops  of  the  same  iron,  and  be- 
tween  them  small  flowers  or  circles  as  you  may  wish,  so, 
however,  that  one  small  piece  may  always  impinge  upon 
another  that  it  may  adhere  and  cannot  fall  off.  Mix  together 
also  two  parts  of  copper  and  a  third  of  tin,  and  grind  it  with 
the  pestle  in  an  iron  vase  very  finely,  and  burning  the  wine- 
stone,  add  to  it  a  little  salt  and  mix  it  with  water,  and  anoint- 
ing  it  around  sprinkle  this  powder  about  it.  Which  being 
dry,  you  again  overlay  this  mixture  more  thickly,  and  placing 
it  upon  the  embers  and  carefully  covering  it  about,  as  the 
silver  above,  you  will  solder  it  in  the  same  manner;  and, 
having  cooled  by  itself,  you  will  wash  it.  You  can  solder 
whatever  you  wish,  in  iron,  in  this  manner,  which  can, 
however,  in  no  way  be  gilt.  Whatever  you  may  wish  to  tin 
over,  in  iron,  file  it  first,  and  before  you  may  touch  it  with 
the  hand,  throw  it  newly  filed  into  a  pot  of  melted  tin  with 
grease,  and  stir  it  with  the  tongs  until  it  becomes  white,  and 
being  taken  out,  shake  it  strongly,  and  clean  it  with  bran  and 
a  linen  cloth.  When  you  have  made  iron  locks  and  bindings  of 
caskets  and  doors,  you  warm  them  lastly  and  anoint  them  with 
pitch,  but  the  nails  are  tinned.  When  you  have  made  the  stir- 
rups,  bits  and  saddle  appendages  of  humble  clerks  and  monks, 
and  have  filed  them  smoothly,  warm  them  moderately  and 


382  THEOPHILI    LIBER    III. 

limaveris,  calefac  mediocriter  et  frica  super  ea  cornu  bovis, 
sive  pennas  anseris,  quee  cum  a  calore  modicum  liquefacta 
ferro  adhseserint,  nigrum  colorem  et  quod  a  modo  ei  conveni- 
entem  prsebebit. 


CAPUT    XCIL 


DE    SCULPTURA    OSSIS. 


SCULPTURUS  os,  primum  forma  tabulam  cujus  magni- 
tudinis  volueris,  et  superponens  cretam,  pertrahe  cum 
plumbo  imagines  secundum  libitum,  atque  cum  gracili  ferro 
designa  tractus  ut  appareant ;  deinde  cum  diversis  ferris  fode 
campos  quam  profunde  volueris,  et  sic  demum  ingenium  et 
scientiam  tuam  sculpe  imagines,  vel  aliud  quod  libuerit. 
Quod  si  volueris  opus  tuum  auri  petula  ornare,  gluten  de 
vesica  piscis  qui  dicitur  huso  subpone,  et  incisa  petula  per 
particulas,  sicut  volueris  suppone.  Forma  etiam  manubria 
ex  ebore  rotunda  sive  costata,  et  fac  foramen  per  medium  in 
longitudine,  deinde  cum  limis  diversis  ad  hoc  opus  aptis  am- 
plifica  foramen  ut  sit  interius  sicut  exterius,  et  sit  per  rotum 
sequaliter  et  mediocriter  tenue;  atque  pertrahe  in  circuitu 
subtiliter  fiosculos,  sive  bestias,  aves,  vel  dracones  collibus  et 
caudis  concatenatos,  et  cum  subtilibus  ferris  campos  transfora, 
deinde  sculpe  quam  gracilius  et  operosius  possis.  Quo  facto, 
imple  foramen  interius  ligno  quercineo,  quod  cooperies  cupro 
tenui  deaurato,  ita  ut  per  omnes  campos  aurum  videri  possit ; 
sicque  ex  eodem  osse  particuli  duabus  irijunctis,  obstrue  fora- 
men  ante  et  retro,  quas  obfirmabis  osseis  clavis,  tam  sub- 
tiliter,  ut  nullus  considerare  possit  qualiter  aurum  impositum 
sit.  Post  hsec  in  anteriori  particula  fac  foramen  in  quo  cul- 
tellus  inponatur,  cujus  cauda  calefacta  leviter  potest  inponi, 
quia  lignum  est  interius  et  firmiter  stabit :  fac  etiam  manu- 


TRANSLATION.  383 

rub  over  them  with  the  horn  of  an  ox  or  the  feather  of  a 
goose,  when  which,  a  little  melted  by  the  heat,  have  adhered 
to  the  iron,  it  will  show  a  black  colour  which  is  in  a  manner 
suitable  to  him. 


CHAPTER  XCII. 

OF    SCULPTURING    IVORY. 


In  sculpturing  ivory,  first  form  a  tablet  of  the  magnitude  you 
may  wish,  and  superposing  chalk,  portray  with  a  lead  the 
figures  according  to  your  pleasure,  and  with  a  pointed  instru- 
ment  mark  the  lines  that  they  may  appear ;  then  carve  the 
grounds  as  deeply  as  you  wish  with  different  instruments,  and 
sculp  the  figures  or  other  thing  you  please  according  to  your 
invention  and  skill.  But  should  you  wish  to  ornament  your 
work  with  a  leaf  of  gold,  lay  on  glue  of  the  bladder  of  the 
fish  which  is  called  "  huso,"  and  the  leaf  being  cut  into  small 
pieces,  overlay  it  as  you  please.  Fashion  also  round  or  ribbed 
handles  from  ivory,  and  make  an  opening  through  the 
middle  lengthwise,  then  with  various  files  proper  for  this  work 
enlarge  the  opening  that  it  may  be  inside  as  outside,  and  let 
it  be  smooth  everywhere  and  moderately  thin;  and  portray 
flowerets  around  it  very  finely,  or  animals,  birds,  or  dragons 
twisted  together  by  the  necks  and  tails,  and  transpierce  the 
grounds  with  very  fine  instruments,  then  sculp  as  gracefully 
and  artistically  as  you  may  be  able.  Which  being  done,  fill 
the  opening  inside  with  oak  wood  which  you  cover  with  thin 
gilt  copper,  so  that  through  all  the  grounds  the  gold  can  be 
seen ;  and  so  two  pieces  being  joined  in  from  a  particle  of  the 
same  ivory,  close  the  hole  before  and  behind,  you  will  fasten 
these  on  with  ivory  pegs,  so  cunningly,  that  no  one  may  be 
able  to  see  how  the  gold  is  laid  in.  After  this  make  an  open- 
ing  in  the  small  piece  in  front  in  which  the  blade  is  placed, 
the  handle  of  which,  being  heated,  can  be  easily  inserted  be- 
cause  the  wood  is  within,  and  it  will  stand  fast ;  make,  also, 


384  THEOPHILI    LIBER    III. 

brium  simplex  qualiter  volueris,  et  secundum  quantitatem 
ejus  fac  foramen  cui  cultellus  imponi  debet,  atque  injunge  ei 
lignum  diligenter,  et  sicut  lignum  formatum  est,  ita  fac  for- 
mari  caudam  cultelli.  Deinde  tere  thus  lucidum  in  tenuis- 
simum  pulverem,  et  inde  imple  foramen  manubrij,  atque  cum 
lineo  panno  humido  involve  cultellum  juxta  caudam  tripliciter, 
ponensque  ante  fornacem,  calefac  ipsam  caudam  donec  mo- 
dicum  candescat,  statimque  infige  manubrio  diligenter  ut 
bene  conjungatur,  et  firmiter  stabit.  Quod  si  aliquando 
vetustate,  vel  incuria,  cultellus  frangatur,  ita  ut  particula  ejus 
extra  manubrium  emineat,  calefac  forcipem  ferrarij  atque  ad- 
prehende  ipsam  caudam  et  aliquantisper  tene,  donec  in- 
calescat,  et  statim  extrahe.  Cum  sulphure,  quo  trito,  eodem 
modo  firmari  potest  cultellus,  non  solum  in  osse  sed  in  duro 
ligno. 


CAPUT    XCIII. 


DE    RUBRICANDO    OSSE. 


EST  etiam  herba  rubrica  dicta,  cujus  radix  est  longa, 
gracilis  et  rubicunda,  quse  effossa  sole  siccatur,  atque  in 
mortario  pila  tunditur,  et  sic  lexiva  perfusa  in  olla  radi ' 
coquitur.  Cui  cum  bene  bulluerit,  os  elephantis  seu  piscis 
vel  cervi  impositum,  rubrum  fit.  Possunt  etiam  ex  his 
ossibus  vel  cornibus  tornatili  opere  fieri  noda2  in  baculis 
episcoporum,  abbatium,  atque  minores  noduli  diversis  utensil- 
ibus  apti.  Quos  cum  acutis  ferris  tornaveris  cum  asperella 
sequabis,  et  colligens  rasuras  in  panno  lineo  desuper  tornando 
fortiter  fricabis,  et  omnino  lucidi  fient.  Cineribus  cribatis  et 
laneo  panno  inditis  poteris  manubria  cornea,  et  venatorum 
cornua,  vel  tabulas  in  lucernis  polire;  ad  ultimum  vero  ne 
obliviscaris  ea  nucis  oleo  superlinire. 

1  rasa?  *  "  nodi,"  im<i. 


TRANSLATION.  385 

a  plain  handle,  and,  according  to  its  size,  make  the  opening  in 
which  the  blade  should  be  placed,  and  join  the  wood  care- 
fully  into  it,  and  according  as  the  wood  is  fashioned  so  cause 
the  handle  of  the  knife  to  be  made.  Then  grind  some  clear 
Thus  into  the  finest  powder,  and  fill  the  opening  of  the  handle 
with  it,  and  envelop  the  blade  near  the  handle  with  a  wet 
cloth,  in  a  threefold  manner,  and  placing  it  before  the  furnace, 
warm  this  handle  until  it  slightly  glows,  and  immediately  fix  it 
carefully  in  the  handle  that  it  may  be  well  joined  in,  and  it 
will  stand  firmly.  But  should  the  knife  be  broken  at  any 
time,  so  that  a  small  portion  of  it  protrude  beyond  the  handle, 
warm  the  iron-worker's  pincers,  and  seize  this  handle  and 
hold  it  for  a  short  time  until  it  grow  warm,  and  immediately 
extract  it.  A  knife  can  also  be  fastened  in  the  same  manner, 
with  sulphur,  ground,  not  only  in  ivory  but  in  hard  wood. 


CHAPTER  XCIII. 

OF    REDDENING    IVORY. 

There  is  likewise  a  herb  called  "  rubrica,"  the  root  of  which 
is  long,  slender,  and  of  a  red  colour;  thisbeingdug  up  is  dried 
in  the  sun  and  is  pounded  in  a  mortar  with  the  pestle,  and  so 
being  scraped  into  a  pot  and  a  lye  poured  over,  it  is  cooked. 
In  this,  when  it  has  well  boiled,  the  bone  of  the  elephant,  or 
fish,  or  stag,  being  placed,  is  made  red.  The  knobs  in  the 
staves  of  bishops  and  abbots,  and  the  smaller  nodules  fit  for 
different  utensils  can  also  be  made  in  turned  work  from  these 
bones  or  horns.  When  you  have  turned  which,  with  sharp 
instruments,  you  will  smooth  them  with  shave  grass,  and  col- 
lecting  the  scrapings  in  a  linen  cloth,  you  will  rub  them 
strongly,  by  turning  upon  them,  and  they  are  made  quite 
bright.  You  will  be  able  to  polish  horn  handles,  and  the 
horns  of  huntsmen,  or  tablets  in  lanterns,  with  ashes,  sifted, 
and  set  in  a  linen  cloth ;  but  at  last  you  must  not  forget  to 
anoint  them  over  with  walnut  oil. 

c  c 


386  THEOPHILI    LIBER    III. 


CAPUT    XCIV. 

DE    POLIENDIS    GEMMIS. 

CRISTALLUM  quod  aqua  durata  in  glaciem,  et  multorura 
annorum  glacies  duratur  in  lapidem,  hoc  modo  limatur 
et  politur.  Tolle  confectionem  quae  dicitur  tenax,  de  qua 
supradictum  est,  adhibitamque  igni  donec  liquefiat,  consoJi- 
dabis  christallum  ad  lignum  longum  quod  ei  simile  sit  in  gros- 
situdine.  Quod  cum  refrigeratum  fuerit  utrisque  manibus 
fricabis  super  lapidem  sabuleum  durum,  addita  aqua  donec 
formam  accipiit  quam  ei  dare  volueris,  deinde  super  alteram 
lapidem  ejusdem  generis  qui  sit  subtilior  et  aequalior  donec 
omnino  aequum  fiat.  Et  accipiens  tabulam  plumbeam  sequa- 
lem,  pone  super  eam  tegulam  humidam  quam  cum  saliva  fric- 
abis  super  cotem  duram,  atque  desuper  polies  ipsum  chris- 
tallum,  donec  fulgorem  accipiat.  Ad  ultimum  veio  super 
hyrcinum  corium  non  denigratum  neque  unctum,  sed  in 
ligno  tensum  et  clavis  inferius  affixum,  fricaturam  tegulae 
pone  saliva  humidam,  et  desuper  diligenter  frica,  donec  omnino 
lucidum  fiat.  Quod  si  christallum  sculpere  volueris,  accepto 
hyrco  duorum  vel  trium  annorum,  colligatisque  pedibus  ejus, 
incide  foramen  inter  pectus  ejus  et  ventrem,  in  loco  cordis,  et 
ivnpone  christallum,  ita  ut  in  sanguine  ejus  jaceat,  donec  cale- 
fiat.  Quod  mox  ejiciens  incide  in  eo  quod  volueris,  quamdiu 
calor  ille  durat,  et  cum  ceperit  refrigescere  atque  durescere, 
rursum  repone  in  sanguine  hyrci,  calefactumque  denuo  ejice 
et  incide,  sicque  facies  donec  sculpturam  compleas ;  ad  ulti- 
mum  vero  calefactum  et  ejectum  cum  panno  laneo  fricabis  ut 
cum  eodem  sanguine  ei  fulgorem  acquiras.  Si  autem  nodos 
facere  volueris  ex  christallo,  qui  baculis  episcoporum  vel 
caudae  labris  possint  inponi,  hoc  modo  perforabis  eos;  fac 
tibi  duos  malleos  mensura  minoris  digiti  grossos,  et  pene 
palmi  mensura  longos,  et  in  utraque  summitate  valde  graciles 
et  bene  calibatos.     Cumque  nodum  formaveris  incide  in  ligno 


TRANSLATION.  387 

CHAPTER  XCIV. 

OF    POLISHING    GEMS. 

Crystal,  which  is  water  hardened  into  ice,  and  the  ice  of  great 
age  is  hardened  into  stone,  is  trimmed  and  polished  in  this 
manner.  Take  the  composition  which  is  called  tenax,  of 
which  mention  is  made  above,  and  applying  it  to  the  fire 
until  it  Hquefy,  you  will  fasten  the  crystal  to  a  long  wood, 
which  must  be  similar  to  it  in  thickness.  When  this  has  be- 
come  cold,  you  will  rub  it  with  both  hands  upon  a  hard  sand- 
stone,  water  being  added,  until  it  takes  the  form  which  you 
wish  to  give  it,  then  upon  another  stone  of  the  same  kind, 
which  must  be  finer  and  smoother,  until  it  be  made  quite 
smooth.  And  taking  a  flat  leaden  tablet,  place  moistened 
tile  upon  it,  which  you  will  rub  with  saliva  upon  a  hard  hone, 
and  you  polish  this  crystal  upon  it  until  it  takes  a  lustre. 
But  at  last,  place  the  rubbing  of  tile,  made  moist  with  saliva, 
upon  a  goat's  skin,  neither  blackened  nor  oiled,  but  stretched 
upon  wood  and  fixed  below  with  nails,  and  rub  carefully  upon 
it,  until  it  becomes  quite  bright.  But  should  you  wish  to 
sculp  crystal,  taking  a  goat  of  the  age  of  two  or  three  years 
and  binding  his  feet,  cut  an  opening  between  his  breast  and 
stomach,  in  the  position  of  the  heart,  and  lay  in  the  crystal, 
so  that  it  may  lie  in  its  blood  until  it  grow  warm.  Taking  it 
out  directly,  cut  what  you  please  in  it,  as  long  as  the  heat 
lasts,  and  when  it  has  begun  to  grow  cold  and  to  harden,  re- 
place  it  again  in  the  blood  of  the  goat,  and  being  made  warm 
anew,  take  it  out  and  cut  it,  and  do  thus  until  you  complete 
the  sculpture ;  at  the  last,  being  made  warm  and  taken  out, 
you  will  rub  it  with  a  linen  cloth  so  that  with  the  same  blood 
you  can  procure  a  lustre  for  it.  Should  you,  however,  wish  to 
make  knobs  from  crystal,  which  can  be  placed  upon  the 
staves  of  bishops,  or  the  tips  of  the  stem,  you  will  perforate 
them  in  this  manner;  make  two  hammers  for  yourself,  of 
the  thickness  of  the  little  finger,  and  almost  a  palm  in  length, 
and  at  each  end  very  pointed  and  well  steeled.  And  when 
you  have   formed  the  knob,  cut  a  hole  in  a  wood,  so  that  it 

c  c  2 


388  THEOPHILI    LIUEIi    III. 

foramen,  ita  ut  dimidius  in  eo  jacere  possit,  et  cum  cera  con- 
firmabis  eum  in  eodem  ligno  ut  adhaereat ;  tollensque  ununi 
malleolum  percute  leniter  in  medio  nodi  in  uno  loco,  donec 
foramen  parvum  facias,  sicque  in  medio  percutiendo  et  in 
circuitu  diligenter  frangendo,  cavaturam  augebis.  Cumque, 
sic  persistendo,  ad  meditullium  nodi  perveneris,  converte  illum 
et  in  alteram  partem  fac  similiter.  Quem  cum  transforaveris, 
percute  cuprum  longitudine  pedis  unius  et  rotundum,  ita  ut 
foramen  transire  possit,  accipiensque  sabulum  acutum  aqua 
mixtum,  mitte  in  foramen  et  cum  cupro  lima.  Cum  vero 
foramen  aliquantuni  dilataveris,  percute  aliud  cuprum  gros- 
sius,  cum  quo  similiter  limabis ;  et  si  opus  fuerit  addes  cuprum 
tertium  grossius.  Cumque  ut  volueris  foramen  ampliaveris, 
frange  sabuleum  lapidem  subtiliter,  et  hoc  imposito  cum 
cupro  novo  limabis  donec  aequale  fiat.  Deinde  tolle  plum- 
bum  pari  modo  rotundum,  additaque  fricatura  tegulae,  cum 
saliva,  polies  foramen  interius,  ipsumque  nodum  sicut  supra 
exterius.  Purissimum  christallum  rotundissimum  formatum 
et  politum,  aquaque  vel  saliva  madefactum  et  claro  soli  ad- 
hibitum,  isca  quam  tenturam  vocant  supposita  ita,  ut  splendor 
in  eam  vibret,  ignem  velocissimum  trahit.  Quod  si  chris- 
tallum  secare  volueris,  infige  quatuor  clavos  ligneos  super 
scamnum,  inter  quos  christallum  firmiter  jaceat,  qui  clavi  sic 
stabunt,  ut  duo  superius  et  duo  inferius  sic  strictim  conjun- 
gantur,  ut  serra  inter  eos  trahi  vix  possit,  et  in  nullam  partem 
flecti,  imponensque  serram  ferream  atque  superjaciens  sabu- 
lum  acutum  aqua  commixtum,  fac  stare  duos  qui  eam  trahant, 
quique  sabulum  cum  aqua  sine  intermissione  desuper  jaciant. 
Hoc  tamdiu  fiat,  donec  christallum  in  duabus  partibus  divi- 
datur,  quas  superfricabis  et  polies  ut  supra.  Eodem  modo 
secantur,  fricantur  atque  poliuntur  onix  et  berillus,  smarag- 
dus,  jaspis  et  calcedonius,  ceterique  lapides  preciosi ;  fit  etiam 
tenuissimus  pulvis  de  fragmentis  christalli  qui,  mixtus  aqua, 
ponitur  super  sequalem  lignum  de  tilia,  et  desuper  fricantur 


TRANSLATION.  389 

may  be  able  to  lie  half  in  it,  and  you  will  fasten  it  with  wax 
in  this  same  piece  of  wood  that  it  may  adhere ;  and  taking  a 
small  hammer  strike  lightly  in  the  middle  of  the  knob  in  one 
place  until  you  make  a  small  hole,  and  so  by  striking  in  the 
centre  and  by  carefully  breaking  around  it  you  will  increase 
the  hollow.  And  when  by  thus  persevering  you  have  arrived 
at  the  very  middle  of  the  knob,turn  it  round  and  do  similarly 
upon  the  other  side.  When  you  have  transpierced  this,  beat 
a  piece  of  copper  the  length  of  a  foot,  and  round,  so  that  it 
can  pass  through  the  opening,  and  taking  sharp  sand  mixed 
with  water,  place  it  in  the  opening  and  file  with  the  copper. 
When  you  have  jsomewhat  dilated  the  opening,  beat  another 
thicker  copper,  ivith  which  you  will  file  in  a  similar  manner, 
and  should  need  be  you  add  a  third  thicker  copper.  And 
when  you  have  enlarged  the  opening  as  you  may  wish,  break 
aTgand-stone  very  fineJy,  and  this  being  placed  in,  you  will 
file  it  with  a  new  copper  until  it  become  even.  Then  take  a 
piece  of  lead,  rounded  in  the  same  manner,  and  the  powder 
of  tile,  with  saliva  being  added,  you  polish  the  opening  inside, 
and  the  knob  itself  outside,  as  above.  Purest  crystal  of  a 
very  round  form,  and  polished  and  moistened  with  water  or 
saliva,  and  exposed  in  the  light  of  the  sun,  tinder  which  they 
call  "  tentura  "  being  placed  under  it,  so  that  the  light  may 
shine  upon  it,  attracts  fire  with  the  greatest  velocity.  But 
should  you  wish  to  cut  crystal,  fix  four  wooden  pegs  upon  a 
bench,  between  which  the  crystal  can  lie  firmly,  which  pegs 
will  so  stand,  that  two  must  be  joined  together  above  and 
two  below,  so  closely  that  the  saw  can  scarcely  be  drawn  be- 
tween  them,  and  that  it  can  in  no  part  be  turned,  and  placing 
on  the  iron  saw,  and  casting  over  it  sharp  sand  mixed  with 
water,  make  two  (assistants)  stand  who  can  draw  it,  and  who 
must  cast  the  sand  with  water  upon  it  without  intermission. 
This  must  be  done  until  the  crystal  be  divided  into  two  pieces, 
which  you  will  rub  and  polish  over  as  above.  In  the  same 
manner  the  onyx  and  beryl,  malachite,  jasper  and  agate  and 
other  precious  stones  are  cut,  rubbed  and  polished ;  a  very 
fine  powder  is  also  made  of  fragments  of  crystal  which,  mixed 
with  water,  is  placed  upon  a  flat  piece  of  lime-wood,  and  these 


390  THEOPHILI    LIBER    III. 

iidem  lapides  atque  poliuntur.  Jacinctus,  qui  durior  est,  hoc 
modo  politur.  Est  lapis  qui  dicitur  ismaris  qui  comminutus 
donec  sit  sicut  sabulum,  poniturque  super  cupream  tabulam 
sequalem  aqua  mixtus,  et  desuper  jacinctus  fricando  formatur. 
Lotura  vero  quae  inde  fluit  diligenter  in  pelvi  munda  suscipi- 
atur,  et  cum  steterit  per  noctem,  sequenti  die  aqua  penitus 
ejiciatur,  et  pulvis  siccetur,  qui  postea  super  tabulam  sequa- 
lem  de  tilia  saliva  humidus  ponatur,  atque  desuper  jacinctus 
poliatur.  Lapides  quoque  eodem  modo  vitrei  quod  cristallum 
fricantur  et  poliuntur. 


CAPUT    XCV. 

DE    MARGARITIS. 

MARGARIT7E  inveniuntur  in  conchis  marinis  et  aliorum 
fluminum ;  quse  perforantur  subtili  ferro  calibato, 
quod  infixum  sit  ligno  habenti  rotulam  plumbi  parvulam,  et 
alterum  lignum  in  quo  volvatur,  cui  sit  inposita  corrigia  per 
quam  circumducatur.  Quod  si  opus  sit  ut  alicujus  margaritae 
foramen  majus  fiat,  filum  cum  modico  subtili  sabulo  foramini 
inponatur,  cujus  fili  summitas  una  dentibus,  altera  sinistra 
manu  teneatur,  dexteraque  sursum  ac  deorsum  margarita 
ducatur,  interimque  sabulum  ut  foramen  latius  fiat  apponatur. 
Secantur  etiam  chonchse  marinse  per  partes  et  inde  limantur 
lmargaritse,  in  auro  satis  utiles,  poliunturque  ut  supra. 

1  quasil 


TRAN8LATI0N.  391 

same  stones  are  rubbed  upon  it  and  polished.  The  amethyst, 
which  is  harder,  is  polished  in  this  manner.  There  is  a  stone 
called  emery,  which  is  broken  until  like  sand,  and  is  placed, 
mixed  with  water,  upon  a  smooth  copper  tablet,  and  by 
rubbing  upon  it  the  amethyst  is  fashioned.  The  washing 
which  flows  from  it  is  carefully  received  in  a  clean  basin,  and 
when  it  has  stood  for  a  night,  on  the  day  following  the  water 
is  entirely  withdrawn  and  the  powder  is  dried,  this  is  after- 
wards  placed,  moistened  with  saliva,  upon  a  smooth  lime- 
wood  tablet,  and  the  amethyst  is  polished  upon  it.  Glass 
stones,  also,  are  rubbed  and  polished  in  the  same  manner 
as  crystal. 


CHAPTER  XCV. 

OF    PEARLS. 


Pearls  are  found  in  sea-shells  and  (shells)  of  other  waters; 
these  are  perforated  with  a  fine  steeled  instrument  which  is 
fixed  in  wood,  having  a  small  wheel  of  lead,  also  another 
wood  in  which  it  may  be  turned,  to  which  a  strap  must  be 
placed  by  which  it  may  be  revolved.  But  should  it  be  neces- 
sary  that  the  aperture  of  any  pearl  be  made  larger,  a  wire 
may  be  placed  in  the  opening  with  a  little  fine  sand,  one  end 
of  which  may  be  held  in  the  teeth,  the  other  in  the  left  hand, 
and  by  the  right  the  pearl  is  conducted  upwards  and  down- 
wards,  and  in  the  mean  time  sand  is  applied,  that  the  aperture 
may  become  wider.  Sea  shells  are  also  cut  into  pieces  and 
are  filed  as  pearls,  sufficiently  useful  upon  gold,  and  they  are 
polished  as  above. 


392 


THEOPHILI    LIBER    III. 


CAPUT    XCVI.  ' 

DE    AUREA    SCRIPTURA. 

SI  quis  scripturam  quaerit  sibi  scribere  pulchrara 
Ex  auro,  legat  hoc  quod  vili  carmine  dico. 
Auram  cum  puro  mero  molat  usque  solutum 
Hoc  nimium  fuerit ;  moneo  quod  ssepe  lavet  illud, 
Nam  quia  deposcit  hoc  candens  pagina  libri. 
Exin  thaurini  faciat  pinguedine  fellis 
Hoc  liquidum,  si  vult  seu  cum  pinguedine  gummi. 
Atque  rogo  pariter  calamo  cum  ceperit  aurum 
Illum  commoveat,  pulchre  si  scribere  quaerit. 
Hinc  siccata  sed  ut  fuerit  scriptura,  nitentem 
Hunc  nimium  faciat  ursi  cum  dente  ferocis. 


CAPUT    XCVII. 


DE    FLORIBUS    AD    SCRIBENDUM. 

FLORES  in  varios  qui  vult  mutare  colores 
Causa  scribendi  quos  libri  pagina  poscit, 
Est  opus  ut  segetes  in  summo  mane  pererret 
Et  tunc  diversos  flores  ortuque  recentes 
Inveniat,  properetque  sibi  decerpere  eosdera. 
Cumque  domi  fuerint  caveat  ne  ponat  in  unum 
Illos,  sed  faciat  quod  talis  res  sibi  poscit  vel  quaerit. 
Dum  super  aequalem  petram  contriveris  istos 
Flores,  incoctum  pariter  tum  congere  gypsum. 
Sic  tibi  siccatos  poteris  servare  colores. 
Ex  quibus  in  viridem  si  vis  mutare  colorem, 
Calcem  commisce  cum  floribus,  inde  videbis 
Quod  tibi  mandavi,  veluti  ipse  probavi. 


1  "  Eraclii "  videlur  esse. 


*  "  Eraclii "  capitula  ttU 


TRANSLATION.  393 

CHAPTER  XCVI.  » 

OF    WRITING    IN    GOLD. 

Should  any  one  wish  to  fashion  beautiful  writing  in  gold,  let 
him  read  what  I  say  in  lowly  verse.  Let  him  grind  gold 
with  pure  wine  until  it  has  become  well  dissolved ;  I  advise 
that  he  should  often  wash  it,  for  the  white  page  of  the  book 
demands  this.  Let  him  afterwards  make  this  liquid,  with  the 
gluten  of  bull's  skin,  or,  if  he  wish,  with  the  gluten  of  gum. 
And  when  he  has  taken  the  gold  with  a  stick  or  pen,  let  him 
stir  it,  should  he  seek  to  write  beautifully.  But  after  this, 
when  the  writing  has  become  dry,  let  him  make  it  very 
shining  with  the  tooth  of  a  wild  bear. 


CHAPTER  XCVII.  2 

OF    FLOWERS    USED    FOR   WRITING. 

He  who  wishes  to  change  flowers  into  various  colours  which, 
in  the  business  of  writing,  the  page  of  the  book  demands, 
must  wander  over  the  cornfields  in  early  morning,  and  at  the 
rising  of  the  sun  he  can  then  find  various  fresh  flowers,  and 
let  him  hasten  to  pluck  these  for  himself.  And  when  they 
are  at  home,  let  him  take  care  that  he  d^es  not  lay  them  to- 
gether,  but  let  him  do  what  this  thing  demands  of  him. 
When  you  have  bruised  these  flowers  upon  a  smooth  stone, 
then  pile  up  unburnt  gypsum  together  with  them.  Thus  dry, 
you  can  preserve  the  colours  for  yourself.  If  you  wish  to 
change  the  colours  of  these  to  green,  mix  lime  with  the 
flowers,  you  will  then  see  that  I  have  bid  you  the  thing 
which  I  have  proved. 

1  Theophilus  here  quotes  Eraclius.  *  From  Eraclius. 


394 


THEOPHILI    LIBER   III. 


CAPUT    XCVIII. 

DE    EDERA   AC    LACCA. 

ROGATO  a  te  frater  karissime  ut  dicam  tibi  de  hedera, 
quam  poetae  atque  artifices  nimium  dilexerunt,  quia 
occultas  vires  quas  in  se  continet  agnoverunt :  poetarum  enim 
carmina  cum  recitarentur  in  theatro  ante  conventum  romano- 
rum,  coronabantur  hedera, : — artifices  vero  antiqui  ex  hac 
multos  colores  invenerunt,  ex  quibus  unum  scripto  tibi  osten- 
dam.  Mense  martio,  cum  herbae  arboresque  succum  de  matre 
terra  suscipiunt,  et  iterum  vires  crescendi  recipiunt,  subulam 
accipe  et  ramusculos  hederae  perfora  locatim,  et  egreditur 
gummi  liquor  ex  eis,  de  quo  sanguineus  coquendo  color  ef- 
ficitur,  qui  lacca  nuncupatur.  Decoque  ergo  gummi  liquorem 
quem  tibi  supra  dixi  cum  urina,  et  habebis  sanguineum  co- 
lorem  qui  est  utilis  scripturis  atque  picturis.  Ex  hoc  ergo 
parcia1  efficitur  qui  pelles  arietum  ac  caprarum  rosea  colore 
decorat. 


CAPUT    XCIX. 


DE   VIRIDI    COLORE. 


VIRIDEM  si  quis  quserit  colorem  ad  scribendi  usum  fa- 
cere,  accipiat  folia  virida  ex  herba  quae  vulgo  morella 
nuncupatur,  eamque  cum  creta  candida  super  petram  marmo- 
ream  diligenter  terat,  donec  sint  valde  liquida,  atque  ad  usum 
scribendi  optima.  Hoc  autem  facto,  pennam  facere  tempe- 
ratam,  seu  pincellum  in  hunc  colorem  inunge,  atque  illumina 
capitales  litteras  quas  ex  eodem  eolore  vis  illuminare.  Sed 
cave  frater,  ne  nimium  ponas  ex  creta  cum  succo  foliorum. 

1  "  phoenicia."    Qu.  ? 


TRANSLATION.  395 

CHAPTER  XCVIII. 

OF    THE   IVY    AND    OF    LAKE. 

At  your  request,  dearest  brother,  that  I  should  discourse  to 
you  of  the  ivy,  which  the  poets  and  artists  much  loved,  on 
account  of  the  secret  powers  which  they  recognised  it  con- 
tained  within  itself : — for  the  songs  of  poets,  when  they  had 
been  recited  in  the  theatre  before  an  assembly  of  the  Romans, 
were  accustomed  to  be  crowned  with  ivy  : — the  ancient  artists 
also  invented  many  colours  from  this,  one  of  which,  in 
writing,  I  can  show  you.  In  the  month  of  March,  when  plants 
and  trees  take  up  their  sap  from  mother  earth,  take  an  auger 
and  perforate  the  small  boughs  of  the  ivy  in  places,  and  a 
gummy  liquid  will  flow  out  from  them,  from  which  a  blood 
colour  is  made,  by  seething,  which  is  called  lake.  Seeth 
therefore  the  gum  liquor,  which  I  have  before  mentioned  to 
you,  in  urine,  and  you  will  have  the  blood  colour,  which  is 
useful  in  writings  and  paintings.  From  this  also  the  "  par- 
cia  " '  is  made,  which  ornaments  rams  and  goats'  skins  with 
a  rose  colour. 


CHAPTER  XCIX. 

OF   A    GREEN    COLOUR. 


Should  one  wish  to  make  a  green  colour  fit  for  writing  let  him 
take  the  green  leaves  of  the  plant  which  is  commonly  called 
nightshade,  and  carefully  grind  it  upon  a  marble  stone  with 
white  chalk  until  they  be  quite  liquid,  and  best  suited  for  the 
purpose  of  writing.  This  being  done,  dip  a  pen,  or  anoint  a 
pencil  in  this  colour,  and  illuminate  capital  letters  which  you 
wish  to  ornament  with  the  same  colour.  But  beware, 
brother,  that  you  do  not  put  too  much  chalk  with  the  juice  of 
the  leaves. 

1  "  phoenicia."  Qu.  t    See  note.    "  Edera  ac  Lacca." 


396  THEOPHILI    LIBER    III. 


CAPUT    C. 


ITERUM    DE    EODEM. 


COLOREM  viridem  qui  vult  ad  usum  scribendi  sibi  facere, 
in  vase  ereo  mel  cum  aceto  valde  immixtum  aequo  pon- 
dere  infundat,  ac  deinde  in  sterquilinio,  ubi  calet  plus,  illud 
abscondat. 


CAPUT    CI. 

ITEM. 

ACCIPE  vas  cupreum,  et  lava  illud  intus  et  foris  et  mitte 
ad  solem  ut  siccetur.  Postea  accepto  melle  purissimo 
perunge  intus  et  foris.  Deinde  contere  sal  super  lapidem,  et 
cum  eo  totum  praedictum  vas  asperge,  et  tunc  idem  vas  pone 
super  scultellam  plenam  aceto,  positam  in  medio  stercoris 
equorum,  ita  tamen,  ut  de  stercore  neque  vas  cupreum,  neque 
acetum,  contaminetur ;  et  sic  dimitte  stare  per  quinque  aut 
sex  dies.  Postea  tolle  idem  vas,  remoto  stercore,  et  mitte  ad 
solem  donec  siccetur,  et  tunc  cum  cultello  abrade  totum  colo- 
rem  qui  de  eodem  vase  confectus  est,  et  mitte  eum  in  aliquid 
vas,  et  misce  eum  adhuc  cum  melle,  et  sic  depinge. 


CAPUT    CII.  ' 


DE    SCULPTURA   VITRI. 


OVOS  artifices  qui  sculpere  vultis  honeste 
Vitrum,  nunc  vobis  pandam,  velut  ipse  probavi. 
Vermes  queesivi  pingues  quos  vertit  aratrum 

1  "  Eraclii "  capitula  est. 


TRANSLATION.  397 

CHAPTER  C. 

OF   THE    SAME   AGAIN. 

He  who  wishes  to  make  for  himself  a  green  colour  for  service 
in  writing,  let  him  pour  honey,  well  mixed  with  vinegar,  into 
a  brass  vessel,  and  then  let  him  bury  it  in  stable  litter,  where 
it  heats  the  most. 


CHAPTER  CI. 

THE    SAME. 

Take  a  copper  vessel  and  wash  it  within  and  without,  and  place 
it  in  the  sun  that  it  may  become  dry.  Afterwards,  taking 
the  purest  honey,  anoint  it  over  within  and  without.  Then 
grind  salt  upon  a  stone,  and  sprinkle  it  over  the  whole  afore- 
said  vessel,  and  then  place  the  same  vessel  over  a  basin  filled 
with  vinegar  placed  in  the  midst  of  horse  litter,  so,  however, 
that  neither  the  copper  vessel  nor  the  vinegar  be  contaminated 
by  the  litter ;  and  so  leave  it  to  stand  for  five  or  six  days. 
Afterwards,  the  litter  being  removed,  take  the  same  vessel 
and  place  it  in  the  sun  until  it  becomes  dry,  and  then  scrape 
with  a  knife  all  the  colour  which  is  perfected  upon  the  vase, 
and  place  it  in  any  vessel  and  mix  it  with  yet  more  honey, 
and  so  paint  with  it. 


CHAPTER  CII.  » 

OF    SCULPTURING    GLASS. 


Artists  !  who  wish  to  engrave  glass  in  a  beautiful  manner, 
I  now  can  teach  you,  as  I  have  myself  made  trial.  I  have 
sought  the  gross  worms  which  the  plough  turns  up  in  the 


From  Eraclius. 


398  THEOPHILI    LIBER    III. 

Per  terram,  atque  simul  jussit  me  quaerere  acetum. 
Utilis  ars  istis  rebus  calidumque  cruorem. 
Ex  hyrco  ingenti,  quem  sollers  tempore  parvo 
Herba.  ex  hedera  forti  poni  tecto  religatuin. 
Sanguine  cum  calido  post  hsec  vermes  et  acetum 
Infudi,  ac  totam  fialam  clare  renitentem 
Unxi ;  quo  facto  temptavi  sculpere  vitrum 
Cum  duro  lapide  piritis  nomine  dicto. 


CAPUT    CIII.  ' 

DE    PICTURA    EX    VITRO. 

EX  vitro  si  quis  depingere  vascula  quaerit, 
Eligat  ipse  duas  de  rufb  marmore  petras. 
Inter  quas  vitrum  romanum  conterat,  et  cum 
Ut  pulvis  terrse  fuerit  pariter  resolutum. 
Hoc  faciat  liquidum  clara  pinguedine  gummi; 
Septies  hoc  scilicet  aqua  nitide  ablue  clara. 
Post  haec  depingat  paginas  quas  finxit  honeste 
Figulus :  hoc  facto  succense  inponat  easdem 
Fornaci,  caveatque,  simul  quo  terra  probata 
Has  teneat,  quo  sic  valeant  obstare  calori : 
Ulasque  faciat  plena  virtute  nitentes. 


CAPUT    CIV.  2 

DE    VIRIDI    VITRO. 

QUI  vultis  preciosum  vitrum  facere,  auribus  percipite  hanc 
artem  quam  vobis  de  vitro  scribere  curavi.  Pulverem 
arsi  sulphuris  cum  viride  vitro  indagavi,  pariterque  pulverem 
arsi  cupri  michi  quaesivi.     Deinde  vitrum  valde  clarum  supra 

1  "  Eraclii "  capitula  est.  *  "  Eraclii "  cap.  est. 


TRAN8LATI0N.  399 

ground,  and  the  art  necessary  in  these  things  also  bid  me  to 
procure  vinegar  and  the  warm  blood  of  a  lusty  goat,  which  I 
was  careful  to  place  under  the  roof  for  a  short  time,  bound 
with  a  strong  ivy  plant.  After  this  I  infused  the  worms 
and  vinegar  with  the  warm  blood,  and  I  anointed  the  whole 
clearly  shining  vessel ;  which  being  done  I  essayed  to  sculp 
the  glass  with  the  hard  stone  called  pyrites. 


CHAPTER  CIII.   » 

OF    A    PICTURE    FROM    GLASS. 


Should  any  one  desire  to  paint  small  vases  in  glass,  let  him 
choose  two  stones  of  red  marble,  between  these  let  him  grind 
Roman  glass,  and  when  it  has  been  reduced  into  powder  like 
dust,  let  him  make  it  liquid  with  clear  gluten  of  gum;  wash 
this,  however,  cleanly  seven  times  in  clear  water.  Let  him 
after  this  paint  the  scrolls  which  the  workman  has  hand- 
somely  fashioned  :  this  done  let  him  place  these  in  the  glow- 
ing  furnace,  and  let  him  be  careful  that  he  keep  these  in  the 
assayed  earth,  by  which  means  they  may  be  able  to  withstand 
the  heat;  and  let  him  fashion  them  glowing  with  full  per- 
fection. 


CHAPTER  CIV.  2 

OF    GREEN    GLASS. 


You  who  wish  to  make  costly  glass,  learn,  with  your  ears, 
this  art  of  glass-making  which  1  have  taken  pains  to  write  for 
you.  I  sought  out  the  powder  of  calcined  sulphur  with  green 
glass,  and  likewise    procured  the  powder  of  burnt   copper. 

1  From  Eraclius. 

*  This  chapter  is  found  in  Eraclius,  but  written  in  verse. 


400  THEOPHILI    LIBER    III. 

petram  raarmoream  redegi  in  pulverem,  atque  sulphuris  ac 
cupri  pulverem  valde  tritum  commiscui ;  facta  autem  tali  com- 
mixtione,  illam  puro  gummi  liquore  temperavi,  et  super  testam 
ex  hac  causa  probandi  pincello  traxi,  atque  in  fornacem 
eandem  posui.  Ast  ubi  rufa  fuit,  illam  a  fornace  extraxi,  et 
commixtio  quam  super  testam  pinxi  in  viride  vitrum  con- 
versa  est. 


CAPUT    CV.  ' 

DE    PICTURA    CUM    VITRO. 

VITRUM  quod  nimium  viret  si  quseris  ad  pingendi  usum 
tibi  facere,  accipe  cupri  rubiginem,  itemque  pulverem 
arsi  cupri,  ac  fac  hoc  quod  utilis  ars  tibi  quserit.  Diligenter 
rubiginem  et  pulverem  cupri  cum  vitro  claro  tere,  et  facta  tali 
commixtione,  causa  probandi  ex  ea  super  testam  pinge  ac 
deinde  in  fornacem  valde  incensam  illam  pone.  Ast  ubi 
pictura  nimio  lucida  est  super  eandem  testam  illam  a  fornace 
recipe :  ut  autem  frigida  erit,  colorem  preciosum  in  se  re- 
cipiet.  Hoc  ideo  frater  tibi  dico,  quia  quamdiu  est  vitrum 
calore  perfusum  non  proprium  sibi  dedit  colorem. 


CAPUT    CVI.  " 

DE    ALBO    VITRO. 

ALBUM  vitrum  si  quaeris  tibi  facere  ad  pingendi  usum, 
candidum  sulphur  cum  vitro  claro  diligenter  tere.  Cum 
autem  in  pulverem  redactum  fuerit  cum  sulphure,  illud  super 
spissam  testam  pone,  ac  deinde  in  fornacem  valde  in- 
censam  pone.     Ut   autem  in  calore  ignis  conglutinatum  est 

1  "  Eraclii "  videtur  esse.  '  idem. 


TRANSLATION.  401 

Then  I  reduced  very  clear  glass  into  powder  upon  a  marble 
stone,  and  mixed  the  powder  of  sulphur  and  copper  well 
ground;  this  mixture  being  made,  I  tempered  it  with  pure 
gum  water,  and  drew  with  the  pencil  upon  a  cup,  for  proof, 
and  placed  it  in  the  furnace.  But  when  it  became  rep!,  I  with- 
drew  it  from  the  furnace,  and  the  mixture  which  I  painted 
over  the  cup  became  converted  into  a  green  glass. 


CHAPTER,  CV.  ' 

OF    A    PICTURE  WITH    GLASS. 


Should  you  desire  to  make  a  very  green  glass,  for  paint- 
ing,  take  the  rust  of  copper,  also  the  powder  of  burnt  copper, 
and  do  as  follows  according  to  art.  Grind  carefully  the 
rust  and  powder  of  copper  with  clear  glass,  and  such  mix- 
ture  being  made,  for  proof  paint  with  it  upon  a  cup  and 
then  place  it  in  a  very  hot  furnace.  But  when  the  picture  is 
very  glowing  upon  this  same  cup,  take  it  from  the  furnace : 
when  it  is  cold  however  it  takes  a  costly  colour.  I  tell  you 
this  therefore,  brother,  because  so  long  as  the  glass  is  pene- 
trated  by  heat  it  does  not  take  its  proper  colour. 


CHAPTER  CVI. 

OF   WHITE    GLASS. 


Should  you  seek  to  make  white  glass  for  painting,  grind 
carefully  white  sulphur  with  clear  glass.  When  however  it 
has  been  reduced  to  powder  with  the  sulphur,  lay  it  upon  a 
thick  cup  and  then  place  it  in  a  very  hot  furnace.  When 
it  is  agglutinated  by  the  heat  of  the  fire,  withdraw  it  from 

•  From  Eracliu».  *  From  the  same. 

D    D 


402 


THEOPHILI    LIBER    III. 


illud  ab  igne  extrahe.  Et  si  ex  eodem  scultellas  arte  figuli 
studiose  factas,  vis  depingere,  illud  ad  usum  coritere  picturae, 
et  te  verte  ad  hanc  artem  quse  in  primo  libro  scripta  est. 
Haec  enim  ita  se  habet.  "  Ex  vitro  si  quis  depingere  vascula 
quaerit." 

CAPUT    CVII.  ■ 

DE    SCULPENDIS    GEMMIS. 

QUI  cupit  egregios  lapides  irrumpere  ferro, 
Quos  dilexerunt  reges  nimium  super  aurum 
Urbis  Romanae  qui  celsas  jam  tenuere 
Artes,  ingenium  quod  ego  sub  mente  profunda 
Inveni,  accipiat,  quem  valde  est  preciosum. 
Urinam  mihi  quaesivi  pariterque  cruorem 
Ex  hyrco  ingenti,  modico  sub  tempore  pastum 
Hedera,  quo  facto,  calefacto  sanguine  gemmas 
Incidi,  veluti  monstravit  Plinius  auctor, 
Artes  qui  scripsit,  quas  plebsRomana  probavit, 
Atque  simul  lapidum  virtutes  scripsit  honeste ; 
Quorum  qui  noscit  vires,  plus  diligit  illos ; 
Nam  primi  reges  urbem  qui  jam  tenuerunt, 
Gemmis  ornarunt  vestes  auro  renitentes, 
Ex  quibus  insignis  primus  fuit  Aurelianus. 
Qui  proprias  vestes  gemmis  contexit  et  auro. 


CAPUT    CVIII. 


DE    PRECIOSIS    GEMMIS. 


PRECIOSAS  gemmas  si  quaeris  lucidas  facere  accipe  ea 
quae  sunt  hic  scripta.  Petram  marmoream  valde  aequa- 
lem  tibi  aquire,  facitoque  hoc  quod  utilis  ars  tibi  ostendit. 
Gemmam  aequalem  super  hanc  petram  laevi  extrica  manu,  sic- 
que  obscuritatem  cito  perdet,  et  recipiet  preciosum  nitorem. 


'  Eraclii "  cap.  est. 


2  idem. 


TRANSLATION.  403 

the  fire.  And  if  you  wish  to  paint  upon  those  plates,  care- 
fully  made  by  the  potter's  art,  grind  it  for  the  service  of  the 
picture,  and  turn  towards  that  art  which  is  described  in  the 
first  book.  This  so  contains  it :  "  Ex  vitro  si  quis  depingere 
vascula  quaerit." — (C.  103.) 


CHAPTER  CVII. 


OF    SCULPTURING    GEMS. 


Who  should  desire  to  cut  with  iron  the  rare  stones  which  the 
rulers  of  Rome,  who  formerly  sustained  the  noble  arts,  much 
delightedin  upon  gold,  lethim  knowthe  invention,which  I  with 
profound  thought  have  discovered,  which  is  very  precious.  I 
procured  urine  with  the  fresh  blood  of  a  lusty  goat,  fed  for  a 
short  time  upon  ivy,  which  being  done,  I  cut  the  gems  in  the 
warm  blood,  as  the  author  Pliny  has  pointed  out,  who  wrote 
upon  the  arts,  which  the  Roman  people  put  to  proof,  and  who 
likewise  well  described  the  virtues  of  stones;  he  who  knows  the 
powers  of  which  favours  them  the  more.  For  the  first  kings, 
who  long  since  held  the  city,  ornamented,  with  gems,  their 
garments  resplendent  with  gold,  of  whom  the  most  remark- 
able  was  Aurelian,  who  covered  his  robes  all  over  with  gems 
and  gold. 


CHAPTER  CVIII. 

OF    PRECIOUS    GEMS. 


Should  you  desire  to  make  precious  gems  bright,  know 
what  is  here  written.  Procure  a  marble  slab,  very  smooth, 
and  act  as  useful  art  points  out  to  you.  Rub  with  a  light 
hand   the  smooth  gem   over  this  stone,   and  it  thus   soon 

1  From  Eraclius.  *  idem. 

D    D    2 


404  THEOPHILI    LIBER    III. 

Sed  tibi  frater  sit  notum  si  dura  fuerit  gemma  atque  sequalis 
magis  lucida  ac  perspicua  erit. 


CAPUT    CIX.  ' 

DE    SCULPENDIS    GEMMIS. 

SUNT  nonnulli  qui  ferris  ad  incidendos  lapides  tempera- 
mentum  quaerunt  ideoque  scripsi  hanc  artem  quam  pro- 
bavi  ut  et  periti  artifices  sciant.  Hyrcinum  ssevum  tempore 
illo  cum  ureretur  yrcus  amore  accepi,  atque  ferrum  quod 
temperare  volui  in  illius  pinguedine  extinxi,  sicque  in  maxi- 
mam  versum  est  duritiam. 


CAPUT    CX.  " 

DE    EBORE    PETALA   AURI    DECORANDO. 

OMNIS  incisio  quae  in  ebore  decoratur  petulam  auri  sibi 
quasrit.  Quam  si  vis  super  ebur  facere  ponere,  facito 
hoc  quod  tibi  scripto  ostendo.  Quaere  tibi  clarum  ex  valde 
clarum  gummi  liquorem,  qui  ex  vesica  cethi  fit.  Haec  enim 
vulgariter  huso  nuncupatur.  Si  autem  ex  eadem  habueris, 
partim  hanc  decoque  cum  aqua  in  vase,  ille  moxque  in  gummi 
liquorem  convertitur.  Ex  eodem  ergo  incisionem  eboris 
quam  vis  auro  decorare,  pincello  unge,  ac  deinde  petulam,  re- 
motus  a  vento,  pone. 

1  "  Eraclii "  cap.  est.  *  idem. 


TRANSLATION.  405 

loses  its  dulness  and  receives  a  valuable  lustre.  But  note, 
brother  !  should  the  gem  be  hard  and  smooth  it  will  be  the 
more  bright  and  clear. 


CHAPTER  CIX.  ' 

OF   CUTTING   GEMS. 


There  are  some  who  seek  a  tempering  for  irons,  for  cutting 
stones,  I  have  therefore  written  this  art  which  I  have  tried, 
that  skilful  artificers  may  know  it  also.  I  took  a  wild  goat 
when  in  heat,  and  quenched  the  iron  which  I  wished  to 
temper  in  his  fat,  and  it  was  thus  changed  to  the  greatest 
hardness. 


CHAPTER  CX.  2 

OF    ORNAMENTING   IVORY   WITH    GOLD    LEAF. 

All  sculpture  which  ornaments  ivory  demands  leaf  gold. 
Should  you  wish  to  cause  this  to  be  placed  upon  ivory,  do 
what  I  point  out  to  you  in  writing.  Seek  glaire  and  the 
very  clear  gummy  liquid  which  is  made  from  the  bladder  of 
a  large  fish.  This  is  vulgarly  called  "  huso."  Should  you 
possess  this,  cook  a  portion  of  it  in  a  vessel  with  water,  and 
it  is  immediately  turned  into  a  gum  liquor.  When  you  wish 
therefore  to  decorate  the  sculpture  of  ivory  with  gold,  anoint 
it  with  this  same  (liquor),  with  a  pencil,  and  then,  removed 
from  the  wind,  lay  on  the  leaf. 

1  From  Eraclius.  s  idem. 


406 


THEOPHILI    LIBER    III. 


CAPUT    CXI.  ' 

DE    CUPRO    FELLI8    PINGUEDINE    DEAURANDO. 

EX  fellis  pinguedine  si  cuprum  quaeris  deaurare  illud  prius 
cultello  rade,  ac  deinde  cum  ursino  dente  festina  luci- 
duni  facere ;  et  hoc  facto,  fellis  pinguedinera  super  illud  cum 
pincello  facete  trahe,  cumque  siccata  fuerit  iterum  atque  ite- 
rum  trahe,  super  hanc  eandem  pinguedinem,  et  cave  ne  plus 
trahas  pincellum  in  unum  locum  quam  in  alterum,  sed  sit 
aequaliter  fellis  liquore  coopertum.  Ne  tibi  videatur  falsum 
quod  dico,  qui  hanc  artem  veram  esse  probavi,  atque  auxili- 
ante  deo,  qui  fons  est  sapientiae,  excogitavi. 


DE    TEMPERAMENTO    VESIC^I    ESCINI. 

VESICAM  husonis  mollifica  in  aqua  donec  eam  inter 
manus  pinsando,  ex  ea  facias  quasi  cerotum,  et  tunc 
mitte  eam  in  ollam  in  limpidissimam  aquam,  et  pone  ad  focum 
ut  non  bulliat ;  sed  tantum  calorem  habeat  ut  liquefactam,  in 
aquam  convertatur.  Dein  cola  eam  per  mundum  pannum 
in  pelvim,  et  sine  quod  in  frigido  loco  ad  ventum  accedat  ut 
quasi  coagulet.  Cum  digitum  super  ponens  inpresseris,  si 
viscus  resistit  et  ab  illa  impressione  non  frangitur,  liquefac  ad 
ignem,  et  funde  super  aurum  et  operare  in  stupa  nimls  calida. 
Si  autem  viscus  nimis  crassescat  admitte  parum  aquae  et  ope- 
rare.  Si  autem  tam  mollis  sit  quod  non  possit  impressionem 
digiti  sustentare,  coque  melius  ad  ignem  facile  poteris  et  hunc 
viscum  mollire  firmum  facere.  Nunquam  gummi  addas  auro 
vel  aliis  metallis  :  Nam  cito  cadet  quidquid,  id  gravis,  ex  eo 
glutinatum  erit,  exceptis  coloribus,  qui  etiam  non  perstabunt, 
nisi  optime  conterantur  et  tenuissime  libris  illiniantur. 

1  "  Eraclii "  cap.  tst. 


TRANSLATION.  407 

CHAPTER  CXI.  ' 

OF    GILDING    COPPER    WITH    GALL. 

Should  you  wish  to  gild  copper  with  the  unctuous  substance 
of  gall,  first  scrape  it  with  a  knife,  and  then  with  a  bear's 
tooth  quickly  polish  it ;  and  this  being  done,  paint  the  gall 
with  a  pencil  over  it,  and  when  it  has  become  dry,  paint  it 
again  and  again,  and  take  care  that  you  do  not  draw  the 
pencil  more  in  one  place  than  another,  but  that  it  be  equally 
covered  with  the  liquor  of  gall.  Let  not  what  I  tell  you  ap- 
pear  false,  who  have  proved  this  art  to  be  true,  and  have  in- 
vented  it,  the  God,  whose  fountain  is  of  wisdom,  assisting. 


OF    THE    TEMPERING    OF    THE    STURGEON  8    BLADDER. 

Soften  the  sturgeon's  bladder  in  water  unti],  by  bruising  it 
between  the  hands,  you  can  make  it  like  a  cerate,  and  then 
place  it  in  very  clear  water  in  a  pot,  and  put  it  to  the  fire,  so 
that  it  may  not  boil,  but  may  receive  such  heat  that,  being 
liquefied,  it  may  be  converted  into  water.     Then  strain  it 
into  a  basin  through  a  clean  cloth,  and  leave  it  in  a  cold 
place  that  it  may  have  access  to  the  air,  that  it  may  coagulate. 
When,  Jaying  on  the  finger,  you  have  pressed  it,  should  the 
gluten  resist,  and  not  be  broken  by  that  pressure,  melt  it  at 
the  fire  and  pour  it  upon  the  gold,  and  work  it  very  hot,  with 
tow.     But  should  the  gluten  grow  too  thick,  admit  a  little 
water  and  work.     Should  it,  however,  be  too  soft,  so  that  it 
cannot  retain  the  impression  of  the  finger,  cook  it  better  at 
the  fire,  and  you  can  easily  soften  this  gluten  at  the  fire  and 
make  it  firm.     You  never  add  gum  to  gold  or  other  metals  : 
for  whatever,  it  being  hard,  shall  be  gummed  with  it,  quickly 
falls  ofF,  colours  being  excepted,  which  also  will  not  stand  well, 
unless  they  are  very  well  ground  together  and  are  very  thinly 
painted  on  the  books. 

1  From  Eraclius. 


408  THEOPHILI    LIBER    III. 


DE    SIGNIS    INVESTIGAND.3E   AQJJM. 

^^IGNA  investigandse  aquse  hujusmodi  inveniuntur.  Tenuis 
^-^  juncus,  Salix  erraticus1,  Vitex,  Alnus,  Harundo,  Hedera, 
aliae  quoque  quse  sine  humore  nasci  non  possunt.  Quando  autem 
in  lacunis  similia  nascuntur  facile  his  credendum  est.  Itaque 
sic  inventiones  aquse  probabis ;  fodiatur  ergo  ubi  haec  signa  fue- 
rint  inventa  ne  minus  in  latitudinem  pedes  tres,  in  altitudinem 
quinque,  et  circa  solis  occasum,  vas  plumbum,  autem  seneum, 
mundum,  intrinsecus  punctum,  oleo  in  unam  fossuram  inver- 
sum  collocetur,  supraque  fossuram  frondibus  vel  harundinibus 
missis  terra  inducatur.  Item  alia,  die  aperiatur,  si  sudores  aut 
fistulae  inveniantur,  is  locus  sine  dubitatione  aquam  habebit. 
Item  sivas,  ex  creta,  siccum  non  coctum,  eadem  rationepositum 
et  opertum  fuerit,  si  is  locus  aquam  habebit,  alia  die  vas  humore 
solutum  invenietur.  Vellus  lange  similiter  in  eo  loco  positum 
si  tantum  humoris  collegerit  ut  alia  die  exprimi  possit,  mag- 
nam  copiam  aquse  locum  habere  significat.  Lucerna  plena 
oleo,  incensa  si  in  eodem  loco  similiter  adoperta,  alia  die 
lucens  fuerit  inventa,  indicabit  eum  locum  habere  aquam, 
propterea  quod  omnis  calor  ad  se  trahit  humorem.  Item  si 
in  eodem  loco  (ignem2)  feceris  et  vaporata  terra  humidum 
nebulosumque  fumum  resuscitaverit,  et  ostendit  locum  habere 
aquam.  Cum  haec  fuerint  ita  reperta  certis  signis,  in  alti- 
tudinem  putei  defodiendi  erunt,  quousque  caput  aquae  inve- 
niatur,  aut  si  plura  fuerint  in  unum  colligantur.  Maxime 
tamen  sub  radicibus  montium  in  regione  septentrionali,  signa 
aquse  sunt  quserenda.  In  his  enim  locis  suaves  et  salubres  et 
habundantes  inveniuntur;  quando  naturse  beneficio  a  solis 
cursu  separantur,  et  arborum  aut  montium  umbris  velatae,  fri- 
gida  gratia  sestate,  hyberno  tepida  suavitate,  profluent. 

1  "erratica"! 

8  In  Codice,  lacuna  est,  in  hoc  loco,  quam  implevimus. 


EXPLICIT    THEOPHILUS. 


TRANSLATION.  409 

OF    THE    SIGN8    IN    SEEKING    WATER. 

The  signs  in  tracing  water  are  found  to  be  of  this  kind. 
The  slender  rush,  the  creeping  willow,  the  hemp  tree,  the 
alder,  reed,  ivy,  and  other  (plants)  which  cannot  be  produced 
without  moisture.  Forasmuch  as  similar  things  are  produced 
in  marshes,  it  is  easy  to  have  confidence  in  these.  You  will 
likewise  try  these  devices  for  water;  the  place,  therefore, 
where  these  signs  are  found,  must  be  dug,  not  less  in  width 
than  three  feet,  in  depth  five ;  and  about  sunset,  a  clean  leaden 
or  brazen  vessel  punctured  inside  is  properly  placed,  with  oil  in 
a  hole,  and  green  leaves,  or  reeds,  being  placed  over  the 
hollow,  the  earth  is  brought  over  it.  On  another  day  it  is 
opened ;  should  moisture,  or  rills,  be  found,  this  place  will, 
without  doubt,  have  water.  If  likewise  a  dry  vase  of  chalk, 
not  burnt,  should  be  placed  and  enclosed  in  the  same  fashion, 
if  this  place  will  have  water,  the  vase  will  be  found  dissolved 
by  humidity.  Should  fleece  of  wool,  placed  likewise  in  this 
spot,  collect  so  much  moisture  that  upon  another  day  it  can 
be  expressed,  it  shews  that  the  place  will  have  a  great  plenty 
of  water.  If  a  lantern  full  of  oil  burnt  in  the  same  place, 
similarly  covered,  should  be  found  shining  upon  another  day, 
it  will  indicate  that  this  place  possesses  water,  because  all 
heat  attracts  moisture  to  itself.  Likewise,  should  you  make  a 
(fire1)  in  the  same  place,  and  shouldthe  heated  earth  raiseup 
a  moist  and  nebulous  smoke,  it  also  shews  that  the  place  pos- 
sesses  water.  When  these  things  have  thus  been  found  by 
certain  signs,  the  wells  will  be  dug  out  in  depth,  until  a  source 
of  water  be  found,  or,  should  there  be  many,  they  may  be 
collected  in  one.  The  signs  of  water  are  mostly  to  be  found, 
however,  under  the  feet  of  mountains  on  the  northern  situa- 
tion.  For  in  these  places  they  are  found  sweet,  salubrious 
and  abundant ;  when,  through  the  beneficence  of  nature,  they 
are  withdrawn  from  the  course  of  the  sun  and  veiled  by  the 
shadows  of  trees,  or  mountains,  they  flow  forth  with  cool 
welcome  in  summer,  with  warm  pleasantness  in  winter. 
1  There  is  here  a  void  in  the  manuscript  which  we  have  filled  up. 
END  of  theophilus. 


ADDENDA. 


DE    TEMPERAMENTO    MINIl    ET    VERMICULI,    ET    LAZURII. 

IN  vermiculo  quarta  pars  minii  addenda  est  si  habeatur 
quorum  inde  color  ad  illuminandum  et  clarior  et  ad  regu- 
landum  facilior.  Quod  utique  diligenter  tritum  et  in  tenuis- 
simum  pulverem  redactum,  addatur  parum  aquse  et  cum  ipsa 
aliquantulum  molatur,  et  in  cornu  recolligatur,  post  laventur 
lapides  aqua  quse  in  cornu  similiter  recipiatur;  hoc  autem 
caveatur  ne  nimis  aquee  infundatur,  quando  trititur,  quod  non 
possit  cum  multa  bene  aqua  moli,  aut  colligi.  Collectum 
autem  in  cornu  cum  aqua  cornu  utique  aqua,  repleto,  moveatur 
cum  ligno  et  postea  tamdiu  sinatur  requiescere,  donec  color 
separetur  ab  aqua  jacens  in  fundo  cornu,  et  tunc  demum  aqua 
leniter  ejiciatur.  Quod  cum  tota  ejecta  fuerit,  infunde  cornu 
clarum  ovi,  et  sic  exinde  poteris  operari. 

Similiter  faciendum  est  de  lazuro,  excepto  quod,  in  distem- 
perando,  tertia  pars  vini  cum  claro  adhibebis,  quod  exinde 
color  pulcrior  et  clarior  erit.  Lazur  lavandum  est  aqua  post 
decem  dies,  propter  foetorem  suum,  vermiculum  autem  post 
mensem  duabus  vicibus,  vel  tribus;  hoc  autem  caveatur  ne 
clarum  in  lazuro  diutius  moretur. 


Eodem  modo  molendum  est  viride  de  Grecia.  Nam  viride 
terrestre  molendum  est  aqua,  et  postea  in  eo  ponitur  clarea,  sed 
tantummodo  cum  vino.  Quidam  autem  infundunt  vinum  in 
vase  cupreo  et  miscent  viride  cum  vino,  deinde  reponunt  illud 
in  loco  aliquantulum  humido,  octo  diebus,  postea  exponunt 
illud  ad  calorem  solis  usque  ad  decimam  horam  diei,  et 
iterum  mittunt  in  locum  suum  ad  terram,  et  sic  cottidie  fa- 
ciunt,donec  ad  spissitudinem  perveniat  ut  inde  scribere  valeant, 


ADDENDA. 

OF   TEMPERING    MINIUM,    VERMILION,   AND    AZURE. 

Ip  a  fourth  part  of  minium  is  added  to  vermilion,  a  colour  is 
procured  from  it  brighter  for  illuminating  and  easier  to  direct. 
Which  also  is  carefully  ground  and  reduced  into  the  finest 
powder,  a  little  water  may  be  added  and  it  is  ground  with  it 
a  short  time  and  is  collected  into  a  shell,  the  stones  are  after- 
wards  washed  with  water,  which  is  similarly  received  into  the 
shell ;  this  must  however  be  guarded  against,  that  too  much 
water  be  not  poured  in,  because  it  cannot  be  well  ground  with 
much  water,  or  be  gathered  together.  But  being  collected  in 
the  shell  with  water,  the  shell  is  likewise  filled  with  water, 
it  must  be  stirred  with  a  stick  and  be  afterwards  left  to  rest 
until  the  colour,  lying  in  the  bottom  of  the  vessel  be  separated 
from  the  water,  and  then,  at  length,  the  water  may  be  lightly 
drawn  ofF.  But  when  it  shall  be  all  cast  out,  pour  the  white 
of  egg  into  the  horn,  and  so  you  can  work  with  it. 

Blue  is  to  be  similarly  treated,  excepting,  that  in  tempering, 
you  will  admit  one  third  part  of  wine  with  the  glaire,  which 
colour  will  also  be  fairer  and  brighter.  Lazur  is  to  be  washed 
in  water  after  seven  days  on  account  of  its  odour,  but  ver- 
milion  after  a  month,  twice,  or  three  times;  this  must  be 
guarded  against,  that  the  glaire  does  not  remain  too  long  with 
the  azure. 

Greek  green  is  to  be  ground  in  the  same  manner.  For 
green  earth  is  to  be  ground  in  water,  and  the  glaire  is  after- 
wards  put  into  it,  but  with  wine  only.  But  some  pour  wine 
into  a  copper  vessel  and  mix  the  green  with  wine,  they  then 
leave  it  in  a  somewhat  damp  spot  for  eight  days,  they  after- 
wards  expose  it  to  the  heat  of  the  sun  until  the  tenth  hour 
of  the  day,  and  they  again  lay  it  upon  the  ground,  in  its 
place,  and  thus  they  act  daily  until  it  has  arrived  at  a  solidity 
proper  for  writing;  they  then  replace  it  gently  in  a  copper  or 


412  ADDENDA. 

et  tunc  recipiunt  illud  leniter  in  vase  cupreo  vel  vitreo,  et 
iterum  infundunt  vinum  super  feces,  et  reponunt  in  supra- 
dicto  loco,  et  sic  faciunt  per  totum  annum,  addentes  aliquan- 
tulum  de  viridi.  Qui  autem  citius  volunt  habere,  viride 
molunt  illud  cum  vino  ut  supra  dictum  est,  et  tunc  enim  inde 
scribitur  quasi  vermiculum  vel  azorium,  molendum  est  cum 
vino;  tunc  accipies  vinum  optimum  et  pone  in  aliquo  vase 
eneo  vel  cupreo  et  bullies  illud.  Quo  cocto  et  mundato  de 
spuma,  custodi  illud,  et  inde  distempera  viridem  colorem,  et 
pone  ad  tepidum  solem,  vel  lentum  (ignem1),  donec  spissus  sit 
mensurate,  et  posito  in  eo  de  croco  et  de  pulvere  ossis  com- 
busti,  alteram  contrahet  virorem  et  meliorem ;  vel  si  miscu- 
eris  novum  cum  veteri,  alteram  viriditatem  habebit;  vel  si 
totum  siccatum  fuerit  vel  nimis  crassum  pone  parum  de  aqua. 
Pone  praeterea  viride  in  vino  ac  frica  satis  digito  :  quo  sedato, 
accipe  quod  liquidum  est  et  pone  ad  lentem  solem  vel  in  loco 
ubi  spissari  possit.  Quando  aptum  fuerit  ad  scribendum 
pone  in  vase  cupreo  vel  de  enea  et  diu  poteris  conservare  bo- 
num.  Si  nigrior  fuerit  pone  aliquantulum  saffrani  vel  de  pul- 
vere  ossis  combusti.  Si  citius  vis  illuminare,  accipe  de  vitello 
ovi  crudi,  et  misce  cum  eo  viride  mellum 2  vel  vinum,  et  cum 
hoc  liquore  mole  supra  petram  viride,  et  inde  distempera,  et 
sic  bonum  erit. 


DE    LIGNO    BRISILLO. 


LIGNUM  brisilli  cultello  raditur  in  vase  et  superfunditur 
ei  clarea  ovi.  Quo  peracto,  et  postquam  cceperit  matu- 
rescere  ponitur  in  eo  alumen  circa  mensuram  congruam,  hoc 
brisillum  postquam  maturatum  fuerit,  emitendum  est  liquor  et 
in  conca  alia  reservandus.  Quo  facto,  iterum  ponenda  est 
clarea  in  eodem  brisillo,  et  postquam  maturata  fuerit  extra- 
henda  est.  Quod  tamdiu  fiat  quamdiu  brisillum  claram  illam 
incoloraverit :  hoc  autem  cave,  ne  bris.  sine  alumine  dis- 
temperes   alioquin  a   pergameno   totum   bris.   paulatim  de- 

1  "  ignem,"  supposita  est.  2  "  mellinam  "  qu.  1 


TRANSLATION.  413 

glass  vase,  and  again  pour  wine  over  the  sediment,  and  place 
it  again  in  the  above  mentioned  place,  and  they  do  this  the 
whole  year,  adding  a  portion  of  green.  Those,  however, 
who  wish  to  procure  it  sooner,  grind  this  green  with  wine 
as  directed  above,  and  then  it  is  used  for  writing  as  vermilion, 
or  azure,  it  is  ground  with  wine ;  you  then  take  the  best  wine 
and  put  it  into  any  brass  or  copper  vessel,  and  you  boil  it. 
This  being  cooked  and  cleansed  from  froth,  keep  it  and 
temper  the  green  colour  with  it  and  place  it  in  the  warmth  of 
the  sun,  or  a  slow  fire,  until  it  has  become  moderately  thick, 
and  putting  yellow  and  the  powder  of  calcined  bones  into  it, 
it  contracts  yet  more,  and  better,  green ;  or  if  you  mix  new 
with  the  old,  it  will  possess  another  green  colour;  should  it 
have  become  quite  or  nearly  dry,  add  a  little  water.  More- 
over,  place  the  green  in  wine  and  rub  it  well  with  the  finger: 
this  having  settled,  take  the  liquid  portion  and  put  it  in  the 
mild  sunshine,  or  in  a  place  where  it  can  become  inspissated. 
When  it  has  become  fit  for  painting,  place  it  in  a  copper  or 
brass  vessel,  and  you  can  keep  it  good  for  a  long  time. 
Should  it  become  darker,  put  to  it  a  little  saffron  or  powder 
of  calcined  bones.  Should  you  wish  to  illuminate  more 
speedily,  take  the  yolk  of  a  fresh  egg  and  mix  mead  or  wine 
with  the  green,  and  with  this  liquor  grind  the  green  upon  a 
stone,  and  temper  with  it,  and  it  will  thus  be  good. 


OF    BRISIL   WOOD. 


Brisil  wood  is  scraped  with  a  knife  into  a  vase,  and  white  of 
egg  is  poured  over  it.  This  being  done,  and  after  it  has  com- 
menced  to  mature,  alum  is  put  into  it,  about  the  proper 
measure;  after  this  brisil  has  become  matured  the  liquor  is 
withdrawn  and  kept  in  another  vessel.  This  done,  glaire 
is  again  to  be  placed  upon  the  same  brisil,  and  it  is  to  be 
withdrawn  after  it  has  becomematured.  This  is  done  as  long 
as  the  brisil  shall  colour  the  glaire  :  beware  of  this,  however, 
that  you  do  not  temper  brisil  without  alum,  otherwise  all  the 
brisil  fades  from  the  parchment,  and  the  glaire  alone  will  re- 


414  ADDENDA. 

cidet  et  sola  clara  remanebit.  Igitur  quotiens  bris.  tuum 
volueris  facere  rubeum,  quod  solet  facile  discolorari  et  spisses- 
cere,  impone  alumen  et  sic  meliorabitur,  et  renovabitur  saepe 
clarea  cum  spissum  fuerit.  In  bris.  si  misceas  album,  fiet 
roseus  color.     Si  misceas  azurum,  fiet  purpureus. 


DE    SINOPLO. 


SINOPLUM  eodem  modo  moles  quo  vermiculum.  In  eo 
miscere  poteris  parum  albi  et  erit  roseus  color.  Item 
si  misceas  cum  albo  parum  sinopli  erit  carmineus  color :  aut 
iterum  si  misceas  cum  sinoplo  auripigmentum,  vincente  auri- 
pigmento,  erit  rufus  color. 


DE   BRISILLO. 

FRAGMENTUM  brisilli  pones  in  vasculo  ferreo  vel  eneo, 
et  etiam  cortice  ovi,  cum  aqua,  et  fac  bullire  lente  donec 
aliquantulum  sit  decorata;  et  refrigerata  modicum,  deinde 
pone  alumen  bonum,  temperate  quia  bene  salsasum  velles 
illud,  postea  calefac  modicum  movendo  omnia.  Refrigerato, 
eo  pone  clarum  ovi  et  dimitte  donec  maturum  sit  post  duae 
vel  tres  dies.  Quod  si  nimis  clarum  est  pone  ubi  possit 
spissari,  non  tamen  ad  solem,  et  sic  meliorabitur.  Pone  et 
fragmentum  brisilli  bene  minutum  in  clarea  forti,  et  post 
duse  vel  tres  donec  sit  maturatum.  Pastellum  quoque 
poteris  distemperare  secunda  vel  tertia  vice,  sed  cave  ne 
totum  siccatum  sit.  Azur  terrestre  mole  super  petram  cum 
aqua,  movendo  digito  et  apponendo  aqua,  ut  possit  per  pan- 
num  transire  postea  cola  per  pannum  delicatum  ut  mundior 
sit.  Quo  purificato  et  exsiccato,  pone  claream  fortem ;  pos- 
tea  accipe  de  vitello  ovi  crudi  et  misce  cum  aqua  et  vino 
aequaliter,  et  valde  pone  parum  in  colore,  et  faciat  melius  de 


TRA.NSLATION.  415 

main.  Therefore,  as  often  as  you  wish  to  make  your  red 
brisil,  which  is  accustomed  to  become  discoloured  and  to 
thicken,  put  in  some  alum,  and  so  it  will  be  improved  and, 
when  become  thick  with  the  glaire,  will  often  be  renewed. 
If  you  mix  white  with  brisil  it  will  make  a  rose  colour.  If 
you  mix  blue,  it  will  make  purple. 


OF    SINOPER. 

You  grind  sinoper  in  the  same  manner  as  vermilion.  You 
can  mix  a  little  white  with  that,  and  it  will  be  a  rosy  colour. 
Also  if  you  mix  a  little  sinoper  with  white  it  will  be  a  car- 
mine  colour :  or,  again,  if  you  mix  orpiment  with  sinoper, 
the  orpiment  being  overcome,  it  will  be  a  red  colour. 


OF    BRISIL. 


You  place  the  shred  of  brisil  in  a  small  iron  or  brass  vessel 
with,  also,  the  shell  of  an  egg,  and  cause  it  to  boil  gently, 
until  it  has  become  somewhat  stained  with  colour ;  and  being 
a  little  cooled,  put  some  good  alum  into  it,  temper  it  as  you 
wish  it  well  seasoned,  afterwards  warm  it  a  little,  stirring 
all  the  things.  Being  cold,  put  glaire  of  egg  in  it  and 
leave  it  until,  after  two  or  three  days,  it  has  become  ma- 
tured.  But  should  it  be  too  clear,  place  it  where  it  can  be- 
come  thick,  not  in  the  sun,  however,  and  so  it  will  be  im- 
proved.  Also  put  the  shred  of  brisil,  very  fine,  into  strong 
glaire,  and  after  two  or  three  (days)  it  will  become  matured. 
You  can  likewise  temper  woad  a  second  or  third  time,  but 
beware  that  it  do  not  become  quite  dry.  Grind  blue  earth 
upon  a  stone  with  water,  stirring  it  with  the  finger  and  apply- 
ing  water,  that  it  may  pass  through  a  cloth,  afterwards  strain 
it  through  a  delicate  cloth,  that  it  may  be  cleaner.  This  being 
purified  and  dried,  put  to  it  some  strong  glaire ;  afterwards 
take  yolk  of  fresh  egg  and  mix  it  with  water  and  wine  in  equal 
parts,  and  put  very  little  into  the  colour,  and  it  will  make  it 
flow  better  from  the  pen.     This  is  likewise  serviceable  for  all 


416  •  ADDENDA. 

penna  exire.  Quod  utique  ad  omnes  colores  valet,  et  si  ni- 
grior  fuerit,  bis  vel  ter  lavabis  aqua,  vel  et  amplius,  et  sic  me- 
liorabitur  per  duae  vel  tres  dies,  potes  in  eo  dimittere  claream, 
sed  quam  ssepius  mutabis  tanto  melior  erit.  Potes  quoque 
distemperare  azur  albugine,  fricando  digito  in  vasculo,  donec 
satis  sit,  et  postea  lavabis  cum  aqua,  et  eo  siccato  pone  cla- 
ream  puram,  et  post  duae  vel  tres  dies  iterum  lavabis  pro  ovo 
inveterato  et  nigro  facto,  et  dimitte  donec  siccatum  sit  propter 
humorem  aquse. 


DE    TEMPERAMENTO    COLORUM 


AZURIUM  Saracenorum  bonum  est.  Item  aliud  azurium 
Romanum,  et  aliud  dicitur  indium  :  viride  Grsecum, 
viride  terrestre,  vermiculum,  minium,  album  de  Apulia,  album 
de  ossibus,  et  album  de  plumbo,  brisillum,  auripigmentum, 
ocrum,  safranum,  sinoplum,  gorma,  distemperatio  bruni, 
gipsum,  foliolum. 

In  azur.  Romano  potest  misceri  album  de  Apulia.  Itdm  po- 
test  misceri  auripigmenti  et  est  viride  croceum.  Item  si  ponas 
brisil  erit  purpura.  Item  si  ponas  vermiculum  erit  brunum. 
Viride  de  grsecia  potest  misceri  cum  albo  de  Apulia  utroque 
cum  vino  temperato,  autem  utro  illorum  cum  ovo,  et  sic  fiet 
album  viride.  Item  si  ponas  in  viridi  safranum,  erit  viride 
croceum,  ita  tamen  si  cum  vino  safranum  fuerit  distemperatum 
adde  et  si  vis  album.  Eodem  modo  de  viridi  terrestri  ex- 
cepto  quod  molitur  cum  aqua,  et  postea  ponitur  in  ea  clarea. 
In  vermiculo  si  misceas  album  fiet  carminum.  Si  misceas 
azur  romanum  erit  brunum.  Album  de  Apulia  potest  misceri 
cum  azuro  solo,  et  iterum  cum  azuro  et  brisillo,  et  iterum 
cum  azuro  romano,  necnon  et  potest  misceri  cum  viridi  ter- 
restri.  Album  de  ossibus  cum  auripigmento  potest  misceri, 
quse  mixtura  de  alio  fieri  non  potest,  quod  utique  album 
tantum   pictoribus    est  necessarium.      Auripigmentum   cum 

1  "  ab  Eraclio  excerpto." 


TRANSLATION.  417 

colours,  and  should  it  become  darker,  you  will  wash  it  twice 
or  thrice  with  water,  or  even  more,  and  so  it  will  be  improved 
in  two  or  three  days,  you  can  allow  the  glaire  to  remain ;  but 
the  more  often  you  shall  change  it  the  better  it  will  be.  You 
can  likewise  temper  azure  with  white  of  egg,  by  rubbing  with 
the  finger  in  a  small  vessel  until  sufRcient,  and  you  will 
afterwards  wash  it  with  water,  and  being  dry  you  put  pure 
glaire  to  it,  and  you  will  again  wash  it  after  two  or  three 
days,  on  account  of  the  stale  egg  turning  it  black,  and  spread 
it  until  it  has  become  dry,  because  of  the  moisture  from  the 
water. 


OF   THE   TEMPERING    OF   COLOURS. 

The  "  blue  of  the  Saracens  "  is  good.  Also  another  "  Ro- 
man  blue,"  and  another  called  "  indigo."  Greek  green, 
green  earth,  vermilion,  minium,  white  of  Apulia,  bone  white, 
and  white  lead,  brisil,  orpiment,  ochre,  saffron,  sinoper,  the 
preparation  of  brunus,  gypsum,  folium. 

Roman  azure  can  be  mixed  with  white  of  Apulia :  it  can 
likewise  be  put  to  orpiment,  and  it  forms  a  yellow  green. 
Likewise,  if  you  put  brisil  to  it,  it  will  be  purple :  also,  if  you 
put  vermilion  it  will  be  "brunus."  Greek  green  can  be 
mixed  with  white  of  Apulia,  both  tempered  with  wine,  and 
both  of  them  with  egg,  and  thus  a  whitish  green  will  be 
made :  also,  if  you  put  saffron  into  green  it  will  be  a  green- 
ish  yellow,  however,  if  the  saffron  be  tempered  with  wine, 
add  white  if  you  wish  it.  Green  earth,  after  the  same 
manner,  excepting  that  it  is  ground  with  water,  and  glaire  is 
afterwards  placed  in  it. 

In  vermilion,  should  you  mix  white,  it  will  make  carmine ; 
if  you  mix  Roman  blue  it  will  be  brunus :  white  of  Apulia  can 
be  mixed  with  blue  alone,  and  again  with  blue  and  brisil,  and 
again  with  Roman  azure ;  it  can  also  be  mixed  with  green 
earth.  Bone  white  can  be  mixed  with  orpiment,  which 
mixture  cannot  otherwise  be  made,  this  white  is  therefore 
necessary  to  painters. 

E    E 


418  ADDENDA. 

magno  labore  trititur,  et  idcirco,  more  piperis,  terendum  est 
in  mortario,  vel,  si  illud  non  habes,  involuntum  in  corio, 
deinde  in  marmore  cuni  aqua  sicut  caeteri  colores.  In  cujus 
temperamento  accipe  duae  partes  ipsius,  et  tertiam  de  vitello 
ovi  crudi,  et  pulveris  ossis  combusti  plus,  insimul  commixti, 
et  simul  misce;  omnes  enim  colores  moluntur  cum  aqua,qua  ex- 
hausta  et  diligenter  ejecta,  ponitur  in  eis  clarea,  praeterin  viridi 
de  Grsecia.  Ocrum  moliter  cum  aqua,  sed  non  est  necesse 
nisi  pictoribus  nmrorum,  et  in  opere  litterarum  aurearum. 
Safranum  potest  distemperari  cum  clarea  ovi,  vel  cum  vino, 
et  fit  rufus  color,  sic  ut  brisillo  misceri  possit.  Colores  in 
pergameno  clari  et  spissi  hi  sunt,  Vermiculum.  Auripig- 
mentum,  Viride  grsecum,  Sanguis  Draconis,  Gravetum.  In- 
dicum,  Carminum,  Crocus,  Folium,  Brunum,  Minium,  Album, 
Nigrum,  optimum  ex  carbonibus  vitis  cum  ovo  sicut  alii  co- 
lores. 


DE    MIXTURA    COLORUM. 


AZURIUM  incides  de  nigro,  maptizabis  auripigmento. 
Item  misce  cum  albo  plumbo,  incides  de  azur,  map- 
tizabis  de  albo  plumbo.  Vermiculum  incides  de  bruno,  map- 
tiza  auripigmento.  Item  misce  vermiculum  cum  albo  plumbo, 
et  fac  colorem  quod  dicitur  rosa,  incides  de  vermiculo,  map- 
tiza  de  albo  plumbo.  Auripigmentum  incides  de  vermiculo, 
et  illi  maptizabatura  non  est,  quod  deturpat  alios  colores. 
Tamen  si  vis  facere  clarum  videre,  auripigmentum  misce  cum 
indico,  incide  de  nigro,  maptiza  auripigmento.  Sanguis  dra- 
conis  incides  nigro,  maptiza  albo  plumbo.  Item  misce  san- 
guis  draconis  cum  auripigmento,  incides  de  nigro,  maptiza  de 
albo  plumbo.  Viride  incides  de  nigro,  maptiza  de  apulia. 
Item  misce  viride  cum  albo,  incides  de  viridi  maptiza  albo 
plumbo.     Item  misce  gravetum  cum  albo  plumbo,  incides  de 

1  ab  Eraclio  excerpto. 


TRANSLATION.  419 

Orpiment  is  ground  with  great  labour,  and  is  therefore  to 
be  ground  in  a  mortar  like  pepper,  or,  should  you  not  have 
this,  rolled  in  a  skin,  then  upon  the  marble  with  water,  as  the 
other  colours.  In  the  tempering  of  this,  take  two  parts  of  it, 
and  a  third  (part)  of  yolk  of  fresh  egg,  and  more  of  the 
powder  of  calcined  bones,  mixed  together;  all  colours  are 
ground  with  water,  which  being  withdrawn  and  carefully 
taken  out,  glaire  is  put  into  them,  except  in  Greek  green. 

Ochre  is  ground  with  water,  but  it  is  not  necessary  un- 
less  to  painters  upon  walls  and  in  gold  work  of  letters. 

SafFron  can  be  tempered  with  glaire  of  egg,  or  with  wine, 
and  a  red  colour  is  made,  so  that  it  can  be  mixed  with  brisil. 

The  bright  and  thick  colours  for  parchment  are  these,  Ver- 
milion,  Orpiment,  Greek  green,  Dragon's  blOod,  Gravetum, 
Indigo,  Carmine,  Saffron,  Folium,  Brunum,  Minium,  White, 
Black,  the  best  from  vine  charcoal,  (tempered)  with  egg,  as 
the  other  colours. 


OF  THE  MIXTURE  OF  COLOURS. 

You  break  blue  with  black,  you  will  design  with  orpiment. 
Also  mix  it  with  white  lead,  break  it  with  blue,  design  with 
white  lead.  Break  vermilion  with  brunum,  design  with  orpi- 
ment:  also  mix  vermilion  with  white  lead  and  make  the 
colour  called  rose,  break  it  with  vermilion,  design  with  white 
lead.  Break  orpiment  with  vermilion,  and  there  is  no  relief 
to  it,  because  it  would  debase  the  other  colours.  However, 
should  you  wish  to  make  it  appear  bright,  mix  the  orpiment 
with  indigo,  break  it  with  black,  design  with  orpiment. 
Break  dragon's  blood  with  black,  design  with  white  lead : 
likewise  mix  dragon's  blood  with  orpiment,  break  with  black, 
design  with  white  lead.  Break  green  with  black,  design 
with  Apulia:  likewise  mix  green  with  white,  break  with  green, 
design  with  white  lead.  Mix,  also,  "  gravetus"  with  white 
lead,  break  with  gravetus,  design  with  white  lead. 

E    E    2 


420  ADDENDA. 

graveto  maptiza  albo  plumbo.  Indicum  incides  de  azurio, 
maptiza  de  albo  plumbo.  Item  misce  indicum  cum  albo 
plumbo,  incides  de  indico,  maptiza  de  albo  plumbo.  Crocum 
incides  de  vermiculo,  maptiza  de  albo  plumbo.  Item  misce 
crocum  cum  albo  plumbo,  incides  de  croco,  maptiza  de  albo 
plumbo.  Folium  incides  de  nigro,  maptiza  de  albo  plumbo. 
Item  misce  folium  cum  albo  plumbo. 


SI    VIS    FACERE    LITERAS    AUREAS    VEL   ARGENTEAS    VEL 
CUPREAS   VEL   EREAS    AUT    FERREAS. 

ACCIPE  limam  et  metallum  illud  et  limando  fac  pulverem. 
Postea  accipe  gummam  prunariam  et  pones  eam  in 
aceto,  dimitte  per  diem  et  noctem  et  postea  extrahe  foras  et 
mitte  eam  in  aquam  claram  aliquantulum  tepidam  et  ibi  di- 
mitte  per  diem  et  noctem.  Postea  accipe  gummam  et  lima- 
turam  et  mole  super  petram  fortiter,  et  distempera  cum  aqua, 
in  qua  distemperatus  est  pulvis  ille,  tantum  ut  bene  possis 
scribere.  Si  non  habes  gummam  accipe  moniacam  et  distem- 
pera  cum  aqua  calida,  in  qua  moniacam  dimittes  per  medium 
diem.  Postea  distempera  ut  dictum  est  utrinque,  et  fac 
literas  quas  volueris.  Quas  utique  siccatas  polies  leviter  cum 
dente  lupi  vel  canis,  et  hujusmodi  aut  cum  lapide  polito,  vel 
adamantino. 


SI    VIS   FACERE  VERMICULUM    BONUM. 

ACCIPE  ampullam  vitream  et  lini  eam  de  foris  de  luto, 
vel  argillosa  terra  et  pone  in  eam  dua  pondera  sulfuris 
albi,  vel  crocei  coloris,  et  unum  pondus  argenti  vivi  et  pone 
super  duas  petras  et  tunc  appone  ignum  lentissimum.  Tamen 
cooperias  operculos  ampullse  de  parva  tegula  vel  petra  et 
quamdiu  videris  fumum  rubeum  quasi  vermiculum,  sic  tolle 
ab  igne,  et  habebis  vermiculum  bonum. 


TRANSLATION.  421 

Break  indigo  with  azure,  design  with  white  lead :  also  mix 
indigo  with  white  lead,  break  with  indigo,  design  with  white 
lead.  Break  saffron  with  vermilion,  design  with  white  lead  : 
also  mix  saffron  with  white  lead,  break  with  saffron,  design 
with  white  lead.  Break  folium  with  black,  design  with  white 
lead  :  also  mix  folium  with  white  lead. 


OF    MAKING    GOLD,    SILVER,    COPPER,    BRASS,    OR    IRON 
LETTERS. 

Take  a  file  and  that  metal  (you  may  choose)  and  make 
a  powder  by  filing.  Afterwards  take  the  gum  of  the  plum-tree 
and  put  it  into  acid,  leave  it  for  a  day  and  night  and  after- 
wards  take  it  out  and  put  it  into  clear  water,  somewhat  warm, 
and  leave  it  there  a  day  and  night.  Afterwards  take  the  gum 
and  filings  and  grind  them  strongly  upon  a  stone,  and  temper 
with  water,  with  which  this  powder  is  to  be  so  tempered  that 
you  may  be  able  to  write.  If  you  have  no  gum,  take  gum 
ammoniac  and  temper  it  with  hot  water,  in  which  you  leave 
this  ammoniac  half  a  day.  Afterwards  temper  both  as  above 
and  make  the  letters  which  you  wish.  These  likewise  dry, 
you  polish  them  gently  with  a  wolfs  tooth,  or  that  of  a  dog, 
and  in  this  manner  either  with  a  polished  stone,  or  adamant. 


of  making  good  vermilion. 


Take  a»  glass  bottle  and  line  it  outside  with  lute  or  argilla- 
ceous  earth  and  place  in  it  two  parts  weight  of  white  or 
yellow  sulphur,  and  one  part  weight  of  quicksilver  and  place 
it  over  two  stones  and  then  apply  a  very  gentle  fire.  And 
you  cover  the  mouth  of  the  bottle  with  small  pieces  of  tile,  or 
stones,  and  when  you  see  a  red  smoke  like  vermilion  so  take 
it  from  the  fire  and  you  will  have  good  vermilion. 


422  ADDENDA. 


SI    VIS    FACERE    AZURIUM    OPTIMUM. 

/4  CCIPE  ollam  novam  et  mitte  in  ea  laminas  purissimi 
■£*■  argenti  quantas  volueris,  et  pone  illam  ollam  in  vinde- 
miam  quae  est  puojecta  de  torculari  sive  de  tina,  et  cooperi 
ollam  cum  laminis  de  ipsa  vindemia  et  serva  diligenter  usque 
ad  xv.  dies,  et  sic  aperies  ollam  illam,  et  siccata  quod  est  in 
laminis  rade  in  mundissimo  vase.  Quod  si  amplius  volueris 
fac  iterum  similiter. 


SI    VIS    ALIUM    AZURIUM    FACERE. 

ACCIPE  ampullam  de  purissimo  cupro  et  imple  fortissimo 
aceto,  et  cooperi  diligenter  os  ejus,  ne  aliquid  humoris 
vel  vaporis  possit  exire,  addens  et  si  necesse  est  ad  hoc  te- 
nacem  terram  vel  pastam ;  et  ipsam  ampullam  ita  clausam 
pone  in  aliquo  calido  loco  aut  in  terram,  aut  in  foenum  pro- 
jectum  de  stabulo,  et  sic  dimitte  per  unum  mensem,  et  tunc 
aperi  illam  ampullam,  et  quod  inveneris  in  ea  dimitte  ad  solem 
siccare. 


FINIS. 


TRANSLATION.  423 


OF    MAKING   THE    BEST   AZURE. 

Take  a  new  pot  and  place  leaves  of  the  purest  silver  in  it,  as 
many  as  you  please,  and  place  this  pot  in  the  grape  pressings 
which  are  thrown  from  the  press  or  vat,  and  cover  the  pot 
with  layers  of  this  grape  refuse  and  keep  it  carefully  until  the 
fifteenth  day,  and  so  open  the  pot,  and  scrape  whatever  has 
dried  upon  the  leaves  into  a  very  clean  vessel.  Should  you 
wish  for  more,  act  again  in  a  similar  manner. 


OF    MAKING    OTHER    AZURE. 


Take  a  small  vase  of  the  purest  copper  and  fill  it  with  the 
strongest  vinegar,  and  cover  its  mouth  carefully,  lest  any 
humidity  or  vapour  may  escape,  adding  to  this,  should  it  be 
necessary,  a  tenacious  earth,  or  lute ;  and  place  this  jar  thus 
closed  in  some  warm  place,  or  in  the  ground,  or  in  the  litter 
thrown  from  the  stable,  and  so  leave  it  for  one  month,  and 
then  open  this  jar  and  expose  what  you  may  have  found  in  it 
to  dry,  in  the  sun. 


FINIS. 


NOTES    TO    BOOK    III. 


CHAPTERS  XVIII.  AND  XIX. 

The  reader  will  probably  remark  the  expedient  to  furnish  carbon 
during  the  process  of  tempering  iron  or  steeL  by  the  burnt  bone  of 
the  ox,  or  the  skin  with  animal  fat.  The  knowledge  of  tempering 
iron  or  steel  appears  to  be  very  ancient,  as  in  Proverbs,  xxvii.  17, 
"  Iron  sharpeneth  iron,"  would  indicate. 


C.  XXIII. 

The  expressions  "  very  pure  gold  and  silver,"  "  purest  gold," 
found  in  Scripture,  warrant  us  in  the  belief  that  cupellation  is  a 
process  of  very  ancient  date.  "  Take  away  the  dross  from  the 
silver,  and  there  shall  come  forth  a  vessel  for  the  finer."1  "  As 
the  fining  pot  for  silver  and  the  furnace  for  gold  :  so  is  a  man  to 
his  praise."  2 

The  ancients  knew  that  gold  and  silver  were  rarely  found  in  a 
state  of  purity ;  the  "  xzva°s ««{»?"  of  the  Greeks  was  the  Arabian 
gold  of  the  xlvii.  chapter  of  Theophilus3 ;  the  gold  which  had  been 
purified  by  cupellation  was  called  "  ofyvcrov"— "aurum  obryzum," 
or  "  ad  obrussam  "  of  Pliny.  The  ancients  were  also  in  the  prac- 
tice  of  employing  lead  for  purifying  gold  and  silver.  "  They  add 
a  proportion  of  lead,  according  to  the  quantity  of  gold."4 

It  would  perhaps  be  well,  in  this  place,  to  inquire  whether  the 
ancients  were  ignorant  of  the  action  of  the  mineral  acids,  or  the 

1  Proverbs,  xxv.  4. 

8  Ib.  xxvii.  21. 

3  Diodorus  Siculus,  II.  161.  Vol.  1. 

*  Id.  ex.  Agatharcbide.  III.  p.  183. 


426  NOTES    TO    BOOK    III. 

mixture  of  substances  capable  of  combining,  so  as  to  produce  them 
during  the  process  of  refining  the  precious  metals,  and  therefore 
whether  they  were  not  accustomed  to  separate  gold  from  silver,  or 
other  alloy,  through  the  action  of  these  acids,  which,  attacking  the 
foreign  matters  contained  by  the  ore,  left  the  gold  pure. 

The  process,  described  by  Theophrastus,  which  was  employed 
in  order  to  procure  quicksilver  from  native  cinnabar  by  rubbing 
the  ore  in  a  brass  mortar,  with  a  brass  pestle,  with  ofo;,  has 
been  remarked,  p.  56.  Theophrastus  adds,  "  And  many  other 
things  of  this  kind  other  persons,  perhaps,  may  attain."1 

Pliny  is  more  explicit,  or  rather  the  science  had  advanced  since 
the  Greek  had  written,  and  the  prediction  of  Theophrastus  had 
apparently  been  fulfilled. 

In  the  chapter  upOn  gold,  L.  33.  C.  4,  Pliny  hands  down  this 
remarkable  sentence. 

"  Torretur  etiam  cum  salis  grumo,  pondere  triplici  misto,  et  rur- 
sum  cum  duabus  salis  portionibus,  et  una  lapidis,  quem  schiston 
vocant :  ita  virus  tradit  rebus  una  crematis  in  fictili  vase,  ipsum 
purum  et  incorruptum." 

"  It  is  also  calcined  with  salt  grumus,  mixed  in  threefold  weight, 
and  again  with  two  portions  of  salt  and  one  of  a  stone  which  they 
call  schistus  :  thus,  the  substances  being  burned  together  in  an 
earthen  vessel,  the  bitterness  yields  it  pure  and  uncorrupted." 

Should  the  "  sal  grumus"2  be  the  sulphate  of  potash,  (Glauber's 
salt,)  this,  with  the  schiston,  acting  upon  the  common  salt  (muriate 
of  soda,)  with  the  presence  of  water,  yielded  by  the  salts  and  alu- 
mine,  would,  under  the  action  of  heat,  yield  a  muriatic  or  hydro- 
chloric  acid,  called  in  after  times  "the  spirit  of  salt,"  the  gold  would 
be  liberated,  the  sulphur  combining  with  the  soda,  alumina,  &c. 

The  schiston  was  of  many  kinds,  one  a  sort  of  haematite,  another 
of  anthracite,  but  a  third  a  species  of  calcanthus,  or  sulphurous 
copper  ore,  from  which  a  schiston  was  made,  called  by  Pliny  a 
concrete  alum — this  is  no  other  than  our  chrystallized  sulphate 
of  copper  3. 

Geber  has  the  credit  of  the  invention  of  the  mineral  acids,  yet 
he  writes  as  if  he  were  not  the  inventor,  but  rather  the  compiler  of 

1  Theophrastus  on  Stones.  C.  105.     "Ttxfth  ovv  ToiaZra.  rd%  'avns  xdfioi  n-Xiiai." 
*  Glumen  rotundundum,  et  salvandum  quod  sal  Gemma  vocatur,  et  calcanthum 

ex  aceto  acerrino  terunter  in  sereo  mortario,  &c.     "Eraclius,"  vide  Raspe,  p.  116. 

Thus  grumus  or  glumen  is  not  "  sal  gemma"  (muriate  of  soda). 
1  Compare  Pliny.     L.  35.  C.  15.  with  L.  34.  C.  12. 


NOTES    TO    BOOK    III.  427 

the  processes  he  indicates,  and  it  is  probable  that  he,  as  well  as  the 
other  Arabian  authors,  drew  largely  from  Greek  sources  of  inform- 
ation,  now  lost  to  us. 

Geber  directs  a  mixture  of  1  tb  of  vitriol  of  Cyprus,  1  \  ft>  of 
saltpetre,  and  a  quarter  of  alum  of  Jameni,  to  be  submitted  to  dis- 
tillation  in  order  to  procure  a  liquid  of  great  solvent  power1.  He 
adds  that  if  you  supply  a  quarter  of  sal  ammoniac  to  this  it  will 
dissolve  gold2.  The  vitriol  of  Cyprus  is  a  sulphate  of  copper ;  the 
nitrate  of  potash  and  muriate  of  ammonia  (sal  ammoniac)  reacting 
upon  each  other  form  the  "  aqua  regia,"  or  mixture  of  nitric  and 
hydrochloric  acid,  the  sulphuric  acid  combining  with  the  salifiable 
bases. 

In  c.  xxxiii.  Theophilus  directs  that  the  uric  salts  and  common 
salt  be  mixed  with  clay  for  the  purpose  of  purifying  gold. 


C.  XXIV.     MARCA,  NUMMUS. 

The  Marc  contained  eight  ounces — "octo  uncise  faciunt  marcam." 
(Skenceus,  de  ponderibus  et  mensuris.) 

The  Nummus  varied,  there  were  nummi  of  copper,  the  penny 
— of  silver,  the  denarius,  ten  pence — of  gold,  twenty-five  denarii. 

In  weight  the  nummus  was  sometimes  the  fourth  part  of  the 
silver  denarius ;  sometimes  it  is  placed  for  the  drachma,  or  ^th  of 
a  Roman  ounce. 


C.  XXVI.  "  DEXTER,  SIGNANS." 

The  "  guide  of  painting,"  'E?p*»ia.  t3«  {uygaQwu  fr°m  Mount 
Athos,  describes  the  manner  of  representing  this  emblem,  so  fre- 
quently  found  in  the  decorations  of  both  Greek  and  Roman 
churches  ;  but  the  mode  of  expressing  the  benediction  differed 

with  the  sects. 

"  When  you  would  represent  the  hand  giving  benediction  do 
not  join  three  fingers  together,  but  cross  the  thumb  with  the  fourth 
finger,  so  that  the  second,  called  the  index,  remaining  straight, 
and  the  third  being  a  little  bent,  they  form  together  the  name  of 

1  Nitric  acid. 

*  Geber  de  Alchem.  Norimb.     1545.     C.  xxiii. 


428  NOTE8    TO    BOOK    III. 

Jesus  (IHCOTC),  IC.  In  effect  the  second  finger,  remaining  open, 
indicates  I  (iota),  and  the  third  forms,  by  the  curve,  a  C  (sigma). 
The  thumb  is  placed  across  the  fourth  finger ;  the  fifth  is  likewise 
a  little  bent,  which  forms  an  indication  of  the  word  (XPICTOC)  XC ; 
for  the  meeting  of  the  thumb  and  the  fourth  finger  forms  a  X 
(chi),  and  the  little  finger  forms,  by  its  curve,  a  C  (sigma).  These 
two  letters  are  the  abridgment  of  Christos.  Thus,  through  the 
divine  providence  of  the  Creator,"  continues  the  monk,  "  the 
fingers  of  the  hand  of  man,  be  they  more  or  less  long,  are  arranged 
to  be  so  as  able  to  design  the  name  of  Christ." x 

"  The  western  Church,"  writes  M.  Didron,  "is  less  mystic.  The 
benediction  is  made  in  opening  the  three  first  fingers  of  the  right 
hand,  and  in  keeping  the  annulary  and  the  little  finger  shut.  It 
is  true  that  certain  liturgists,  Guillaume  Durand,  amongst  others, 
say  (Rationale  divinorum  offic.  1.  v.  c.  2.)  that  "  this  mode  of  bless- 
ing  recalls  the  Trinity." 

"  In  the  church  of  Mount  Hymettus,  the  Father  blesses  by 
opening  only  the  great  finger  and  index ;  but  this  may  be  an  error, 
and  I,  perhaps,  imperfectly  saw  it.  It  is  possible  that  a  Greek 
benediction  may  be  met  with  amongst  us  ;  such  a  fact  should  be 
established  with  the  utmost  care,  as  incontestably  proving  a  By- 
zantine  influence.  M.  Aymard  has  found,  in  the  cathedral  at 
Puy,  a  hand  blessing  in  the  Greek  manner.  "  This  church,"  says 
M.  Didron,  "  is  vaulted  with  cupolas,  as  a  Byzantine  church,  and 
proves  that  the  ancient  churches  with  cupolas  are  really  Byzan- 
tine,  although  not  the  only  ones." 

C.  XXVIII.  DE  NIGELLO. 

The  beauty  of  the  chalice,  designed  by  Theophilus,  will  not 
escape  the  attention  of  the  artist,  nor  will  the  value  of  the  recom- 
mendation  to  "  carve  with  a  bold  stroke  "  in  the  preparation  of 
the  ground  for  the  "  niello  "  be  lost.  The  value  of  this  and  the 
26th  chapters  will  be  seen  by  those  who  will  take  the  trouble  to 
compare  them  with  the  readings  of  all  other  copies  of  the  MS. 
of  Theophilus. 

The  Roman  casket  of  silver,  enriched  with  niello,  found  at 
Rome  in  a  ruin  near  the  Esquiline  gate,  and  which  was  of  the  4th 

1  Manuel  dlconographie  Chretienne.  Gr.  et  Lat.  Paris,  1845.  Didron  et  Du- 
rand. 


NOTES    TO    BOOK    III.  429 

or  5th  century,  proves  the  antiquity  of  this  species  of  ornament. 
This  casket  contained  the  utensils  necessary  to  the  toilet  of  a 
Roman  lady,  and  bore  an  inscription  to  the  effect  that  it  was  given 
by  Turcius  secundus  to  Projecta,  his  wife.  See  M.  Visconti. 
"Lettera  su  di  una  antica  argentaria,"  &c. — Roma,  1793  K 


C.  XXIX. 

"  Take  the  gum  which  is  called  parahas,  or  barabas." 

In  the  manuscripts  of  the  13th  and  14th  centuries  the  chrystal- 
lized  salts  are  sometimes  called  gummi.  The  chrystallized  urates 
are  called  by  Paracelsus  "  Barnabas,  or  Barnaas,"  which  he  de- 
scribes  as  the  "  sal  petrae  urinarius  ;  urina  salis  petrae." 

Barach,  borak  or  borax,  the  native  borate  of  soda,  began 
through  the  Arab  chemists,  or  alchemists,  to  be  distinguished  in 
the  arts  from  the  9th  century. 

The  Montpellier  MS.,  already  quoted  in  the  notes  to  L.  1,  gives 
the  composition  of  nigellum  which  is  to  be  used  with  "  boraxa  " 
as  a  flux;  the  composition  of  the  niello  is  from  silver,  copper,  sul- 
phur,  and  lead ;  the  same  materials,  although  in  different  propor- 
tions,  as  those  of  Theophilus,  borax  is  therefore  probably  intended 
by  him.     I  give  the  extract : 

L.    4.       "  DE    NIGELLO. 

"  Accipe  plumbum,  erame,  argentum  similiter ;  confla  equales 
partes:  ipsis  in  igne  conflatis,  cum  carbone  vivo  misce,  postea 
addite  sulfur,  quantum  ut  per  totum  sint  ista  metalla  et  misce  cum 
carbone  vivo,  coque  sulfur,  et  cum  combustum  fuerit,  projice  in 
aliquo  loco  ubi  sit  aqua  clara,  et  cum  '  boraxa '  distempera,  et 
scribe  in  curvaturis  quicquid  vis." 


"  HOW   TO   MAKE   NIELL0. 


"  When  you  wish  to  make  niello,  take  equal  parts  of  quicksilver,  copper,  and  lead, 
and  put  them  in  a  vessel  that  they  may  cook  together.  Then  take  of  sulphur,  the 
weight  of  six  denarii,  and  mix  it  with  them  and  stir  it.  Afterwards  withdraw  it 
from  the  fire  and  allow  it  to  hecome  cold,  place  it  in  a  vase  and  take  atramentum, 
tempered  with  wine,  and  make  what  you  wish  upon  silver  with  the  atramentum,  and 
immediately  overlaying  the  powder  of  quicksilver,  copper,  and  lead,  and  then  melting 
it,  a  beautiful  niello  may  be  made."— Ab  Eraclio.  Ms.  Le  Begue.    Paris.    Art.  251. 


430  NOTES    TO    BOOK    III. 


OF    NIELLO. 


Take  lead,  copper,  likewise  silver,  melt  equal  portions;  being 
burned,  mix  them  with  live  charcoal,  afterwards  add  sulphur,  as 
much  as  is  the  total  of  the  metals,  and  mix  with  the  live  charcoal, 
cook  the  sulphur,  and  when  it  has  been  calcined,  cast  it  any- 
where,  where  there  is  clear  water,  and  mix  it  with  "  borax  "  and 
paint  what  you  wish  in  the  circles. 


C.  XXXI. 

Take  wine-stone,  "  tollevini  petram." 

The  lees  of  wine  (Jcex  vini)  were  burnt  by  the  ancients,  and  the 
cinders,  being  preserved,  were  applied  to  the  same  purposes  as  the 
potash,  or  soda,  the  cinders  of  vegetables.  "  Cinis  faecis  vini  nitri 
naturam  habet,  easdemque  vires,  hoc  amplius,  quo  pinguior  sen- 
titur."1  The  lixivium  of  this  ash,  freed  from  impurities,  and 
again  evaporated,  produced  the  wine-stone  of  our  author,  the  bi- 
tartrate  of  potass,  or  cream  of  tartar,  of  commerce.  It  is  here 
directed  to  be  used  as  a  flux,  as  is  the  borate  of  soda  in  chap.  29. 
(see  notes  to  L.  2.  on  glass-painting.) 


C.  XXXII. 

The  reader  will  remark  the  operation  of  enriching  the  silver 
chalice  with  niello,  how  closely  it  resembles  the  preparation  of  an 
engraved  plate  for  printing.  It  is  said  that  the  accidental  impres- 
sion,  or  proof  of  the  nielled  pax  of  Finiguerra  was  the  origin  of 
copper-plate  printing.  Upon  turning  to  C.  LXXI.,  the  process  de- 
scribed  by  Theophilus,  for  blackening  or  nielling  copper,  which 
led  to  the  art  of  printing  from  an  engraved  copper  plate,  is  nearly 
a  description  of  the  art  itself.  Two  impressions  of  the  pax  exist 
in  Paris,  one  at  the  Bibliotheque  Royale,  another  at  the  Biblio- 
theque  de  1'Arsenal. 

C.  XXXV.,  XXXVI.,  XXXVII. 

The  mixture  of  quicksilver  with  the  powder  of  gold  aided  the 
1  Pliny,  L.  H.  C.  20. 


NOTES    TO    BOOK    III.  431 

mechanical  process  of  gilding  after  the  working  and  polishing  of 
the  enamels  or  glass  gems,  a  process  which,  says  the  Abbe  Texier, 
is  always  observable  in  the  Romaic  gilt  and  enamelled  work  ;  sub- 
mitted  to  a  moderate  heat,  sufficient  for  the  sublimation  of  the 
mercury,  the  "  electra,"  or  glass  gems  remained  uninjured.  The 
whole  process  is  worthy  attention  as  is  the  preparation  for  receiv- 
ing  the  gilding  called  "  invivare,"  by  Theophilus,  consisting  of 
bitartrate  of  potass,  muriate  of  soda,  and  quicksilver. 


C.  XL.     "  OF  COLOURING  GOLD." 

The  process  here  described  is  calculated  to  produce  the  same 
action  upon  the  surface  of  an  impure  gold  as  that  followed  by 
submitting  it  to  the  action  of  a  diluted  muriatic  acid.  Atramentum, 
or  the  sulphate  of  copper,  (or  iron,)  having  been  partly  deprived 
of  the  sulphuric  acid  it  contains,  is  again  subjected  to  heat  in  the 
presence  of  muriate  of  soda  and  the  uric  salts,  upon  the  surface  of 
the  gold  to  be  purified.  The  result  would  form  a  certain  propor- 
tion  of  muriatic  acid  which,  removing  the  alloy  it  might  contain, 
would  render  the  gold  pure,  thereby  colouring,  or  rather  de-co- 
louring  the  metal. 


C.  XLV.     DE  FISTULA.— OF  THE  PIPE.  x 

The  reed,  called  also  syphon,  canna,  calamus,  etc,  was  an  in- 
strument  formerly  used  in  the  Roman  church  in  the  service  of 
communion,  in  order  to  withdraw  the  wine  from  the  chalice  for 
fear  of  spilling  it. 

Its  use  was  preserved  during  a  long  time  in  many  monasteries2 ; 
at  Cluny,  at  St.  Denis3,  in  the  ceremonies  of  the  consecration  of 
the  Kings  of  France  4:  now  the  Pope  alone  employs  it  in  the  cele- 
bration  of  Roman  ceremonies. 

The  Benedictines,  authors  of  the  "  Voyage  Litteraire"  describe 
a  reed,  which  they  saw  in  the  treasury  of  the  Abbey  of  Corbie : 

1  Note,  by  the  Count  de  1'Escalopier. 

*  Bona,  Rer.  Liturg.     L.  1.  C.  25.  N.  4.     Op.  Antwerp.  1793. 

*  De  Moleon  (Le  Brun  des  Marettes),  Voy.  Liturg.  de  Fr.  p.  149. 

*  Cancellieri,  De  Secretariis.     T.  4.  p.  1789.     Sylloge  vet.  monum. 


432  NOTES   TO    BOOK    III. 

"  It  had  a  small  cup  to  receive  the  precious  liquid  which  might 
fall  through  accident,  from  which,  in  such  case,  it  would  fall  back 
into  the  chalice  by  two  small  tubes.  The  instrument  was  some- 
times  fixed  to  the  chalice." 

The  reed  was  unknown  to  the  Greeks. 

"  They  break  many  small  pieces  of  the  consecrated  bread,  which 
they  place  in  the  chalice.  They  have  a  sraall  spoon  with  which 
the  priest  takes  one  of  these  small  pieces  dipped  in  the  wine,  and  he 
thus  gives  it  to  the  communicants.  It  is  only  to  the  priests  and 
clerks  assisting  at  the  Liturgy  that  they  give  the  chalice.  The 
Greeks  assert  that  St.  John  Chrysostome  established  the  use  of 
this  spoon,  but  there  is  no  certain  proof  amongst  the  ecclesiastical 
writers.  According  to  the  legend  it  was  thus,  that  about  the  year 
400,  a  solitary  saint  of  Egypt  received  a  miraculous  Eucharist 
which  was  brought  to  him  by  angels. 

"  The  spoon  was  consecrated  as  well  as  the  chalice  and  patena. 
This  instrument,  unknown  to  the  Latins,  as  was  the  reed  to  the 
Greeks,  is  not  mentioned  by  Theophilus,  who  has  in  view  only  the 
pomps  of  the  Western  Church." 

C.  XLVIII.     DE  AURO  HISPANICO. 

When  the  smile,  excited  by  the  language  of  those  who  followed 
the  sacred  science,  "  is-t»tytti  upcc,"  or  chemistry,  shall  have 
passed,  we  shall  probably  be  anxious  to  search  into  the  meaning 
of  our  author. 

The  Egyptians,  according  to  all  authorities,  practised  the  science 
at  a  remote  period,  and  it  was  in  their  schools  that  the  Greeks  and 
Arabs  were  initiated  into  the  sacred  science,  the  revelation  of  the 
mysteries  of  which  was,  at  one  time,  punished  by  death. 

Theophilus,  who  informs  us  that  "the  skilfulness  of  the  Genliles 
in  this  art  is  probable,"  is  doubtless  alluding  to  the  Arab  alche- 
mists  of  Spain,  who  at  an  early  period  pursued  the  sciences  ac- 
quired  from  the  Greeks  and  Egyptians. 

The  process  which  Theophilus  describes  in  this  symbolic  lan- 
guage,  appears  no  other  than  that  for  procuring  a  pure  gold  by  the 
means  of  the  mineral  acids.  Let  a  solution  of  gold  be  made  by 
nitro-muriatic  acid  and  copper  be  introduced,  the  latter  would  be 
dissolved  while  the  gold  would  re-appear,  but  in  a  state  of  purity, 
or,  as  the  alchemists  would  have  expressed  it,  the  copper  tvould 


NOTES    TO    BOOK    III.  433 

have  been  transmuted  into  pure  gold,  "  donec  ipsa  confectio  cuprum 
transmordeat,  et  inde  pondus  et  colorem  auri  suscipiat." 

We  have  already  seen  that  the  ancients  were  aware  of  the  action 
upon  metals  of  substances  calculated  to  produce  the  mineral  acids 
in  the  art  of  refining,  and  that  the  Arab  alchemists  have  described 
these  acids  in  unequivocal  terms. — Numbers,  letters,  the  signs  of 
the  zodiac,  animals,  plants  and  organic  substances,  form  the  sym- 
bolic  vocabulary  of  the  alchemists  of  this  period.  The  basilisc, 
the  dragon,  the  red  and  green  lions,  were  the  sulphates  of  copper 
and  of  iron ;  the  yellow  lion,  of  the  yellow  sulphurets ;  the  black 
eagle,  the  black  sulphurets  ;  the  red  lion  was  sometimes  cinnabar ; 
the  salamander,  fire ;  milk  of  a  black  cow,  mercury  ;  the  egg, 
gold ;  the  red  dragon,  cinnabar ;  &c,  &c  Unfortunately  each 
chemist  appears  to  have  varied  the  symbols  in  use  *. 

The  toad,  "  ugly  and  venomous,  bears  yet  a  precious  jewel  in 
its  head,"  2  the  toads  of  Theophilus  which  hatch  the  eggs,  are 
probably  fragments  of  the  mineral  salt,  nitrate  of  potash,  which 
would  yield  one  of  the  elements  of  the  solvent  for  gold  ;  the  blood 
of  a  red  man,  which  has  been  dried  and  ground,  probab  ly  a  mu- 
riate  of  ammonia  ;  fine  earth,  a  muriate  of  soda  (common  salt)  ; 
the  cocks,  the  sulphates  of  copper  and  iron  ;  the  eggs,  gold  ore ; 
the  hatched  chickens,  which  require  a  stone  pavement,  sulphuric 
acid  produced  by  burning  these  in  a  stone  vessel,  collecting  the 
fumes  ;  these  are  then  all  digested  together  tempered  with  a  sharp 
acid.  The  elements  of  nitro-muriatic  acid  are  all  here,  the  sol- 
vent  for  gold. 

Geber  tell  us  that  the  salt  drawn  from  the  ashes  of  a  mole  will 
convert  copper  into  gold.  "  Sal  totius  talpae  combustae  con- 
gelat  Mercurium  et  Venerem  convertit  in  Solem,  et  Martem  in 
Lunam." 

1  See  Ath.  Kircheri,  CEdip.  JEgypt.  Boma,  1653,  Vol.  2.  Jamblicus,  de  vita 
■  Pythagorica,  Leyd.  1570.  Idem,  de  mysteriis  Mgyptiorum,  Leipsic,  1815.  01. 
Borrichius,  de  Cabala  characterali  dissert.,  Leyd.  1649.  Idem.  Hermatis  jEgyptio- 
rum  et  Chemic.  Sapientia.  MSS.  Sloan.  3640.  3751.  3772.  2459.  3506,  &c.  Bib. 
Royale,  Paris,  MSS.  2329.  2250,  &c.    Arcanum  Hermeticae.     Anon.  Geneva,  1653. 

Hoefer,  Hist.  de  la  chimie.  . 

8  It  is  not  the  drowning  man  only  who  "catches  at  straws.  The  mmd  of  Shake- 
spear  would  grasp  at  and  weave  a  beautiful  simile  from  the  meanest  object.  That 
Shakespear  was  acquainted  with  the  jargon  of  the  Alchemist,  who  can  doubf?  The 
"basilisk"  of  Lady  Anne,  the  "confection"  of  the  Witches,  show  this,  as  do  the 
works  of  his  contemporary,  Jonson. 


434  KOTES    TO    BOOK    III. 

C.  LII.     SMIGMA. 

From  E/a«<v  or  Y.pMyu — a^^a. — "  id  quo  ad  abstergendum  et 
purgandum  utimur." 

C.  LIV.     DE  ELECTRO. 

The  electrum  of  our  author  is  neither  amber,  nor  the  mixture  of 
silver  with  gold,  to  the  amount  of  one  fifth  part,  ("  Omni  auro 
inest  argentum  vario  pondere ;  ubicunque  quinta  argenti  portio 
est,  electrum  vocatur,"  *)  which  was  called  by  the  Greeks  "  elec- 
tron."  It  is  that  kind  of  uncut  glass  gem  which  is  so  frequently 
found  as  a  decoration  upon  coffers,  pyxes  and  crosses,  of  the 
tenth  to  the  fourteenth  centuries.  The  origin  of  the  term  is  proba- 
bly  explained  by  Aldrovandus  (note  1,  p.  65  qfthis  work).  Theo- 
philus  is  careful  in  his  directions  for  making  these  gems ;  it  is  a 
process  of  enamelling,  set  in  filagree  work  (see  C.  LII.);  a  dis- 
tinction  is  also  made  between  the  "lapis,"  which  is  an  opaque  stone 
of  rare  kind,  and  the  "  electrum,"  the  transparent  stone ;  these 
are  to  be  alternated  in  the  setting,  the  opaque  stone  being  orna- 
mented  by  a  border  of  pearls  2. 


C.  LXI.     "  THE  EVANGELISTS,  WHETHER  IN  LIKE- 
NESS  OF  ANGELS  OR  FIGURES  OF  ANIMALS." 

By  the  Quinisext  council,  held  at  Constantinople  a.d.  692,  the 
Christian  artists  were  recommended  to  prefer  reality  to  allegory, 
and  were  ordered  to  represent  Christ  upon  the  cross.  The 
Greeks  had  previously  portrayed  Christ  under  different  allegorical 
forms  —  the  Good  Shepherd,  as  Orpheus  disarming  Cruelty  by 
means  of  the  suavity  of  his  accents  :  as  the  new  Daniel,  naked 
amongst  the  Lions,  which  are  disarmed  by  his  grace  :  as  Phcenix, 
conqueror  of  theSpirits  of  Darkness,  &c.,&c.  The  pictures  brought 
from  Rome  by  Biscops,  during  the  papacy  of  John  V.,  a.d.  686, 
appear,  as  stated  by  Bede,  to  have  been  of  this  class.     "  Imagines 

1  Pliny,  L.  33,  C.  4. 

8  A  pyx,  of  the  eleventh  century,  was  lately  shown  me,  omamented  in  this 


NOTES   TO    BOOK    III.  435 

quoque  ad  ornandum  monasterium  ecclesiamque  Beati  Pauli  nostri, 
de  concordia  Veteris  et  Novi  Testamenti  summa  ratione  compo- 
sitas,  exhibuit.  Verbi  gratia,  Isaac  ligna  quibus  immolaretur 
portantem,  proxima  super  invicem  regionem  pictura,  conjunxit. 
Item  serpenti  in  heremo  a  Moyese  exaltato,  filium  hominis  in  cruce 
exaltatum,  comparavit." — Vener.  Beda.  Hist.  Ab.  Wiremuth.  L.  1. 

The  four  rivers  of  Paradise  "in  human  form,"  and  the  Evange- 
lists  "  in  figures  of  animals,"  are  a  remnant  of  the  iconography  of 
this  period. 

The  Athos  manuscript  shows  us  how  the  Greeks,  in  the  twelfth 
century,  represented  the  Evangelists ;  these  representations,  pro- 
bably,  date  from  the  middle  of  the  ninth  century,  when  art  began 
to  recover  from  the  effects  of  the  persecution  suffered  by  the 
Greek  painters  owing  to  the  proscription  of  religious  images 
pronounced  by  Leo  the  Isaurian.  This  persecution  lasted  about 
150  years  l. 

"  THE    FOUR    EVANGEUSTS."2 

Saint  Matthew  the  Evangelist,  as  an  old  man  with  a  long  beard' 
writing  "  Book  of  the  genealogy  of  Jesus  Christ,  Son  of  David. 

Saint  Mark,  with  grey  hair  and  round  beard,  writing  "  The  be- 
ginning  of  the  Gospel  of  Jesus  Christ,  Son  of  God,  as  it  is  written." 

Saint  Luke,  young,  crisped  hair,  little  beard,  writing  "  Foras- 
much  as  many  have  undertaken." 

Saint  John,  the  Theologos  and  Evangelist,  an  old  man,  bald, 
large  thin  beard,  seated  in  a  cave  :  he  turns  the  head  back  towards 
the  heavens,  the  right  hand  upon  the  knees,  the  left  extended  to- 
wards  S.  Prochoros3.  Prochoros  is  seated  before  St.  John  writing 
these  words,  "  In  the  beginning  was  the  Word,  and  the  Word  was 
with  God." 

Before  the  evangelists  the  Tetramorphe4  animals,  with  wings 
holding  the  Gospel :  they  turn  their  looks  towards  the  four  evan- 

1  See  Emeric  David.     P.  114,  et  seq. 

*  Manuscript  from  Mount  Athos.     Didron.     Paris.     1845. 

1  Prochoros  is  a  clerk,  who  every  where  accompanied  St.  John,  and  who  often 
wrote  under  his  dictation. 

4  The  Tetramorphe  is  the  union  of  the  four  attributes  of  the  evangelists  in  one 
figure,  one  body  united  to  four  heads.  The  angel  of  St.  Matthew,  the  eagle  of  St. 
John,  the  lion  of  St.  Mark,  and  the  bull  of  St.  Luke,  have  the  heads  grouped  upon 
a  winged  human  body,  the  four  gospels  forming  one.  The  Tetramorphe,  says  M. 
Didron,  is  rarely  seen  in  the  iconography  of  the  western  church,  but  is  frequent  in 
the  Greek.     titj«  ftegipn — four-form. 

F    F    2 


436  N0TE8    TO    BOOK    III. 

gelists,  as  follows.  Towards  St.  Matthew,  the  man ;  towards  St. 
Mark,  the  lion ;  towards  St.  Luke,  the  bull ;  the  eagle  towards  St. 
John. 

Interpretation : — The  likeness  of  the  man  signifies  the  incarna- 
tion ;  of  the  lion,  power  and  royalty ;  of  the  bull,  preaching  and 
sacrifice  ;  of  the  eagle,  of  the  inspiration  of  the  Holy  Ghost. 
You  must  know,  also,  that  St.  Matthew,  St.  Mark,  and  St.  Luke 
are  represented  in  apartments  while  they  write ;  but  that  St.  John 
is  represented  in  a  cave  with  Prochoros. 

C.  LXI. 

"  You  will  adapt  to  each  Apostle  a  corresponding  prophet,  that 
their  testimonies  may  agree,"  writes  Theophilus. 

Our  author,  who,  it  has  been  seen,  wrote  for  the  provision  of 
the  ceremonies  of  the  Roman  church,  is  anxious  that  this  early 
branch  of  Christian  iconography  should  not  be  neglected.  Theo- 
philus  has  afForded  us  so  few  points  by  which  we  may  be  enabled  to 
trace  the  period  at  which  he  wrote,  that  these  few  words,  hitherto 
neglected,  should  certainly  be  considered  if  at  all  bearing  upon  that 
question. 

Mons.  Didron,  who  has  paid  as  much,  if  not  more,  attention  to 
the  history  of  Christian  art  as  any  author,  and  whose  researches  in 
Greece  have  so  qualified  him  for  judging  upon  this  branch  of 
archaeology  that  his  opinion  may  be  accepted  as  authority,  de- 
clares  that  the  higher  we  mount  into  the  history  of  Christianity, 
the  more  we  find  the  Judaic  influence  prevail.  "  The  western 
church,  in  France  in  particular,  ended  by  withdrawing  itself  from 
this  Oriental  embrace,  but  traces  of  it  are  found  in  the  most 
ancient  of  our  monuments  and  liturgy."  St.  Moses,  St.  Samuel, 
St.  Daniel,  St.  Elias,  St.  Jeremiah,  St.  Isaiah,  all  the  holy  patri- 
archs,  prophets,  and  teachers  of  the  law,  figure  in  the  ancient 
litanies.  "  In  the  cathedral  of  Strasburg,  upon  the  ancient  glass, 
some  of  which  dates  even  from  the  eleventh  century,  Isaiah  is 
seen  with  the  nimbus,  like  a  saint  of  the  New  Testament.  Stras- 
burg,"  he  adds,  "  is  German,  and  Germany  owes  much  to  Byzan- 
tium.  The  Greek  Church  honours  the  saints  of  the  Old  Testa- 
ment  as  much  as  those  of  the  New,  therefore  the  patriarchs, 
prophets,  judges,  and  kings  of  Judah,  occupy  an  important  place 
in  the  Byzantine  paintings." 

In  the  public  library  at  Amiens  is  a  manuscript  believed  to  be 


NOTE8    TO    BOOK    III.  437 

of  the  ninth  century,  but  which,  says  M.  Didron,  is  certainly  an- 
terior  to  the  schism  consummated  by  Michael  Cerularius ;  it  is  a 
book  of  psalms.  At  the  end  of  the  MS.  is  a  prayer,  a  litany  where 
all  the  orders  of  saints,  apostles,  &c,  are  successively  invoked. 
Immediately  after  the  angels  and  before  the  apostles  the  patriarchs 
and  prophets  are  one  by  one  invoked.  Saint  Abraham,  St.  Moses, 
St.  Aaron,  St.  Samuel,  St.  David,  St.  Amos,  St.  Habbacuc,  &c. 
But  in  the  eleventh  century  this  fraternization  ceased,  and  the  re- 
spect  which  had  until  then  existed  in  the  Roman  church  for  these 
personages  diminished,  the  Latins  "  became  rather  disdainful  of 
the  Old  Testament." 

Theophilus,  who  gives  few  iconographical  descriptions,  by  his 
careful  directions  for  a  practice,  by  which  the  prophets  of  the  Old 
•and  the  apostles  of  the  New  Testaments  are  fraternized,  should 
have  lived  at  latest  in  the  commencement  of  the  eleventh  century1. 

C.  LXIII.     CALAMINE. 

The  calamine  or  cadmia  of  the  ancients,  which  Pliny  tells  was 
used  in  the  manufacture  of  brass,  "  lapis,  ex  quo  fit  aes,  cadmia 
vocatur,"  2  is  the  rough  zinc  ore  ;  Dioscorides  informs  us  that  cad- 
mia  is  produced  during  the  calcination  of  brass,  and  that  it  attaches 
itself  upon  the  sides  of  the  furnace3. 

1  This  respect,  which  the  Roman  church  gradually  lost  for  the  holy  characters  of 
the  Old  Testament,  and  which  M.  Didron  designates  as  the  "  Judaic  influence,"  has 
been  perpetuated  amongst  us  in  England,  which  has  also  otherwise  been  so  strongly 
impressed  by  the  Byzantine  genius. 

Our  finest  Gothic  cathedrals  are  upon  the  plan  of  the  double  or  Greek  cross ;  our 
liturgy  greatly  imbued  with  the  writings  of  the  Greek  Fathers. 

I  insert  a  note  of  the  learned  M.  Durand,  upon  the  effect  of  Jewish  and  Byzan- 
tine  mfluence  upon  England.  It  is  singular,  that  no  sooner  does  a  Frenchman  ap- 
proach  any  subject  with  which  England  is  connected,  than  his  ideas  seem  to  run  riot. 
There  is,  however,  some  truth  in  the  following.  "  The  names  of  Adam,  Isaac, 
Jacob,  Abraham,  Moses,  David,  Solomon,  &c,  are  very  common  in  Greece ;  there  is 
Jew  in  all  that.  It  would  seem  that  Byzantium,  nearer  than  Rome  to  Jerusalem 
and  the  Holy  Land,  has  not  been  sufficiently  capable  of  escaping  from  the  Old  Testa- 
ment.  What  it  isproper  to  remarTc  is,  that  England,  Jewish  by  commerce,  is  Jewish 
and  Bysantine  in  her  religiows  customs.  Bentham  is  called  Jeremiah;  Reynold, 
Joshwa;  Newton,Isaac;  Garrich,  David  ;  0'Connellis  called  Daniel.  St.  George, 
the  patron  of  Greece,  and  to  whom  the  patriarchal  church  at  Constantinople  is  dedi- 
cated,  is  patron  of  England.  England  gives  this  name  to  the  branch  of  the  sea 
which  separates  her  from  Ireland.     The  celebrated  Canning  was  called  Georges." 

*  Pliny,  Hist.  Nat.     L.  34.  C.  10. 

8  Dioscor.  Mat.  Med.     L.  5.  C.  84. 


438  NOTE8    TO    BOOK    III. 

The  difference  between  "aes"  and  "  aurichalcum,"  both  a  brass, 
is  taught  us  by  Theophilus  ;  "ees"  is  the  mixture  of  calamine  with 
unrefined  copper — "  aurichalcum  "  is  made  with  very  pure  copper, 
because  it  can  then  be  gilt.     C.  6G. 

Bell  metal  is  made  by  adding  a  fifth  of  tin  to  melted  copper.  C. 
63. 

Theophilus  speaks  of  Spanish  brass,  as  used  in  thin  plates  in 
stamped  work.  This,  being  gilt,  is  probably  a  thin  plate  of  copper 
coated  with  gold  by  the  process  described  in  note  to  C.  48,  p. 
432. 

C.  LXXII.     INTERRASILIS  OPUS. 

Critics  have  differed  as  to  the  interpretation  of  this  word. 
**  Quod  nunc  scripturis  nunc  planitie  variatur  ;  hoc,  et  non  aliud, 
opus,  interrasile  dicas." — Alex.  By  this  would  be  intended  an 
engraved  work,  varied  with  plain  surfaces.  It  has  been  called 
"  Anaglypha  Scriptura,"  carved  work.  Muratori  thought  that  it 
applied  only  to  the  species  of  engraving  in  the  manner  of  seals. 
"  Quo  nomine  opinor,  non  omnem  caelaturam  designari,  sed  eam 
tantum,  quae  incidendo  figuras  efformabat,  ut  est  in  sigillis."  (V. 
2,  p.  360.)  Theophilus,  in  designating  this  as  Arabian  work,  has 
caused  Emeric  David  x  and  M.  de  1'Escalopier 2  to  think  that  the 
word  interrasilis  means  Damascus  work,  "  damasquinure"  or  the 
threaded  gold  or  silver  work  seen  upon  the  sabres,  pistols,  cui- 
rasses,  &c,  of  the  east.  We  fortunately  possess  a  chapter  in  this 
MS.  in  which  this  latter  art  is  carefully  detailed ;  the  damascine 
work  is  described  in  one  of  the  chapters  hitherto  unknown,  C.  90. 

The  opus  interrasilis,  then,  is  an  engraved  or  sculptured  plate, 
the  plain  grounds  of  which  are  cut  out  with  the  chisel,  or  "meizel," 
in  the  German.     Our  ancient  English  brasses  are  of  this  nature. 

C.  LXXV.     OF  STAMPED  WORK. 

This  branch  of  industry  has  already  been  followed  in  France 
since  the  publication  of  Theophilus  by  the  Count  de  1'Escalopier 
in  1843.  I  have  seen  some  bold  and  handsome  designs  from 
Paris,  executed  in  thin  gilt  copper,  in  this  fashion,  well  calculated 

1  Emeric  David.     Theophilus.     Biograph.  Univers. 

*  Theophili  Opera.     Paris.     1843.     Le  Comte  de  1'Escalopier. 


N0TE8    TO    BOOK    III.  439 

for  picture  frames,  if  fitted  to  wood,  or  for  ornamenting  apart- 
ments,  &c.  A  simple  lever,  fitted  upon  a  tall  upright  post,  with  a 
weight  attached  to  one  end,  is  the  stamp  employed ;  the  other  ex- 
tremity  of  the  lever  is  pulled  by  a  rope.  Our  Birmingham  and 
Sheffield  manufacturers  could,  were  proper  designs  procured  from 
our  artists,  defy  all  attempts  at  competition,  and  re-establish  a  ne- 
glected  source  of  profit  and  industry. 


C.  LXXXI.     "  DE  ORGANIS." 

It  will  be  seen  that  the  Harleian  MS.  of  Theophilus  enriches 
the  archaeologist  with  three  new  chapters  upon  the  construction  of 
the  organ,  which  seems  in  the  time  of  our  author  to  have  been  of  a 
simple  construction. 

David,  in  the  cl.  Psalm,  speaks  of  the  organ,  which  does  not 
appear  to  have  become  known  to  Western  Europe  until  the  year 
757,  when  one  was  sent  as  a  present  to  Pepin-le-Bref,  by  the  Em- 
peror  Constantine  Copronymos. 

In  a  rare  Saxon  manuscript  of  the  eleventh  century, — Cotton, 
Tiberius,  B.  6,  page  18,  is  a  drawing  of  the  "  bumbulum  cum  fis- 
tula  aerea,"  with  brass  pipe  ;  also  another  description  of  "  brass 
bumbula,  with  the  pipes  placed  in  the  middle,  three  bumbula 
placed  on  every  side."  This  Bumbulum  appears  to  be  an  organ, 
which  is  sounded  by  withdrawing  the  stops,  being,  as  the  organs 
of  Theophilus,  unfurnished  with  keys.  The  pipes  are  of  very 
thin  and  pure  copper. 

In  a  notice  of  the  "Church  of  the  Holy  Cross,"  at  Binstead,  Isle 
of  Wight,  by  Mr.  Withers— (Weales  Quarterly  Papers  on  Archi- 
tecture,  Midsummer,  1845,)  which  church  is  of  early  Norman  erec- 
tion,  a  recess  in  the  wall  on  the  nortb  side  of  the  chancel  remains 
unexplained,  as  that  gentleman  states  that  no  traces  exist  on  the 
outside  wall  to  show  that  a  sacristy  has  ever  existed  there.  Simi- 
lar  recesses  are  found  in  our  early  Norman  churches  elsewhere, 
one  in  the  church  at  Beaulieu,  Hampshire,  if  I  am  not  mistaken. 

A  probable  solution  of  the  use  to  which  these  recesses  were  ap- 
plied  is  found  in  the  83  C.  "  Si  volueris  organa  ultra  maceriam 
muri  stabilire,  ita  ut  infra  monasterium  nihil  appareat,"  &c.  They 
were  for  the  purpose  of  a  proper  arrangement  of  the  organ  and  the 
seat  of  the  organist,  at  that  time  the  chanter  also. 


440 


NOTES    TO    BOOK    III. 


C.  LXXXV. 

In  completing  the  directions  for  the  services  of  the  church, 
Theophilus  does  not  omit  the  foundry  for  bells,  of  which  a  minute 
description  is  given.  Four  parts  of  copper  and  a  fifth  of  tin  form 
the  composition  of  the  bell-metal.  Four  openings  are  made  near 
the  neck,  "  that  it  may  sound  better, — ut  melius  tinniat " — this 
precaution  is  often,  in  our  day,  neglected. 


CC.  LXXXVI.  AND  LXXXVII.    DE  CYMBALIS  MUSICIS. 

The  translation  of  the  86th  chapter  presents  difficulties  which 
will  be  allowed  by  all  who  consult  the  original  manuscript.  I 
have  strictly  followed  the  text. 

This  Hebrew  and  ancient  Greek  instrument  of  joy  and  worship 
was  introduced  into  the  ceremonies  of  the  Byzantine  church. 
They  were  employed  at  the  celebration  of  the  fetes  of  Cybele,  to 
whom  the  invention  is  attributed.  David,  in  the  cl.  Psalm,  speaks 
of  the  loud  cymbals  and  the  high  sounding  cymbals. 

The  cymbal  was  discontinued  upon  the  improvement  of  the 
mechanism  of  the  organ,  which,  however,  still  possesses  traces  of 
of  the  ancient  accompaniment  of  that  instrument,  one  part  being 
divided  into  the  great  and  second  cymbal. 

The  alloy  of  the  cymbals  of  Theophilus  is  about  a  fifth  or  sixth 
part  of  pure  tin  to  one  of  pure  copper. 


C.  XC.     DE  FERRO. 

This  curious  chapter  upon  iron  exposes  the  ancient  manner  of 
inlaying  steel  with  gold  and  silver,  known  to  be  of  Damascus 
origin ;  this  process,  as  that  of  the  interrasilis,  is  of  that  work 
which  "  distinguishes  Arabia,"  and  which  Theophilus  promises  in 
the  chapter  to  the  first  book. 

C.  XCII.    OF  SCULPTURING  IVORY. 


This  is  one  of  the  Italian  arts  of  the  period,  mentioned  also  in 
the  Preface  to  the  first  book. 


NOTES    TO    BOOK    III.  441 

The  "  huso  "  is  the  sturgeon.  M.  de  1'Escalopier  remarks  that 
this  word,  of  Germanic  etymology,  may  strengthen  the  belief  in 
the  Germanic  origin  of  our  author. 

The  ancients  had  a  method  of  softening  and  bending  ivory  by 
immersion  in  different  solutions  of  salts  in  acid.  Eraclius  has  a 
chapter  on  this.  "  Should  you  wish  to  bend  ivory  and  ornament 
lt."  Take  sulphate  of  potass,  (glumen  rotundum l,)  fossil  salt,  (sal 
gemma,  muriate  of  soda,)  and  vitriol,  (calcanthum,  sulphate  of 
copper,)  these  are  ground  with  very  sharp  vinegar  in  a  brass  mortar. 
Into  this  mixture  the  ivory  is  placed  for  three  days  and  nights. 
This  being  done,  you  will  hollow  out  a  piece  of  wood,  as  you 
please.  The  ivory  being  then  placed  in  the  hollow  you  direct  it, 
and  will  bend  it  to  your  will. 

In  the  MS.  Sloane,  416,  p.  40,  already  quoted,  is  a  similar  re- 
cipe,  with  the  addition  that  these  matters  are  to  be  distilled  in 
equal  parts,  (per  alembicum,)  this  would  yield  muriatic  acid,  with 
the  presence  of  water  ;  the  MS.  adds  that  "  infused  in  this  water 
half  a  day,  ivory  is  made  so  soft  that  it  can  be  cut  like  wax. 
And  when  you  wish  it  hardened,  place  it  in  white  vinegar  and  it 
becomes  hard." 


C.  XCIII.    RUBRICA. 

The  rubrica,  or  rubea  radix,  was  the  IfvQfoSuvo»  of  the  Greeks ; 
the  red  root,  or  madder. 

Walnut  oil  is  here  alluded  to  as  used  in  the  arts  for  the  purpose 
of  preserving  ornaments  in  ivory. 


C.  XCIV.     "  CHRISTALLUM." 

That  crystal  was  a  stone  produced  by  the  long  continued  action 
of  cold  upon  water  is  but  the  opinion  of  Pliny,  perpetuated  by 
our  author.  "  Contraria  huic  causa  crystallinum  facit,  gelu  vehe- 
mentiore  concreto.  Non  aliubi  certe  reperitur,  quam  ubi  maxime 
hybernae  nives  rigent :  glaciemque  esse  certum  est :  unde  et  nomen 
GrEeci  dedere."     Plato  taught  that  condensed  water  became  ul- 

1  Should  this  "  glumen  rotundum  "  be  a  nitrate  of  potass,  another  active  element 
would  be  added  to  this  composition. 


442  NOTES    TO    BOOK   III. 

timately  transformed  into  stones  and  earth,  and  Thales,  before 
him,  that  "  water  is  the  principle,  or  origin,  of  all  matter." 

The  word  "  tentura,"  again  of  Germanic  etymology,  wouldshow, 
that  if  not  German,  Theophilus  wrote  for  the  instruction  of  that 
people.  Isca,  which  I  have  rendered  tinder,  properly  means  the 
pith,  or  "medulla"  of  plants,  which  was  also  used  for  the  ready 
production  of  fire. 

"  Ismaris  lapis"  I  have  translated  "emery,"  as  the  E/AipK  **9°s  of 
Dioscorides  and  Hesychius,  anciently  known  for  cutting  and 
polishing  gems. 

C.  XCVII.     WOAD. 

The  corn  poppy  was  much  used  in  order  to  produce  a  blue 
vegetable  colour  for  illuminating,  before  the  introduction  of  indigo, 
which  gradually  superseded  it.  "Endico"  was  a  name,  however, 
given  to  the  blue  colour  produced  from  woad  in  imitation  of  in- 
digo,  as  late  as  the  14th  and  15th  centuries  in  Italy ;  see  MS. 
Sloane,  416,  p.  134.  "A  Fare  Endico.  Toy  fiore  de  guado  e 
creta  biancha,  poy  toy  dele  granele  de  lebio  qu  sono  ben  mature,  e 
toi  rane  e  fali  bolire  al  fuoco  tanto  che  siano  chote,  e  poi  le  spumi 
e  deguela  spremitura  getano  sopra  le  dite  polvere ; "  &c. 

C.  XCVIII.    DE  LACCA. 

The  lake  of  the  Greeks,  probably  so  called  from  Aaxxo?,  a  hollow, 
or  cut,  was  made,  Eraclius  and  our  author  inform  us,  by  making 
an  incision  in  the  ivy  in  spring,  and  boiling  the  sap,  which  exudes, 
with  urine. 

The  "  phcenix  color,"  or  phcenicia,  or  fenicon,  is  a  red  or  rosy 
colour,  probably  made  from  the  oster,  and  the  Tyrian  red ;  for 
which  this  lake  was  substituted. 


C.  CVI.    CANDIDUM  SULPHUR. 

The  "  three  kinds  of  sulphur,  white,  black,  and  yellow,"  men- 
tioned  by  our  author,  L.  1.  c.  36,  were  not  always  the  metal 
Sulphur  in  various  states  of  purity. 

The  "  pompholyx  "  of  the  ancients,  which  was  produced  by  the 


NOTES    TO    BOOK    III.  443 

calcination  (in  a  close  vessel  fitted  with  an  upper  chamber)  of 
brass  or  of  calamine,  appears  to  have  been  the  white  sulphur  of 
the  Byzantines  and  Arabs.  Both  these  substances  generally  con- 
tained  arsenic,  the  volatilization  of  which,  with  that  of  the  zinc, 
would  produce  a  mixture  of  the  oxides  of  arsenic  and  zinc ;  the 
deposition  in  the  lower  chamber,  of  a  darker  colour  and  less  pure, 
were  combinations  of  the  zinc  with  other  substances,  accord- 
ing  to  the  nature  of  the  ore  calamine  employed,  and  was  called 
spodium  l. 

Geber  tells  us  that  "  arsenic  is  composed  of  subtle  matter,  and  is 
of  the  nature  of  sulphur ;  it  hjixed  by  the  metals,  like  sulphur,  and 
like  it  is  produced  by  the  calcination  of  the  metals :"  (is  not  this 
the  white  sulphur  of  the  Greeks  ?)  "  Therefore  it  is  not  proper  to 
be  classed  (diffiniri)  otherwise  than  sulphur."2 

Albertus  Magnus,  whose  writings  are  in  great  measure  a  re- 
sume  of  the  Greek  and  Arab  chemists,  tells  us  that  brass  will 
yield  arsenic  ;  "  aes  expirabit  arsenicum."3 

The  0i7o»  XeSkov,  white  sulphur,  was  that  which  produced  white 
brass :  Olympiodorus  knew  that  arsenic  gave  a  white  colour  to 
copper,  and  he  calls  it  a  kind  qf  sulphur  which  is  volatilized  by  the 
action  of  fire.     MS.  2250,  Bib.  Royale,  Par. 

Richardus  Anglicus,  who  appears  to  have  been  contemporaneous 
with  Roger  Bacon,  tells  us  that  "  white  sulphur  fixes  (coagulat) 
quicksilver  ;"  he  adds  that  "  there  is  no  sulphur  in  silver  but  the 
white  sulphur."4 

An  impure  mixture  of  oxide  of  arsenic  with  zinc  or  tin,  would, 
mixed  with  white  glass,  yield  an  opaque  flux,  proper  for  painting 
on  earthenware. 

DE    MIXTUKA   COLORUM. 

Maptizabis,  a  Romaic  term  from  "  Mappa,"  a  drawing,  or 
picture. 

1  Pliny.  L.  34.  C.  13. 
a  Geberi  Opera,  "  de  arsenico."  C.  29. 
*  Albertus  Magnus,  de  rebus  metallicis. 

«  Tbe  edition  of  Geber,  printed  at  Nurimberg,  1545,  contains  a  treatise  of 
«  Richard,  the  Englisbman,"  upon  alcbemy.    See  C.  12,  of  that  treatise. 


FINIS. 


INDEX. 


A. 


Acids,  minerals,  known  indirectly  to  the 

ancients,  426. 
Alithina,  63. 
Amber    varnish,     xxxi.    xxxii.     xxxv. 

xxxvi. 
Anglo-Saxons,  state  of  art  among,  viii. 
Anvils,  of,  213. 
Apostles  and  prophets,  436. 
Apulia,  white  of,  417. 
Arahs,  influence  of,  ix. 
Arab  alchemists,  432. 
Arxica,  or  arsicon,  orzarquaon,  a  prot- 

oxide  of  lead,  57. 
Atramentum,  75,  76.  257.  315.  327. 
Aureola,  a  transparent  oil  painting,  35. 
Auricalcum,  313. 
Auripigmentum,    orpiment,    description 

of,  53. 
Azure,  to  make,  423. 

B. 

Basilisc,  267. 

Beards,  of  young  and  old  men,  9. 

Beaten  work,  323. 

Bellows,  of,  211. 

Bells,  of  founding,  355.  440. 

Black,  7.  9.  11.  15.  17.  19. 

description  of,  94. 

Blue  glass,  to  paint,  166.  171. 
Brass,  to  grind,  39. 

of  its  composition,  311. 

fine,  to  gild,  315. 

Bresil  wood,  62.  413.  415. 
Bumhulum,  439. 

C. 

Calamine,  307.  311.  437. 

Carbon    furnished   in  tempering   steel, 

425. 
Carbuncle,  to  make  a,  174. 
Carnelian,  to  make  a,  176. 
Censer,  the  beaten,  291. 
•  the  cast,  293. 


Ceruse,  3.  13. 


Ceruse  and  carmine,    not  mixed  with 

-  gum,  but  with  glaire,  35. 

to  make,  49. 

description  of,  54. 

Chains,  of  tlie,  303. 

Chalice,  of  ornamenting  the,  259. 

of  its  foot,  261. 

of  gold,  269. 

—  ofitsfoot,  285. 


the  smaller,  231. 
the  larger,  235. 
the  handles  of,  239. 


Chalk,  with  colours  on  plaster,  17. 
Cheese-glue,  21. 

Chrysolite,  to  make,  165.  168.  175. 
Cinnabar,  3.  13.  17.  19.  21.  25.  39. 

to  make,  45. 

description  of,  55. 

Colours  for  flesh,  mixture,  3. 

ground  in  oil,  25.  33. 

gum,  35. 


35. 


how  often  applied  upon  wood, 


tempering  for  books,  43. 

for  parchment,  419. 

mixtures  of,  419. 

Copper,  of,  305. 

purification  of,  313. 

to  blacken,  319. 

to  gild  with  gall,  407. 

to  grind,  39. 

Crosses  in  the  nimbus,  182. 

Crucibles,  of,  227. 

Crystal,  387.  441. 

Cupellation,  known  to  the  ancients,  425. 

Cutting  instruments,  221. 

Cyanus  lapis,  78. 

Cymbals,  of,  369. 

of  musical,  371.  440. 

D. 

Damascus  work,  377.  440. 

Dexter,  signans,  427. 

Distilled  linseed  and  walnut  oils,  xxxv. 

Drapery,  colours  for,  11.  13.  15. 

on  walls,  17. 


INDEX. 


445 


Earthenware  painted  with  glass  colours, 

135.  177. 
Egyptian  blue,  79. 
Elder-berry,  colour  from,  15. 
Electra,  279.  434. 

to  polish,  283. 

Emerald,  to  make,  1G5.  167,  168.  171. 

175. 
Enamel,  279. 

red,  181. 

green,  181. 

white,  181. 

Encaustic,  corruption  of  the  term,  95. 
Eraclius,  work  of,  upon  art,  xiii. 
Evangelists,  figures  of,  435. 
Exudra  and  other  colours  of  faces,  11. 
what,  57. 

F. 

Factory,  for  working  metals,  209. 
Files,  hollow,  for  filagree,  217. 

various,  223. 

Fistula,  the  pipe,  431. 
Flavus,  colour,  or  massicot,  57. 
Flesh  colour,  3. 

on  walls,  17. 

Flowers,  colours  from,  393. 

Flux  for  glass,  133.  164. 167. 170.  173, 

174. 176. 
Folium,  11.  13.  15.  17.  19.  21. 

red,  purple  and  blue,  to  temper, 


43. 


63. 


what,  58. 

different  kinds  of,  59, 60, 61, 62, 


Fornis,  gum,  25.  27.  66. 
Fsefosis,  xxxvi. 
Furnace,  for  metals,  211. 

G. 

Gallien  glass,  to  make,  168. 
Garnet,  to  make,  168.  175. 
Geber,  mineral  acids,  427. 
Gems,  of  sculpturing,  403. 

cutting,  405. 

■  polishing,  387.  403. 


and  pearls,  to  apply  upon  gold, 


275. 
Gilding,  Byzantine,  430. 

. to  polish,  255. 

old,  to  clean,  339. 

Glaire  of  egg,  41. 
Glass  furnace,  119. 

annealing  oven,  121. 

dilating  oven,  121. 

composition  of,  123. 

— ' plate,  125. 

— ; —  yellow  stained,  127. 


Glass,  purple  stained,  127. 

of  dilating,  129. 

vases,  to  make,  129. 

bottles,  to  makel31. 

coloured  mosaics,  131. 

coloured    plates,    made    by   the 

French,  131. 
Greek  cups  decorated  with  gold 

and  silver,  133. 

painting  upon,  1 33. 

Greek,  for  gold  grounds,  186. 

for  mosaic  work,  135. 

windows,  to  compose,  137. 

to  divide,  139. 

colour  for  drawing  upon,  141. 

of  three  shade  tints  for,  141. 

of  painting  coloured  drapery,  &c, 


on  glass,  141. 

-yellow,  not  to  be  too  much  em- 


ployed,  143. 

of  bnrning  in,  upon,  145. 

of  ornamenting  with  gems,  153. 

of  repairing  broken,  155.  183. 

■rings,  157. 


Egyptian,  remains  of,  161. 

Roman,  opaque,  162. 

from  lead,  165. 

malleable,  a  fallacy,  183. 

painting  upon ;  the  invention  of, 

xi. 

to  sculpture,  397. 

a  painting  upon,  399. 

white,  opaque,  401. 

Glassa,  27. 

what,  64. 

67 — called  grassa,  67.  73. 

Glue,  of  cheese,  21. 

skins,  23. 

vellum,  43. 

eel-skin,  43. 

the  wolf-fish,  43. 

Gluten  vernition,  24.  64. 
Gold,  of  heating,  245.  247. 

grinding,  247.  249.  251. 

to  colour,  257.  431. 

Hevilath,  265.) 

Arabia,  265. 


Spanish,  267.  432. 

sand,  269. 

solderof,  271. 

to  separate  from  copper,  317. 

silver,  317. 

to  clean,  341. 

Gold  writing,  393. 

Gold-leaf,  to  make,  29. 

Gold-leaf,  to  apply,  31. 

Gold,  to  grind,  37. 

Gold,  to  lay  in  books,  39. 

Gorma-madder,  60. 

Greek  paper,  made  from  linen,  29. 


446 


41 

INDEX. 


Greek  pitch,  70,  71. 
Green,  15.  17.  19.  395.  397. 
Green,  salt  (or  acid),  to  make,  47. 

Spanish,  to  make,  47. 

Green  glass,  163.  399.  401. 

Gum  Arabic,  a  name  for  Arabic  resin, 

or  sandarac,  72. 
Gum  cherry,  or  plum-tree,  35. 
Gummi  fornis,  what,  63. 
Gunpowder,  known  to  the  Greeks,  v. 
Gypsum,  white  ground  of,  23. 

H. 

Hair  of  boys,  youths,  and  young  men, 

colours  for,  9. 
Hammers,  215. 
Handles  of    chalices,  to  freshen    and 

gild,  253. 
Haematite,  105. 
Hyacinth,  to  make,  168, 175. 
Hysginum,  60. 


Indigo,  15.  76. 
Ink,  to  make,  49. 

description  of,  74. 

acid,  known  to  the  Romans,  75. 

Instrument  for  making  wires,  215. 

for  making  nails,  221. 

Interrasilis  opus,  438. 

Iron,  of,  377.  440. 

Isca,  388. 

Isinglass,  from  the  fish  "huso,"  39.  407. 

Ivory,  of  sculpturing,  383.  440. 

of  reddening,  385. 

of  ornamenting  with  gold  leaf,  405. 

Ivy  and  lake,  395. 


K. 


Karabe,  amber,  65. 


Lacca,  61.  395.  442. 
Lapis  Lazuli,  77. 

for  a  blue  glass,  168. 

Laqueari,  plaster  work,  76. 
Lazur,  11.  13.  17.  21. 

what,  77. 

Lazur-stein,  or  Lapis  Armenus,  79. 
Letters,   gold,  silver,  copper,  brass,  or 

iron,  421. 
Limbus,  81. 

Lime,  with  colours  on  walls,  17.  21. 
Lineleon,  96. 
Litters,  painted,  27. 
Lost  Chapteks,  The,  163. 


Madder,  63. 


M. 


Malleable  work,  irons  for,  219. 
Manisc,  11.  15.  17.  19.  21. 

— what,  81. 

Maptizabis,  443. 
Marca,  what,  427. 
Massicot,  58. 
Miltos,  what,  103. 
Minium,  to  make,  49. 

description  of,  82. 

not  mixed  with  gum,  but  with 

glaire,  35. 

Minium,  5.  13.  25.  39. 
Morella,  a  folium,  59. 
Mosaic  work,  xxxvii. 
Moulds,  iron,  for  leaden  rods  for  win- 
dows,  147. 

wooden,  for  the  same,  149. 

iron,  221. 

Murus  recens,  84. 

N. 
Nails,  of,  333. 
Niello,  of,  237.  428. 

to  apply,  239. 

to  apply  also,  243. 

to  polish,  257. 

Nummus,  what,  427. 
Nuorma,  madder,  60. 

O. 

Ochre,  13.  17.  19.  21. 

burnt,  5. 

Oil,  linseed,  25.  27.  35.  94. 

walnut,  25.  385. 

poppy,  25. 

drying,  97,  98. 

Oily  mucUage   for   tempering    colours, 

100. 
Oleum  lini,  94. 
Organs,  of,  341.  439. 

of  the  case  of,  345. 

of  the  wind  case,  349. 

of  the  copper,  construction  and 

its  bellows,  353. 
Organarium,  the,  217. 
Orpiment,  13. 
not  used  upon  walls,  15. 

description  of,  35. 

Origin  of  printing,  430. 


Painting  upon  glass,  186, 187, 188, 189. 
Parahas,  or  barabas,  239.  429. 
Patena,  of  the,  261. 

the  gold,  285. 

Pearls,  391. 

Peseri,  73. 

Pipe,  ofthe,  263.  431. 


INDEX. 


447 


Pipe,  the  gold,  285. 

Pierced  work,  interrasilis  opus,  321. 

Pincers,  215. 

Plaster,  painting  on,  11. 

Posc,  first,  5. 100. 

second,  7.  17. 

Prasinus,  colour,  3.  17.  101. 
Punched  work,  323. 

Pv. 

Rainbow,  imitation  of,  17. 
Realgar,  red  orpiment,  54. 
Red,  from  burnt  ochre,  5.  19. 
Relief,  first,  5. 

second,  9. 

Rods,  leaden,  for  windows,  149. 
Rose  colour  first,  5. 

second,  7. 

Rubrica,  441. 

Ruby,  to  make,  172 — 175. 

S. 

Saddles,  painted,  27.  102. 
SafTron,  33.  41. 
Sandaloz,  74. 

Sandarac,  Arabic  resin,  64. 
Sandaracha,  orpiment,  53. 
Sapphire,  Greek,  77. 

Glass,  165. 

—  to  makea,  167, 168. 175, 176. 


Scraping  irons,  219. 
Sculping  irons,  219. 
Sculptured  beaten  work,  337. 
Shave-grass,  23. 
Sil  Atticum,  56. 
Silver  to  grind,  39. 

lay,  in  books,  39. 


--  purify,  227. 
--  melt,  229. 

—  solder,  241. 

—  clean,  341. 


Sinoper,  29.  415. 

description  of,  103. 

Smigma,  271.  339.  434. 

Smiris,  or  ismaris  stone,  what,  442. 

Soldering  gold  and  silver  together,  335. 

tin,  375. 

iron,  381. 

Spanish  Green,  to  be  mixed  with  gum 
gluten,  35. 

what,  102. 

Spout,  to  cast  a,  375. 

Stamped  work,  329.  438. 

Strainer,  the,  285. 

Succus,  13.  15.  19. 

not  used  upon  walls,  15. 


Succus,  description  of,  106. 
Sulphur,  white,  black  and  yellow,  45. 
401.  442. 


T. 

Tablets  of  altars,  to  join,  21. 
Tempering  files,  223. 

iron,  225. 

various  colours,  411,  417. 

Tenax,  composition  called,  289. 
Tentura,  442. 
Thrones,  19.  106. 
Tin-leaf,  to  make,  31. 

colour,  33. 

varnish,  33. 

Tin,  ground,  for  books,  41. 
Topaz,  to  make,  168.  175. 
Transparent  oil  painting,  35. 
Turquoise,  to  make  a,  176. 

V. 

Van  Eyck,  inventions  of,  xxxii.  xxxiii. 
Varnish,  25.  27.  63—74. 

to  apply,  35. 

Veneda,  a  tint,  7.  17.  21.  107. 
Verantia-madder,  63. 
Vermilion,  or  cinnabar,  57.  421 . 
Vernice  liquida,  69,  70. 
Vernix,  sandarac,  66. 
Vial  of  the,  287. 
Vials  of  tin,  371. 
Violet  glass,  171. 
Viride  Grecum,  102. 
Vitriol  (atramentum,  or  sulphate  of  iron), 
51. 

W, 

Walls,  painting  upon,  17. 

preparation  for  painting  upon,  17. 

to  paint  on  while  wet,  84. 

Greek  method  of  painting  on,  86 

to  93. 
Walnut  oil,  distillation  of,  xxxiv,  xxxv. 
Warancia,  madder,  60. 
Water,  signs  of,  409. 
Windows,  of  joining  and  soldering,  151. 

to  compose,  137.  184. 

plain,  155. 

Wine-stone,  315.  430. 
Woad,  442. 


Yolk  of  egg,  with  colours,  on  walls,  17. 


G.  Woodfall  and  Son,  Printers,  Angel  Court,  Skinner  Street,  London. 


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