all_entries.xml

<all>








































































































































































































































































































































































































<entry identifier="p001r_a1">
  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

  <heading>[List of artisans with their locations]</heading>

  <list>
    <item><name type="personal">Nicolas Coste</name>, in the <place>Rue de la Heaumerie</place>, at
      the sign of <place>St Claude</place>/Mirrors</item>

    <item><name type="personal">Master Jehan Cousin</name>, who resides in the <place>Faubourg St
        Germain</place>, knows about the master</item>

    <item><name type="personal">Master Jehan Garnier</name>, in the <place>Rue des Escrivains by St
        Jacques de la Boucherie</place>, <profession>currier</profession>. Try <plant>woad</plant>
      flowers</item>

  </list>
</entry>
<entry identifier="p001r_a2">

  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

  <heading>[Diverse thoughts]</heading>

  <block>The harvester that leaves some ears is not blamed.</block>

  <block>Sacra Eleusinae deae propalare nefas.</block>

  <block>Trumpets, see the book of funerals</block>

</entry>
<entry identifier="p001r_a3">

    <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

    <heading>[List of authors]</heading>

    <list>
        <item>Wolfangus Lazius</item>

        <item>Petrus Appianus mathematicus Ingolstadiensis, Comment. urb. rom.</item>

        <item>Hieronimo Ruscelli</item>

        <item>Hermolaus Barbarus</item>

        <item>Angelius Bargaeus, De aucupio et venatione</item>

        <item>Nicolaus Damascenus</item>

        <item>Caes{ariensis}, De rebus Persarum</item>

        <item>Isidorus</item>

        <item>Orosius</item>

        <item>Eupolemus, historicus gentilis qui de rebus Davidis &amp; Salomonis scripsit</item>

        <item>Cathalogue des villes</item>

        <item>Calendrier des bergiers</item>

        <item>Grammaire italiene</item>

        <item>Arithmetique de Savonne</item>

        <item>Instruction pour le faict des finances</item>

        <item>Questions aenigmatiques</item>

        <item>Des praeceptes d'agriculture</item>

        <item>+ Le secret des finances à Lyon</item>

        <item>Synesius</item>

        <item>Olaus Magnus</item>

        <item>+ Master Bernard Palissy, inventor of rustic figurines to the king and the queen
            mother</item>

        <item>Aquatilium animalium historiae, Hypolito Salviano Typhernate authore, Romae
            1554</item>

        <item>Les Annales de Normandie</item>

        <item>Alexander Aphrodisaeus</item>

        <item>Polydorus Vergilius</item>

        <item>Appianus</item>

        <item>Athenaeus</item>

        <item>Pausanias</item>

        <item>Statius Thebaidos</item>

        <item>Servius, In Aeneidem</item>

        <item>Macrobius</item>

        <item>Aulus Gellius</item>

        <item>Alexander ab Alexandria</item>

        <item>Festus</item>

        <item>Nonius</item>

        <item>Magius, Miscellanea</item>

        <item>Pollux, Onomasticon</item>

        <item>Hyginus</item>

        <item>Berosus</item>

        <item>Suetonius</item>

        <item>Valerius Maximus</item>

        <item>Cornelius Tacitus</item>

        <item>Xenophon</item>

        <item>Seneca</item>

        <item>Dionisius Halicarnassensis</item>

        <item>Sabellicus</item>

        <item>cum permultisaliis Julius Capitollinus</item>

        <item>Budaeus</item>

        <item>Spartianus</item>

        <item>Blondus</item>

        <item>Volaterranus</item>

        <item>Herodotus</item>

        <item>Paulus Manutius</item>

        <item>Strabo</item>

        <item>Julius Firmicus</item>

        <item>Quintus Curtius</item>

        <item>Dio</item>

        <item>Cornelius Nepos</item>

        <item>Flavius Vopiscus</item>
    </list>

</entry>

<entry identifier="p001r_a4">
  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>
  
  <heading>[Pen trial]</heading> Monsieur </entry>
<entry identifier="p001v_a1">

  <folio number="001v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f8.image"/>

  <heading>For easing the belly</heading>

  <activity type="making"/>
  <purpose type="medicine"/>

  <block>
    <material>Prunes of Saint Antonin</material>, and if you like you can put
        <material_format><material>leaves of malva</material> and
      <material>viola</material></material_format>, adding some <material>sugar</material> and, if
    you like, some <material>cinnamon</material> for the stomach. </block>

  <block> Or in a <material>chicken broth</material>, add some <material>marshmallow
    root</material>. When fresh it is more mollifying. </block>

  <block> Stirring together <material_format>cirop de <material>guindoles
      doulces</material></material_format> with <material>water</material> and taking some of this
    in the morning eases the belly. </block>

</entry>
<entry identifier="p002r_a1">

  <folio number="002r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f9.image"/>


  <heading>Books to recover</heading>

  <list>
    <item>The chronicles of Sigebert</item>

    <item>Rufinus</item>

    <item>Irenaeus, In [Haereses]</item>

    <item>Paulus Aemilius</item>

    <item>Paulus Jovius</item>

    <item>Polydorus</item>

    <item>Bergomensis</item>

    <item>Philippe de Commines</item>
  </list>

</entry>
<entry identifier="p002r_a2">

  <folio number="p002r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f9.image"/>
  <heading>Against pain</heading>
  <activity type="making"/>
  <purpose type="medicine"/>

  <block>
    <material>Turpentine oil</material>, <material>oil of Jacob</material> and <material>salt from
      cabbage ashes</material>. </block>

</entry>
<entry identifier="p002v_a1">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>

  <heading>[Book title]</heading>

  <block>
    <foreign language="italian">Practica, cioè nova inventione di contegiare, stampata in Brescia
      per Vincenzo Sabio</foreign>
  </block>

</entry>
<entry identifier="p002v_a2">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>
  <annotations>
    <annotation
      url="https://drive.google.com/open?id=0B33U03wERu0ecjZlckFDRE9YQXc"
      title="Imitation Gemstones, Ruby Emerald, fol. 100r-v (Kremnitzer, Shah)"/>
  </annotations>

  <heading><material>Emeralds</material> of <name>Brissac</name></heading>

  <activity type="imitation gem"/>
  <purpose type="making"/>

  <block>I took <material>minium</material>, 26 <unit>℥</unit>, <material>crystal</material> […] and
    ground on <material_format>marble</material_format> 12 <unit>℥</unit>,
      <material>verdigris</material> 3 <unit>|ʒ|</unit>. Incorporated all together. Put in a
      <tool>crucible</tool> covered by another well luted <tool>crucible with a hole on top</tool>.
    Melting: 7 <time>hours</time> without blowing. The mass came out a fine green.</block>

  <block>I took <material>minium</material>, 12 <unit>℥</unit>, <material>crystal</material>, 6
      <unit>℥</unit>, <material>verdigris</material>, 2 <unit>grains</unit>. Melting: moderate, vi
      <time>hours</time>, baked 24 <time>hours</time>. The mass came out green, yellow and
    red.</block>
</entry>
<entry identifier="p002v_a3">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>
  <annotations>
    <annotation
      url="https://drive.google.com/open?id=0B33U03wERu0ecjZlckFDRE9YQXc"
      title="Imitation Gemstones, Ruby Emerald, fol. 100r-v (Kremnitzer, Shah)"/>
  </annotations>
  
  <heading>
    <material>Sapphire</material>
  </heading>
  <block>
    <activity type="imitation gem"/>
    <purpose type="Making"/>
    <material_format>Pebbles</material_format> or <material>crystal</material>, 8 <unit>℥</unit>;
      <material>minium</material>, 16 <unit>℥</unit>; <material>smith's salt</material>, 4
      <unit>℥</unit>; <material>sparkling coryal</material>, 4 <unit>grains</unit>. Melting: 6
      <time>hours</time>. </block>

</entry>
<entry identifier="p003r_a1">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>
    <annotations>
        <annotation
            url="https://drive.google.com/open?id=0BwJi-u8sfkVDUWd6WXF6RzExYnc"
            title="Imitation Coral, fol. 3r (Chessa)"/>
    </annotations>
    

<heading>Imitation <material>coral</material></heading>

<block>
<activity type="imitation coral"/>
<purpose type="making"/>
+

One must first make the <material_format>branches from <material>wood</material></material_format> or take a <material_format>fantastical <plant>thorn</plant> branch</material_format>, then melt a <unit>pound</unit> of the <material_format>best possible clear <material>pine resin</material></material_format> and add one <unit>ounce</unit> of <material_format>finely ground <material>vermilion</material></material_format> together with <material>walnut oil</material>, and if you add a little <material>Venice lake</material> the color will be all the more vivid, and stir all together into the <material>resin</material>, molten over a <tool>charcoal fire</tool>, not over an open flame, lest it catch fire. Then dip in your <material>branches</material> with a swirling motion. And should there remain any filaments, turn the branch over the heat of the <material>charcoal</material>.</block>


<purpose type="observation">
    
<block position="left-top"><material>Colophony</material> is nothing other than <material>resin</material> that has been cooked again. To do it well, you take a <material_format><material>lead</material>ed pot</material_format> and melt the <material>resin</material>, boiling it over the <tool>brazier</tool> for a good <time>hour</time> until it appears not thick but clear and liquid like <material>water</material> and it easily runs as a thread off the end of a <tool>stick</tool>, which you use to crush and test it. Then pour it through a <material>coarse canvas</material> or <material>tammy cloth</material> so that it falls into the <material_format>strongest <material>vinegar</material> you can find</material_format>, because the <material>vinegar</material> makes it strong and makes it less brittle. Repeat this two or three times and it will be fine and well purified. To imitate your <material>coral</material>, you can mix a <unit>fourth part</unit> of <material>mastic</material> with your <material_format>purified <material>resin</material></material_format> to make it more solid and finer, and if you should use just one <unit>drop</unit> of <material>mastic</material>, it would be all the better, but it would take too long.</block>

<block position="top-middle"><material>Coral</material> made of <material>red enamel</material> withstands filing and polishing.</block>

<block position="right-top">It is made like <material>cement</material>, which is stronger when mixed with <material>crushed glass</material> rather than with <material>brick</material>. In the same way, together with the <material>vermilion</material>, one mixes in <material_format><material>opaque red enamel</material>, finely ground</material_format>. It is the same way with all <material>enamel colors</material>.
</block>

<block position="left-middle"><material>Sulfur</material> and <material>vermilion</material> have the same effect.</block>
</purpose>   

</entry>
<entry identifier="p003r_a2">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>

 <heading><material>Varnish</material> for paintings</heading>
  

<activity type="varnish for paintings"/>
<purpose type="making"/>
 <block>
Take a <unit>pound</unit> of <material>Venice turpentine</material> and heat it in a <tool>pot</tool> until it simmers, put in half a <unit>pound</unit> of the <material_format><material>whitest turpentine oil</material> you can find</material_format> and stir all together well on a <tool>charcoal fire</tool> and take it off immediately after, and it is done. But if you find it too thick, add more <material>oil</material>, whereas if it is too clear, you can thicken it by putting a little <material>turpentine</material>. And so you will give it whatever consistency you want. It could be made without <tool>fire</tool>, but it is more desiccative when heated. It is appropriate for panel paintings and other painted things, without distorting the colors or yellowing, and dries both in the shade and under the sun, overnight, and during the summer as well as in the winter. It is usually sold 15 sols a <unit>pound</unit>.</block>
<block position="left-bottom">You need a little more <material>turpentine</material> than <material>turpentine oil</material> to thicken the <material>varnish</material>, which you need to apply with your finger in order to spread it thinner and less thick because when it is thick, it turns yellow and gathers [together]. <material>Varnish</material> is not used to make paintings shine, because it just takes the light out of them.</block>

<block position="middle-bottom">But it is used to enhance colors which have soaked in and to keep them from dust. <material>Mastic varnish</material>es does not resist rain, whereas <material>oil [varnish]</material> and <material>rosin varnish</material> do.</block>

</entry>
<entry identifier="p003r_a3">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>

 <heading>Thick <material>varnish</material> for floorboards</heading>
    

<activity type="varnish for floorboards"/>
<purpose type="making"/>

    <block>There is a type of <material>varnish</material> that takes a long time to dry and is still damp up to two <time>months</time> after it has been applied to the floorboards. But the following <material>varnish</material> does not remain damp like previous ones, which were made of <material>linseed oil from Aux</material> boiled with <material>garlic</material> to extinguish them and rid them of <material>fat</material>, and also with <material>wheat</material>. And this old one yellowed over time and made the blue color of paintings greenish. This one is made like former <material>varnishes</material> except that one puts in <material>common thick turpentine</material>.</block>

</entry>
<entry identifier="p003v_a1">
    <folio number="003v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f12.image"/>

    <heading>To varnish</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="observation">
            <material>Turpentine varnish</material> does not need any <material>glue</material>
            since it is fat and viscous and does not penetrate the <material>wood</material> as
                    <material_format><material>spike lavender</material> varnish</material_format>
            and <material_format><material>sandarac</material> varnish</material_format> would.
                    <material_format><material>Spike lavender</material> varnish</material_format>
            does not require any <material>glue</material> on <material>iron</material> and similar
            materials which cannot be permeated, but on <material>wood</material> and on
                <material>colors</material> which do not contain <material>gum</material> or
                    <material><foreign language="french">colle de détrempe</foreign></material>, it
            is necessary to lay one coat of the said <material>glue <foreign language="french">colle
                    de retailles</foreign></material> and allow to dry, then varnish. </purpose>
    </block>
</entry>
<entry identifier="p004r_1">
    <folio number="004r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f13.image"/>
    <heading>
        <material_format><material>Lavender spike oil</material> varnish</material_format>
    </heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> One must heat <material>lavender spike oil</material> and, as it
            begins to simmer, put in <material_format>powdered <material>sandarac
                gum</material></material_format> so that it soon melts. And stir continuously over a
                <tool>charcoal fire</tool> until the <material>sandarac</material> is well melted,
            which you will know by taking a little of the said varnish on a <tool>plate</tool> and,
            if it is fat enough when you handle it with a <tool>finger</tool>, it is ready. And for
                <unit>one pound</unit> of <material>lavender spike oil</material>, you should put
                <unit>five ounces</unit> of <material_format>ground
                <material>sandarac</material></material_format>.</purpose>
        <purpose type="observation"> Some only put in <unit>four ounces</unit> but this is not as
            good, nor as fat. The former dries promptly. To avoid the trouble of polishing their
                <material>ebony</material>, <profession>framemakers</profession> varnish it with
            this. So do <profession>guitarmakers</profession>. This varnish is not as fitting for
            paintings as <material_format>fine <material>turpentine</material>
                varnish</material_format>, though it is good for the paintings' moldings. When
                    <material_format><material>linseed</material> varnish</material_format> was in
            use, one would not commonly varnish the landscape of a painting because it would turn
            the landscape yellow. But with <material_format><material>turpentine</material>
                varnish</material_format> one varnishes everywhere. Instead of
                <material>sandarac</material>, you can add to it <material_format>pulverized
                    <material>mastic</material></material_format>
            <unit>drop</unit> by <unit>drop</unit> or otherwise, and it will dry more
            quickly.</purpose>
        <purpose type="advice"> If you want to varnish <material>plaster</material> or a wall, first
            put on your <material><foreign language="french">colle de retaille</foreign></material>,
            very hot, because if cold it would not penetrate the wall at all. And when you would
            have put your varnish on, it would come off.</purpose>
    </block>
    <block position="left-top">
        <purpose type="observation">
            <material_format><material>Aspic oil</material> varnish</material_format> is not as apt
            for colors as that of <material>turpentine</material>, because <material>aspic
                oil</material> eats the colors, since it is too penetrating.</purpose>
    </block>
</entry>
<entry identifier="p004r_2">
    <folio number="004r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f13.image"/>


    <heading>To remove varnish from an old panel painting that has yellowed and varnish it
        again</heading>

    <block>
        <activity type="varnish"/>
        <activity type="cleaning"/>
        <purpose type="application">Take some <material_format>white
                <material>soap</material></material_format> and <material>ashes</material> strained
            through a <tool>sieve</tool>, and soak all together in <material>water</material>. And
            with a <tool>sponge</tool>, take some of the said <material>ashes</material> and
                <material>soap</material> and rub the painting with it. And when you see that the
            old varnish has been taken off, throw a <unit>bucket</unit> of
                <material>water</material> at the painting to clean it, then leave it for a
                <time>quarter of an hour</time> in the <tool>sun</tool> to dry and revive the
            colors. Once your painting is dried, you can apply your
                    <material_format><material>turpentine</material>
            varnish</material_format>.</purpose>
    </block>
    <block position="left-bottom">
        <purpose type="advice">Make sure the colors do not come off.</purpose>
    </block>
</entry>
<entry identifier="p004v_a1">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDR09tZUQyanRod3c"
            title="Pain, Ostie, Rostie: Bread in Early Modern Europe, fols. 4v, 37r, 79v (Le Pouésard)"
        />
    </annotations>

    <heading>Black varnish for sword guards, metal bands for chests, etc.</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> Take <material>linseed oil</material> or, for a cheaper option,
                <material>walnut oil</material>, and rid it of fat with
                    <material_format><material>garlic</material> cloves</material_format> and
                <material>hog's fennel</material> (some also add
                    <material_format><material>bread</material> crusts</material_format>), which you
            will boil in it for <time>a good quarter of an hour</time>. Then add to <unit>one
                pound</unit> of the <material>oil</material> boiled in this way a piece of
                <material>black pitch</material>
            <unit>the size of a walnut</unit> and <unit>a double handful</unit> of
                <material>wheat</material>, without removing the <material>garlic</material> and
                <material>onions</material>, and allow to boil together for <time>a good quarter of
                an hour</time>. Once the <material>pitch</material> is well melted and the
                <material>oil</material> takes on body, you can remove it from the
            <tool>fire</tool>.</purpose>
        <purpose type="application">Then, to varnish, place your
            <material>iron</material><!--technically, iron is what the varnish is applied to, not a material in a recipe per se-->
            over a <tool>warm charcoal fire</tool> and apply with a <tool>feather</tool> or a
                <tool>brush</tool>. When you see that it no longer smokes, it is done and your
            varnish is dry.</purpose>
    </block>
    <block position="left-top">
        <purpose type="advice">For an excellent black varnish, add <unit>two or three</unit>
            <material>paternoster beads</material> to the rest.</purpose>
    </block>
    <block position="left-top">
        <purpose type="observation">Some consider <material>walnut oil</material> to be
            better.</purpose>
    </block>
    <block position="left-top">
        <purpose type="advice">If there is a quantity of varnish, it needs to boil for <time>at
                least half a day</time>, because the more it boils, the better it is. Should the
            varnish boil over, it is dangerous for it to catch fire and it is difficult to
            extinguish. So do this in a courtyard or other open space.</purpose>
    </block>
    <block position="left-middle">
        <purpose type="advice">In <unit>five or six lbs.</unit> of <material>oil</material>, one
            must put <unit>one lb.</unit> of <material>galipot</material>, which costs <currency>4
                sols</currency>, and some <material_format>peeled <material>garlic</material>
                cloves</material_format>. This varnish is not black in and of itself, but turns
            black when exposed to <tool>fire</tool>.</purpose>
    </block>
    <block position="left-middle">See below, around the 3rd part of this book, after
            <material>sands</material>, in the chapter on furbishers.
        <!--Is there such a "chapter"?-->
    </block>
</entry>
<entry identifier="p004v_a2">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>
    <heading>Black varnish without fire, without disassembling harnesses or removing metal bands
        from chests.</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> Take <material_format><material>spike lavender oil</material>
                varnish</material_format> and mix it with <material>charcoal black</material> or
                <material>lampblack</material> and, without fire, it will mix in by
            itself.</purpose>
        <purpose type="application">Apply the varnish with a <tool>brush</tool> and it will soon be
            dry.</purpose>
        <purpose type="observation"><material_format><material>Turpentine</material>
                varnish</material_format> would work quite well but it does not dry as
            quickly.</purpose>
    </block>
</entry>
<entry identifier="p004v_a3">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>

    <heading><profession>Iron engravers</profession>' varnish</heading>

    <block>
        <activity type="varnish"/>
        <activity type="engraving"/>
        <purpose type="making">Take <material>linseed oil</material> or <material>walnut
                oil</material> and instead of <material>black pitch</material> you will add some
                    <material_format><material>pine</material> resin</material_format> and you must
            cook it like black varnish on <tool>fire</tool>.</purpose>
        <purpose type="application">And to apply it, heat your
            <material>iron</material><!--technically, the iron is not a material in a recipe but a thing to be etched-->
            and apply just one layer of varnish, and when it no longer smokes, it is dry. Then
            engrave with a <tool>steel point</tool> whatever you want. Then take some
                <material>salt</material> and <material>verdigris</material> and soak it with
                <unit>as much of one as of the other</unit> in <material_format>very strong
                    <material>vinegar</material></material_format>, and leave it for <time>XX4
                hours</time> before using it, and the whole will be soaked. Then spread this liqueur
            or sauce on the engraved object with a <tool>sponge</tool></purpose>
    </block>
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>
    <block>
        <purpose type="application"> or <tool>linen cloth</tool> and leave it thus for <time>xx4
                hours</time> and it will be engraved.</purpose>
        <purpose type="advice">But if you should want to engrave it quickly, varnish all your work
            and boil it in the aforementioned liquor, and this will engrave it quickly.</purpose>
    </block>
</entry>
<entry identifier="p005r_a1">
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>

    <heading><material>Steel</material> mirrors</heading>

    <block>
        <activity type="casting"/>
        <activity type="polishing"/>
        <purpose type="observation">+ They are called <material>steel</material> mirrors because in
            the past they were usually made of <material>steel</material> polished with
                    <material_format><material>emery</material> paste</material_format>. But more
            easily, various kinds are made of <material><foreign language="french">cuivre
                    franc</foreign></material>, which is <material>rosette</material> and
                <material>tin</material>, because these can be cast in a <tool>mold</tool> and made
            round, hollow, convex or in whatever various shapes you want to represent.</purpose>
    </block>
    <block>
        <purpose type="making">So take <unit>half</unit>
            <material>rosette copper</material> and <unit>half</unit>
            <material_format>soft <material>tin</material></material_format>, i.e. fine and yet
            unused. Place them in a <tool>crucible</tool>, and first melt the
                <material>copper</material>. Once it has been well melted, add the
                <material>tin</material> and mix them together and cast that in a <tool>white stone
                mold with no hole</tool>, and grease the <tool>mold</tool>, which should be
            moderately warm, with <material>oil</material>. Then, once your mirror has been molded,
            you can polish it in this manner.</purpose>
    </block>
    <block>
        <purpose type="making">Set one mirror in <tool><material>plaster</material></tool> to hold
            it firmly, then put the other one over it with <material_format>fine
                    <material>sand</material></material_format> between them, and rub one against
            the other, whether they are hollowed or flat, and thus you will polish both at once. If
            you want to polish them on both sides, you only have to switch them, which means putting
            the one that was polishing in the <tool><material>plaster</material></tool> and [using]
            the one which was in the <tool><material>plaster</material></tool> to polish. Once they
            have been polished with you can soften them with <material>tripoli of
                    <place>Venice</place></material> that should not be sandy, and then with
                <material>paste</material>. You use <material>water</material> with
                    <material><foreign language="french">arene</foreign></material> to polish, but
            polishing with <material>tripoli</material> and <material>paste</material> is done dry.
            Once the mirror has been polished, you can set it.</purpose>
    </block>
</entry>
<entry identifier="p005r_a2">
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>

    <heading>Concave mirrors</heading>

    <block>
        <activity type="practical optics"/>
        <purpose type="observation"/>A concave mirror shaped in the aforesaid form produces an
        endless number of illusions which seem like magic. If one wants to see oneself from behind,
        you have to place the concave mirror on the ground on its foot, at a slant, and then look at
        it one step further. But if you look at it from a closer position, it shows you the right
        way up but with the face quite large and the hairs of your beard as thick as </block>

    <folio number="005v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f16.image"/>

    <block>
        <activity type="practical optics"/>
        <purpose type="observation"/>a string and will reflect a nipple as large as a plate, and
        women can see the secret places they do not want to show to surgeons. It projects the
        reflection outwards, and if you touch with your finger the eye of the reflection, another
        finger will come against yours.
        <!--is there a block break here? PDF suggests as much; folio not really-->You will be able
        to provide light at night for someone quite far away, if you set the concave mirror behind a
        candle placed on a window sill. You will be able to read and write quite far from the candle
        if you set it behind the candle and turn the concave face towards you. If you put the mirror
        at the far end of a table with a candle on it, it will reflect two lights on the table for
        you.
        <!--is there anything worth encoding in the following observation? materials? tools?-->To
        see what is happening in a street, shut the window, or the more you can shut the better,
        make a hole in the bottom pane, the size of your little finger, perfectly round all the way
        through. Then apply a sheet of paper onto the window and let the middle of the sheet be over
        the hole. Pierce the sheet in the same place as the hole and of the same size. Then turn the
        concave face of the mirror towards the hole, and anyone passing by in the street will be
        reflected on the sheet of paper. Do the same with the pierced door of a closed room. You can
        make wavy mirrors and triangular ones, such as are described by <name type="personal"
            >Ptolemy</name> and <name type="personal">Archimedes</name>. The concave sort can also
        set fire to <material>straw</material> or light a candle from afar, using the
            <tool>sun</tool>. By reverberating fire too, it can provide warmth. </block>
</entry>
<entry identifier="p005v_a1">
    <folio number="005v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f16.image"/>

    <heading>For bronzing in yellow and white</heading>

    <block>
        <activity type="embellishing"/>
        <purpose type="making">Take <material_format>mirror
                <material>tin</material></material_format> and melt it. On <unit>half a pound</unit>
            of this, put <unit>half an ounce</unit> of <material>quicksilver</material>, and remove
            it immediately from the <tool>fire</tool> and grind it until it is <unit>like
                ashes</unit>. Wash it thoroughly in <material_format>clean
                    <material>water</material></material_format>, then grind it on a
                        <tool><material_format><material>marble</material>
                slab</material_format></tool> and soak it with <material>water</material> of
                    <material><foreign language="french">colle de
            retailles</foreign></material>.</purpose>
        <purpose type="application">Then apply that on your <material>wood</material>en candlesticks
            and any other works you like, and burnish with a <tool>tooth</tool>. You can grind
                <material>pin filings</material> and apply them with the said <material><foreign
                    language="french">colle de retailles</foreign></material>.</purpose>
    </block>
</entry>
<entry identifier="p006r_1">
    <folio number="006r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f17.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDWm03YUhIbEltRHM"
            title="Rouge Clair, fol. 40v (Chang, Shi)"/>
    </annotations>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE"
            title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
    </annotations>

    <heading>To lay down and set <material_format>burnished
            <material>gold</material></material_format> and give it a red or green or blue
        hue</heading>

    <block>
        <activity type="embellishing"/>
        <activity type="gilding"/>
        <purpose type="observation"><material>Ceruse</material> and
                    <material_format><material>lead</material> white</material_format> is not
            appropriate for polished white nor for burnishing because it is fat, but it is quite
            good for <material_format>matte <material>gold</material></material_format>, which is
            made with <material>oil</material> by mixing it with <material>yellow ochre</material>
            and <material>mine</material> and tempering the whole with <material>oil</material>, and
            this <material_format>matte <material>gold</material></material_format> so applied lasts
            in the rain, like gilded leadwork and similar things.</purpose>
        <purpose type="application">Therefore, for <material_format>burnished
                    <material>gold</material></material_format> take <material_format>good
                    <material>chalk</material>, quite white, well ground</material_format> and
            soaked with <material>distemper glue</material> and do <unit>four</unit> coats of it,
            one after the other, on the <material>wood</material>. And when the last one is dry, rub
            it with <tool><plant>prêle</plant></tool>, which is a kind of grass otherwise named
                    <tool><plant>horsetail</plant></tool>, to render it well polished. Afterwards,
            take <material_format>fine <material><place>Armenian</place>
                bole</material></material_format> and <material>sanguine</material>, <unit>as much
                of one as of the other</unit>, a bit of <material><animal>lamb</animal>
                tallow</material>
            <unit>the size of a bean or a pea</unit> depending on the quantity of
                <material>bole</material>, and <unit>a little</unit>
            <material><plant>willow</plant> charcoal</material>, or <unit>as much as</unit> the
                <material>tallow</material>, and <unit>half a walnut shell</unit> filled with
                <material_format>half-burned <material>saffron</material></material_format>; some
            put in <unit>a little</unit>
            <material>candi sugar</material>. Grind everything together with
                <material>water</material> and apply it without <material>gum</material> or
                <material>glue</material>, and let it dry. And rub the place that you would like to
            gild with a piece of <tool>white cloth</tool> to better unify it, and when the rubbed
            place is a little shiny it is a sign that the <material>gold</material> will behave
            well. After rubbing, wash the place that you want to gild with <tool>a clean
                brush</tool> soaked with <material_format>clear
                <material>water</material></material_format> and apply the <material>gold</material>
            at once, which you will burnish when dry. And if you want to set <material><foreign
                    language="french">rouge clair</foreign></material> and glaze with it, grind
                    <material><place>Venice</place> lake</material> on the
                    <tool><material>marble</material></tool> with <material>walnut oil</material> or
                <material>linseed oil</material>. After grinding, mix in
                    <material_format><material>turpentine</material> varnish</material_format> or
                    <material_format><material>spike lavender</material> varnish</material_format>
            and apply on <material>gold</material> with the <tool>brush</tool>.
                <material>Brazilwood</material> and <material><foreign language="french">laque
                    ronde</foreign></material> fade. For green, temper
                <material>verdigris</material> with <material>walnut oil</material> or
                <material>linseed oil</material> and grind it, then mix in some
                    <material_format><material>turpentine</material> varnish</material_format>; not
                    <material_format><material>aspic</material> varnish</material_format>, which is
            not suitable for <material>verdigris</material>. If you want to glaze with
                <material>azure</material> it must be set on <material_format>burnished
                    <material>silver</material></material_format>. Take <material>azure
                enamel</material>, and without grinding temper it with
                    <material_format><material>turpentine</material> varnish</material_format> and
            apply it.</purpose>
    </block>
</entry>
<entry identifier="p006v_a1">
  <folio number="006v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f18.image"/>
  <annotations>
    <annotation
      url="https://docs.google.com/document/d/1hEo2AgxgnVOB8ArPqFRgTwDb_2t7wAood6JVk7J5nzM/edit?usp=sharing"
      title="&quot;For Cages&quot; and Glassmaking in Ms. Fr. 640: fol.6v"/>
  </annotations>


  <heading> For cages </heading>

  <block>
    <activity type="embellishing"/>
    <activity type="glasswork"/>
    <purpose type="application">You can embellish them with thin
          <material_format><material>enamel</material> canes</material_format> of various colors by
      covering the <material>yellow latten</material> or <material_format><material>iron</material>
        wire</material_format> with said
      canes.<!--should I mark up "said canes" as a "material"? That opens the door to marking up pronouns too. My instinct is no, unless a prospective user was actually interested in pronouns and substitutions--></purpose>
    <purpose type="advice">These you will break neatly into the length that you want if you make a
      small notch with a <tool>cutting file</tool> at the point where you want to break them, and
      they will not break anywhere else. You can bend them with a <tool><material>wooden</material>
        model</tool> over a <tool>brazier</tool> or by the <tool>heat</tool> of a
      <tool>lamp</tool>.</purpose>
    <purpose type="observation">A <material_format>cane</material_format> can be stretched out as
      long as you want in a small <tool>furnace</tool> made like a reverberatory
      oven<!--is this also worth marking up as a tool?--> but with openings on both sides. And once
      the large <material_format>cane</material_format> is red, they seize the hot end of it with
      small <tool><tool>pincers</tool> that have long beaks</tool>, with one end of the beak inside
      the end of the <material_format>cane</material_format>, so that it may be stretched without
      becoming blocked. The other end of the <material_format>cane</material_format> is held with
      the <tool>hand</tool>, as it is not hot. Once the <material_format>cane</material_format> is
      stretched enough, the one who is working seated with his <tool>stove</tool>, <unit>the size of
        a carnation pot</unit>, placed in front of him, breaks it off and carries on. This is for
      making <material_format>cane</material_format> for capes, which may be cut, as already
      mentioned, with a <tool>file</tool>. <profession>Glass-button makers</profession> also use the
      said <tool>stove</tool>.</purpose>
  </block>

  <figure identifier="fig_p006v_1" position="middle-middle"
    url="https://drive.google.com/open?id=0B9-oNrvWdlO5eVFRYjVCTmczcmM"/>

  <block position="left-middle">
    <purpose type="description">Under the door is a grill that supports the burning
        <material>charcoal</material>. The <material>ash</material> is emptied by turning the
        <tool>stove</tool> upside down.</purpose>
  </block>
</entry>
<entry identifier="p006v_a2">
  <folio number="006v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f18.image"/>


  <heading> For stamped ornaments used for embellishing and inserting into or covering the edges of
    mirrors, the tops of chests, or the friezes of bed valances </heading>

  <block>
    <purpose type="making"/>
    <activity type="etching"/>
    <activity type="metalwork"/>
    <activity type="stamping"/>
    <sub_recipe type="engraving">Etch with <material><foreign language="latin">aqua
        fortis</foreign></material> on <material>iron</material> or <material>copper</material>
      whatever you have pounced and drawn there, next make it neat with a <tool>burin</tool> or
        <tool>chisel</tool>.</sub_recipe> Then pour <material_format>soft
      <material>tin</material></material_format>, yet unused, onto <material_format>polished
        <material>marble</material></material_format> and flatten it, making it quite thin, with a
        <tool><material>wooden</material> board</tool>. Or else pour it on a <tool>table</tool> as
    is done with <material>lead</material>, or put it through a <tool>roll-press</tool>. Next lay
    your <material_format><material>tin</material> plate</material_format> over the <ref
      type="sub_recipe"
    >engraving</ref><!--I know this isn't the right syntax, but I'm trying to get this word to reference back to the sub_recipe I defined at the beginning of this block, since that's what the word "engraving" here refers to-->,
    and over the <material_format><material>tin</material> plate</material_format> put a piece of
      <material>felt</material> and strike it with a <tool>hammer</tool>. Then gild it in the
    following manner.<!--how can I associate this entry with the following entry?-->
  </block>
</entry>
<entry identifier="p007r_a1">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> To gild with gold color and tinsel </heading>

  <block>
    <activity type="embellishing"/>
    <purpose type="making">Once you have colored or made your <ref identifier="p006v_a2">stamped
        ornament in tin</ref> (as previously described), or in <material>iron</material> or
        <material>copper</material>, you must not put <material>glue</material> as on
        <material>wood</material>, but just have some <ref type="sub_recipe">fatty oil</ref>,
        <sub_recipe>which is made in seven or eight days in the <tool>sun</tool> from
          <material>walnut oil</material> and <material>white lead</material>, stirring often, or
        cooked on <tool>fire</tool> if one should be in hurry</sub_recipe>. Then, with <ref
        type="sub_recipe"> the oil thus made fatty</ref>, grind a little <material>white
        lead</material>, <material>massicot</material> and <material>black graphite</material>, at
      discretion, <unit>as much of one as of the other</unit>.</purpose>
    <purpose type="observation"><material>Minium</material> will color the
      <material>gold</material>.</purpose>
    <purpose type="application">Then apply an even layer of that onto your <ref
        identifier="p006v_a2">stamp</ref>, taking care you do not fill the hollows. And once it is
      almost dry, apply the <material_format><material>gold</material> leaf</material_format> on it
      using <tool><material>cotton</material></tool>. Such <material>gold</material> will withstand
      rain on houses or elsewhere. And if you have made your <material>gilt</material> with
        <material>tinsel</material>, color it with <material_format><material>smoke</material> from
        a partridge or from yellow or red <material>cloth</material></material_format>, and it will
      look as fine as pure <material>gold</material>. You can cover trunks, mirrors, bed valances
      and posts in colored <material>velvet</material> or <material>satin</material> and then apply
      the gilded stamped ornament on them with strong <material>glue</material>.</purpose>
  </block>
</entry>
<entry identifier="p007r_a2">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> To color stamped ornaments for trunks </heading>

  <block>
    <purpose type="making"/>
    <purpose type="application"/>
    <activity type="embellishment"/>
    <activity type="stamping"/> The stamped ornament made from <material_format>sheets of
        <material>copper</material> or <material>latten</material></material_format> are made with
        <material_format><material>wood</material> from a service tree engraved and
      cut</material_format>, should you want to spend less. Next, the stamped piece is colored with
    the aforesaid <material>lacquer</material> colours of lacquer, verdet, blue enamel, and soaked
    in <material>turpentine varnish</material>. But wherever you want to make it azure, apply some
        <material><foreign language="french">fer blanc</foreign></material>, which is more
    appropriate for an azure background. </block>
</entry>
<entry identifier="p007r_a3">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> Doublets </heading>

  <block>
    <purpose type="observation"/> Good <material>dragon's blood</material> soaked in
      <material>spirits</material> produces its own <material>mastic</material> or
      <material>glue</material>. So do <material><foreign language="french">vert de
      vessie</foreign></material> and <material>saffron</material>. </block>
</entry>
<entry identifier="p007r_a4">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> Fish glue or usblac and mouth glue </heading>

  <block>
    <purpose type="making"/> It is made from <material><animal>codfish</animal> skin</material> that
    has been boiled rather than salted. <profession>Joiners</profession> use it on their
    masterpieces and <profession>guitar makers</profession> use it for their more delicate works. It
    needs to be strongly whipped, then soaked gently in <material_format>barely boiling
        <material>water</material></material_format>. </block>

  <block>
    <purpose type="description">Mouth glue is made of
          <material_format><material>parchment</material> scraps</material_format> and used to glue
      paper or similar things without fire,</purpose>
    <purpose type="application">by wetting it with one's <tool>mouth</tool>.</purpose>
  </block>

  <block position="left-bottom">
    <purpose type="making"> It is whipped and left to soak in <material>white wine</material> for
      one night, then melted over a low <tool>heat</tool>. Others soak it in
        <material>spirits</material>.</purpose>
  </block>
</entry>
<entry identifier="p007v_1">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>To give the color of all kind of metals and woods and other things</heading>

    <block>
        <activity type="imitation"/>
        <purpose type="making"/>
        <purpose type="application"/> Take <material>touchstone</material> and <material>pumice
            stone</material>
        <unit>as much of one as of the other</unit> and grind them together, mix that with a
                <material><foreign language="french">colle de retailles</foreign></material>
        stronger than that used for painting, and apply a layer of it on whatever you like. Once
        dry, rub this layer on any metal whatsoever, then burnish it. </block>
</entry>
<entry identifier="p007v_2">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>Against windy colic</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"/>Take <unit>a dozen</unit>
        <material_format>dried common <material>walnuts</material></material_format> and throw them
        one after another onto <tool>a good brazier</tool> where they may catch fire, and take them
        out with <tool>tongs</tool>, and let them burn and flame well in the air, and extinguish
        them in <unit>a glass</unit> of <material_format>good
            <material>wine</material></material_format>. Then let the <material>wine</material> cool
        and filter it, then pour <unit>half</unit> of it, since <unit>six</unit> extinguished nuts
        make <unit>one dose</unit>. An excellent cure against suffocation of the matrix. </block>
</entry>
<entry identifier="p007v_3">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>To relieve the pain of g{out}</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"> Take <unit>half a pound</unit> of <material_format>finely powdered
                golden and yellow <material>marcasite</material></material_format>, <unit>half an
                ounce</unit> of <material>storax</material>, <unit>4 lb.</unit> of
                <material>urine</material>, incorporate well together, little by little, in a
                <tool>mortar</tool>, then boil all together quite strongly. But the <tool>pot</tool>
            needs to be well <tool>cover</tool>ed so the smoke does not escape. Then distill the
                <material_format>imbibed <material>urine</material></material_format>, separated by
            inclination, in an <tool>alembic</tool>, well luted and covered with a
                    <tool><material>copper</material> head</tool>.</purpose>
        <purpose type="application">And soak a <tool>cloth</tool> with the <material>said
                water</material><!-->this refers to the medicine, not water in any material sense-->
            and apply it lukewarm on the pain.</purpose>
    </block>
</entry>
<entry identifier="p007v_4">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>Against gonorrhea</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"> Cook <unit>.i. lb.</unit> of <material_format>old smiths'
                    <material>water</material></material_format>, <unit>.i. ℥</unit> of
                        <material_format><material><place>Armenian</place> bole</material> reduced
                in the finest powder</material_format>, and <unit>.iii. ʒ</unit> of
                <material_format>common <material>honey</material></material_format>, until the
                <material>honey</material> stops foaming. Once cooled, strain with great
            pressure</purpose>
        <purpose type="application">and use the results of filtration by injection.</purpose>
    </block>
</entry>
<entry identifier="p008r_1">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading><material>Gold</material> lettering on <material>paper</material></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="making"> Write with <material>fig tree milk</material> then let it dry a
            little, afterwards apply the <material_format><material>gold</material> in
                leaf</material_format> and, once quite dry, rub with <tool>linen</tool> and only the
            lettering will hold.</purpose>
    </block>
</entry>
<entry identifier="p008r_2">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>To explode grenades and give force to fireworks</heading>

    <block>
        <activity type="explosives"/>
        <activity type="military"/>
        <purpose type="making">Put into the <material><!--gunpowder-->powder</material>
            <unit>one sixth as much</unit> of <material>quicksilver</material></purpose>
    </block>
</entry>
<entry identifier="p008r_3">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>Tempering bullets to pierce bullet-proof armor</heading>

    <block>
        <activity type="military"/>
        <purpose type="making">Heat the <material_format><material>lead</material>
                bullet</material_format> as much as you can without melting it, and once it is hot
            dip it into <material_format>the strongest
                <material>vinegar</material></material_format> that you can. And do this four or
            five times. Afterwards, mince some <material>lard</material> very finely and some
                <material>linen</material> also very delicately, mix all this together and use it as
            wadding, making it go into the arquebus or pistol with a little strength and very
            tightly. And before shooting, if possible, the bullet should be hot.</purpose>
    </block>
</entry>
<entry identifier="p008r_4">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>To make a breach in a wall by night</heading>

    <block>
        <activity type="military"/>
        <purpose type="advice">Having made a hole in a wall as you know, put one mortar inside,
            charged with <material>powder</material>, almost flat, and another upright, then fill in
            the hole and fire.</purpose>
    </block>
</entry>
<entry identifier="p008v_1">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>To polish a ruby <foreign language="french"
        >balay</foreign><!-- unclear if this is French or something else--></heading>

    <block>
        <activity type="polishing"/>
        <purpose type="advice">Unlike others, you don't polish it with <material>tripoli</material>,
            but with <material_format><material>marcasite</material> powder</material_format> and
                <material>oil</material>.</purpose>
    </block>
</entry>
<entry identifier="p008v_2">
        <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

        <heading><material_format>Ground <material>gold</material></material_format> and
                        <material_format>ground
                <material>silver</material></material_format></heading>

        <block>
                <purpose type="making">You have to calcine your <material_format>pure
                                        <material>gold</material></material_format> with
                                <material>☿</material> and then let your amalgam dry well and the
                        said <material>mercury</material> fly off. Then crush it on
                                        <tool><material>marble</material></tool> with
                                <material_format>gummed
                        <material>water</material></material_format>. As for
                                <material>silver</material> you have to use it in its raw form and
                        corrode it with <material><foreign language="latin">aqua
                                fortis</foreign></material>, then take it out with a
                                        <tool><material>copper</material> blade</tool> and rinse it
                        well and then grind it with <material_format>gum
                                <material>water</material></material_format>.</purpose>
        </block>
</entry>
<entry identifier="p008v_3">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>Polishing stones</heading>

    <block>
        <activity type="polishing"/>
        <purpose type="observation">There are three <tool>wheel</tool>s for this purpose, one of
                <material>tin</material>, one of <material>lead</material>, and one of
                <material_format>pure <material>copper</material></material_format>. On the
                    <tool><material>copper</material> wheel</tool>, only
                <material>diamonds</material>, <material>rubies</material>,
                <material>sapphires</material> and <material>oriental jacinths</material> are
            usually polished. The <tool><material>tin</material></tool> wheel is for softer stones
            such as <material>emeralds</material>, <material>amethysts</material> and
            others.</purpose>
    </block>
</entry>
<entry identifier="p008v_4">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading><profession>Pewterers</profession>' mixture</heading>

    <block>
        <activity type="metalwork"/>
        <purpose type="observation">Because they often mix in with the <material_format>pure
                    <material>tin</material></material_format>
            <unit>half</unit> the quantity of <material>lead</material>, which renders the
                <material>tin</material> deaf. To correct this, they mix in some
                    <material_format><material>latten</material> filings</material_format> to make
            it resonant.</purpose>
    </block>
</entry>
<entry identifier="p008v_5">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>Perfect amalgam</heading>

    <block>
        <activity type="metalwork"/>
        <purpose type="making">Take the <tool><material_format>finest
                    <material>sandstone</material></material_format></tool> you can find and make a
            cavity in the middle. And put in it <unit>an eighth part</unit> of
                <material>☿</material> and rub it and wear it down while adding some
                <material>water</material> with <material>☾</material> or <material>☼</material>
            until the material becomes paste-like and even harder. Then, if you want, corrode it
            with <material_format>good <material><foreign language="latin">aqua
                    fortis</foreign></material></material_format>, if it is <material>☾</material>
            or <material>♀</material>. Then melt it again, having taken it out as you know. The
                <material>☾</material> will have some color, and after being melted it will leave
            some flecks of <material>☼</material>, and the <material>♀</material> will be very fine
            and will have almost no covering.</purpose>
    </block>
</entry>
<entry identifier="p009r_1">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Plowman</profession>
    </heading>

    <block>
        <activity type="agriculture"/>
        <purpose type="observation">Since <material><plant>millet</plant></material> is naturally
            very dry, <profession>harvesters</profession> thresh it most often in the cool of
                <time>night</time> and in moonlight. Which could not be done with another, wetter,
            grain, because you must let the <tool>sunbeams</tool> pass over it, and one rarely
            threshes it before <time>midday</time>. Immediately after the
                    <material><plant>millet</plant></material> is harvested, the earth needs to be
            plowed because its roots eat and make lean the soil as much as if the
                    <material><plant>millet</plant></material> was still standing. The ground where
                    <material><plant>millet</plant></material> will have been sown becomes quite
            diminished in fertility, which you can tell next time it is sown. But more than any
            other the grain called <material><plant><foreign language="french"
                    >pomole</foreign></plant></material> in <place>Gasconyor</place> or
                        <material><plant><foreign language="french"
                >baillard</foreign></plant></material> in northern <place>France</place>, makes the
            earth shake, according to the common saying, seven years later. <plant>Broad
                beans</plant> improve and enrich the soil, provided that one lets the roots and
            stems rot in it.</purpose>
    </block>
</entry>
<entry identifier="p009r_2">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Painters</profession>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation">After laying down their colors, some smooth it with <tool>the
                back of a feather</tool> but the <tool>large brush</tool> is best.</purpose>
    </block>
</entry>
<entry identifier="p009r_3">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Merchants</profession>
    </heading>

    <block>
        <activity type="accounting"/>
        <purpose type="observation"/> They commonly have four books. The <foreign language="french"
            >tiro</foreign>, which is a formulary for apprentices, by which they can know how much
        every item of merchandise costs and for how much it should be sold. The second is the waste
        book, where they put down in rough what they sell <time>daily</time>. The third is the sales
        book, where they put down the clean copy and detailed account of what is contained in the
        waste book. The fourth is the ledger, which mentions the sale, the balanced account, the
        bill and the term of payment, and this book is accepted as evidence in court. </block>
</entry>
<entry identifier="p009v_1">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>

    <heading>
        <profession>Painters</profession>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/> They melt <material>orpiment</material> entirely in a
            <tool>glass bottle</tool> on <tool>very hot ashes</tool>, but it would be more
        appropriate to sublimate <material>orpiment</material> in a <tool>long-neck matrass</tool>
        as for making garnets<material/>. The <material>orpiment</material> thus turns red like red
            <material>enamel</material> and it has to be ground first in
            <material>distemper</material>, because once entirely melted it is very brittle and
        difficult to grind. Then, once dry, you can thin it with <material>oil</material> and it
        will make a deep and saturated yellow. But to prevent <material>orpiment</material> from
        fading in contact with other colours and make it compatible with these and to make it dry
        quickly, a most rare secret is to calcine <material_format>common
            <material>salt</material></material_format> and to grind it together with the
            <material>orpiment</material>. <material>Green verditer</material> is not used with
            <material>oil</material>. </block>
</entry>
<entry identifier="p009v_2">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>

    <heading>
        <profession>Merchant</profession>
    </heading>

    <block>
        <activity type="accounting"/>
        <purpose type="observation"/> The order that merchants are accustomed to keep in their
        books, which are the waste book, the sales book, and the ledger, also called the account
        book. </block>
</entry>
<entry identifier="p009v_3">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>
    <heading>Waste book</heading>
    <block>
        <activity type="accounting"/>First, <name type="personal">François du Cros</name> owes from
        2 September 1581, for 1 <material><foreign language="french">canne de
            batiste</foreign></material> at <currency>8 livres</currency> per <material><foreign
                language="french">canne</foreign></material>, total -- <currency>8 livres
            tournois</currency>. </block>
    <block position="left-middle">
        <activity type="accounting"/>Moved to the sales book at r. 25/ <name type="personal"
            >François du Cros</name> owes from 2 September 1581, for 1 <material><foreign
                language="french">canne de batiste</foreign></material> at <currency>8
            livres</currency> per <material><foreign language="french">canne</foreign></material>,
        as shown by the waste book at r. 25 </block>
    <block position="left-middle">
        <activity type="accounting"/>Moved to the account book at r. 55/ <name type="personal"
            >François du Cros</name> owes from 2 September 1581, for the merchandise taken by
        himself, as specified in detail in the sales book, No. 7, at r. 55, the sum of <currency>8
            livres</currency>, of which the aforesaid <name type="personal">du Cros</name> has made
        a bill on the aforesaid day, to be payed on Saint Andrew's day next, total -- 8 [...] r.
    </block>
</entry>
<entry identifier="p010r_1">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDd2JGLVFjeHY4Z0U"
            title="Imitating Raw Nature, fol. 10r (Lores-Chavez and Kang)"/>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjE3TFN0b3YtVVk"
            title="Jasper Imitation on Horn"/>
    </annotations>

    <heading>Imitation <material>jasper</material></heading>

    <block>
        <activity type="imitating"/>
        <purpose type="advice"> Take <material>horn</material> as is used to make lanterns, quite
            thin, and underneath imitate your <material>jasper</material>,
                <material>cornaline</material>, and other stones. That will look more appropriate
            than doing it on <material>glass</material>, which is too shiny. And the
                <material>horn</material> gives a lustre and a fatty polish similar to
                <material>jasper</material>.</purpose>
    </block>


    <block>
        <activity type="imitating"/>
        <purpose type="observation"/>
        <purpose type="advice"/> You know how you can imitate <plant>roses</plant> with scrapings of
        the said <material>horn</material>. The colors for this <material>jasper</material> need to
        have as a base <material_format>clear <material>turpentine</material></material_format> or
                <material_format><material>spike lavender</material> varnish</material_format>. And
        matte, opaque colors are not appropriate, no matter how fine they are. You have to
            <material>oil</material> the unpainted underside with <material>spike lavender
            oil</material>. </block>

    <block position="middle-top">
        <purpose type="observation"/>
        <material_format>Thin <material>glass</material></material_format> looks very fine for this
        effect </block>

    <block position="left-top">
        <activity type="embellishing"/>
        <purpose type="application">You can inlay beds with it, and on the joints you can throw
                <material>talc</material> or <material_format><material>metal</material>
                filings</material_format> on the fresh <material>cement</material> of the said
            joints. You have to bond them with <material>gum amoniacum</material> soaked in
                <material>vinegar</material>.</purpose>
        <purpose type="making">To better imitate <material_format>marbled
                    <material>jasper</material></material_format>, apply <material_format>coarse
                    <material>wool</material> hair</material_format> dyed various colors and
            intermingled. After you have laid down all the colors, scrape oblique lines into them
            then lay down <material_format><material>gold</material> leaves</material_format> and
                    <material_format><material>silver</material> leaves</material_format>. If you
            lay down colors made of <material>turpentine</material> on the
            <material>horn</material>, give it a backing of
                    <material_format><material>silver</material> leaf</material_format>or of
                    <material_format><material>tin</material> leaf</material_format>. You can also
            file <material>horn</material> and mix it with strong <material>glue</material> and lay
            it down onto the joints of the <material>horn</material> piece and finish with a
                <tool>joiner's plane</tool>.</purpose>
    </block>
</entry>
<entry identifier="p010r_2">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDSU1RN3ExeW5WclU"
            title="Color for Green"/>
    </annotations>

    <heading>
        <material>Scudegrun</material>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/> It is made in <place>Lyon</place> from the
            <material_format>juice of <material>weld</material></material_format> mixed with
            <material>chalk</material> or better yet with <material>ceruse</material>, which is
        appropriate for <material>tempera</material> and <material>oil</material>. </block>
</entry>
<entry identifier="p010r_3">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <block>
        <activity type="imitating"/>
        <purpose type="observation"/> These are imitated either with the <material_format>scrapings
            of <material>horn</material></material_format> used for lanterns, or with
            <material_format>very light, fine and dyed <material>parchment</material>
            scrapings</material_format>, used as you know. </block>
</entry>
<entry identifier="p010r_4">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <heading> Purple color </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/>
        <profession>Painters</profession> make it beautifully by first applying an undercoat of
            <material_format>ordinary <material>azur</material></material_format>, or better yet
        azure <material>enamel</material>, and then they glaze it with <material>lacquer</material>,
        which will be more appropriate for this if you mix in <material>alum</material>, which will
        give it a violet tint depending on the quantity that you mix in. </block>
</entry>
<entry identifier="p010r_5">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfm81MDNTQVNkanRWVXlndmtjMHAwRVFuRDAxWWNiLU5hN0EwdFVfSmg3bEU"
            title="Powder for Hourglasses"/>
    </annotations>

    <heading>Powder for hourglasses</heading>

    <block>
        <purpose type="making"/> It must be made very fine and not subject to rust and with enough
        weight to flow. Taking i <unit>lb.</unit> of <material>lead</material>, melt it and skim and
        purify it from its filth, then pour into it four <unit>℥</unit> of <material_format>finely
            ground common <material>salt</material></material_format>, and take care that there are
        no stones or earth. And immediately after pouring it, stir continuously very well with an
            <tool>iron tool</tool> until the <material>lead</material> and <material>salt</material>
        are quite incorporated, and take it immediately off the <tool>fire</tool>, stirring
        continuously. And if it seems too coarse, grind it on a
                    <tool><material_format><material>marble</material> slab</material_format></tool>
        and pass it through a <tool>fine sieve</tool>, then wash it as many as times as necessary
        until the <material>water</material> runs clear, throwing out the fine powder that will
        float on it, renewing the <material>water</material> as many times as necessary until it is
        completely cleared. </block>
</entry>
<entry identifier="p010v_1">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDVXNZMHMyMnpQX2M"
            title="Oil on Taffeta"/>
    </annotations>

    <heading>For painting in <material>oil</material> on <material>taffeta</material> without the
            <material>oil</material> running</heading>

    <block>
        <activity type="painting"/>
        <purpose type="making">One needs to make a layer of <material><foreign language="french"
                    >batture</foreign></material>, which is made of <material><foreign
                    language="french">colle forte</foreign></material> soaked for <time>24
                hours</time> in <material>water</material> then gently boiled so it is not too
            strong. Then stir in a little <material>honey</material> to soften it, and bring it all
            to a boil.</purpose>
        <purpose type="observation">And on top of this layer, which will soon be dry, you will be
            able to paint in <material>oil</material>, which will soften the layer even more, and
            which will also serve to make an underlayer for <material>gold</material>.
                <material>Alum water</material> also keeps <material>oil</material> from
            running.</purpose>
    </block>
</entry>
<entry identifier="p010v_2">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDaHRZY1RlRVlvUHc"
            title="Gilding on Paper and Parchment, fol. 10v, 29v (Goldenberg)"/>
    </annotations>

    <heading>Underlayer for <material_format><material>gold</material> leaf</material_format> on
            <material>parchment</material> or <material>paper</material></heading>

    <block>
        <activity type="painting"/>
        <activity type="gilding"/>
        <purpose type="advice"/>
        <purpose type="application"/>Make <material_format>very clear starch
                <material>glue</material></material_format>, showing little body. And apply six or
        five layers, and when the last is almost dry, apply your <material>gold</material> to it.
    </block>
</entry>
<entry identifier="p010v_3">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <heading>For cleaning <material_format><material>gold</material> leaf</material_format> applied
        to <material>iron</material></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="advice"/> Rub your weapons or other gilt objects with <material_format>dry
                <material>horse dung</material></material_format>. </block>
</entry>
<entry identifier="p010v_4">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <heading>For whitening <material>ceruse</material></heading>

    <block>
        <purpose type="observation"/>
        <purpose type="making"/>Hard-boil some <material>eggs</material>, cut them in half and take
        the <material>yolks</material> out, and between the two halves of the
            <material>white</material> put a bit of <material>ceruse</material>, and tie the two
        halves together with <tool><material>thread</material></tool>. Then boil in
            <material_format>clear <material>water</material></material_format>, and it will become
        black, and thus the <material>ceruse</material> will be purified. Some reheat it over
            <tool>fire</tool> and it becomes very white. </block>
</entry>
<entry identifier="p011r_1">
    <folio number="011r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f26.item"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjVoVURubFJMRlk"
            title="Azure Enamels, fol. 11r, 59r, 61v, 93v (Chang, Clemens)"/>
    </annotations>

    <heading>Painting enamel azure in oil</heading>

    <block>
        <activity type="painting"/>
        <purpose type="making"/> This is a secret that is hardly known to common painters. Some take
        the most delicate they can &amp; crush it with <material>ceruse</material>, which binds it,
        and next prick with an <tool>awl</tool> in several places the area they want to paint with
                <material><foreign language="french">azur d’esmail</foreign></material>, such that
        the <material>oil</material> enters &amp; leaks in, &amp; does not cause the
            <material>azure</material>, which in itself is heavy, to run. Others lay the panel flat
        &amp; apply the <material>azure</material> on it, which is also done <foreign
            language="french">à destrempe</foreign>. The main thing is to crush it well on
                <tool><material>marble</material></tool>, and before that, to have washed it
        thoroughly. Some grind it with thoroughly with an <material>egg yolk</material> &amp; then
        wash it in five or six lots of <material>water</material> and lay it on not with a
                <tool><foreign language="french">painceau</foreign></tool>, which would be too soft,
        but with a <tool><foreign language="french">broisse</foreign></tool> highly softened &amp;
        bent, &amp; laying it on thickly as if one were applying it with a <tool>trowel</tool>;
        settling down it evens out and flattens. I have experienced that crushing <material><foreign
                language="french">azur d’esmail</foreign></material> with <material>egg
            yolk</material> &amp; then washing it in several lots of <material>water</material> is
        good, although it loses a little of its vividness in the crushing of it. I have also washed
        it in several lots of <material>water</material> &amp;, when it had settled a little, I
        removed the <material>water</material>, still q blue, with a <tool>sponge</tool> and
        squeezed it into another vessel thus where it settled, &amp; from the residue I had the
            <material>ash</material>, <material><plant>flower</plant></material> and subtlest part
        of the <material>azure</material> without crushing it, which is the best, for in the
        crushing of it, it loses some of its color. Those who make it in <place>Germany</place>
        compose it like <material>enamel</material>, in large pieces which they <tool>pestle</tool>,
        &amp; pass through several <tool>sieves</tool> &amp; wash. </block>
    <block><purpose type="making"/> To make <material>azures</material> beautiful, they wash or soak
        them in a <material_format>rock <material>water</material></material_format>, as they call
        it; it is a <material>water</material> distilled from mines where <material>azure</material>
        or <material><foreign language="french">vert d'azur</foreign></material> is found, which
        distills naturally through the mountain's veins or is distilled with an <tool>alembic</tool>
        par from <material_format>>mineral <material>stones</material></material_format> of
            <material>azure</material> or <material>copper</material>. </block>
    <block><purpose type="making"/>
        <material_format><material>Azure</material> ashes</material_format> are only good for
        landscapes because they die in <material>oil</material>. Only true
            <material>azure</material> lasts. <material><foreign language="french">Azur
                d’esmail</foreign></material> cannot be worked if it is too coarse. Try it,
        therefore, on the fingernail or the <tool><material>oil</material> palette</tool>. If it
        happens to be sandy, do not crush it except with the <material>egg yolk</material> or,
        better yet, wash it in <material_format>clear <material>water</material></material_format>
        &amp; with a sponge remove the <material_format>colored
            <material>water</material></material_format> after it starts to go to the bottom, and in
        this manner you will extract the quite delicate <material><plant>flower</plant></material>,
        which will be easy to work with. </block>
</entry>
<entry identifier="p011v_1">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Applying the color of Damascene
            <material_format><material>steel</material></material_format> on knives</heading>

    <block>
        <activity type="embellishing"/>
        <purpose type="application"/> Rub the <material>steel</material> with
            <material_format>common <material><foreign language="latin">aquis
                fortis</foreign></material></material_format> mixed with <material>earth</material>.
        After, rub everything with <material>ashes</material> or <material>sand</material>. Do with
        the <material>gold</material> and <material>silver</material> as you would do on a
            <material>touchstone</material>.</block>
</entry>
<entry identifier="p011v_2">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Getting rid of <color>red</color> eyes or <color>black</color> eyes</heading>

    <block>
        <activity type="cosmetic"/>
        <purpose type="application"/> Make two small <unit>licks</unit> of <material_format>raw
                    <material><animal>mutton</animal> flesh</material></material_format>, and with a
            <tool>blindfold</tool>, apply it at night on your eyes.</block>
</entry>
<entry identifier="p011v_3">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Applying <material_format>unpolished
        <material>gold</material></material_format></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="application"/> There is nothing better than the
                <material_format><color>black</color>
            <material>varnish</material> of sword-makers</material_format> to use as a base layer
        because it dries quickly and makes the <material>gold</material> appear very
        beautiful.</block>
</entry>
<entry identifier="p011v_4">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Making <tool><material>diamond</material> points</tool> for engraving</heading>

    <block>
        <activity type="engraving"/>
        <purpose type="making"/> These are for sketching what you want to draw on
            <material>stones</material> and for engraving. When these points are too dull and cannot
        engrave, it is necessary to rub <material>diamond</material> against
            <material>diamond</material>; one can rub them with <material_format><material>pumice
                stone</material> powder</material_format>. It is necessary to strip what you want to
        engrave on a <tool><material>lead</material> wheel</tool> or with a
            <material>stone</material> or with <material>glass</material>, because the polishing is
        like <material>varnish</material> or <material>glass</material> and stops the
            <material>diamond</material> or <material>sapphire</material> from engraving well. This
        is why it does not engrave easily on <material>horn</material>, which is polished and fat.
        But when the polish has been taken off, it is easy to engrave.</block>
</entry>
<entry identifier="p011v_5">
        <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

        <heading>Polishing a <tool><material>copper</material> wheel</tool></heading>

        <block>
                <activity type="polishing"/>
                <purpose type="advice"/> Instead of polishing your <material>stone</material>, it is
                necessary to remove the <material>grease</material> by rubbing
                                <tool><material_format>the flesh side of a piece of
                                        <material>leather</material></material_format></tool> on the
                wheel, all while spinning the wheel if you have not worked on it in a long
                time.</block>
</entry>
<entry identifier="p012r_1">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDflhIMDlEVnBRZU4xcnNFVTVQcURmNzdqUHJGTDNFdzk1MEdld2Jsenk0bDA"
            title="Sulfur and Additives"/>
    </annotations>

    <heading>For molding from <material>sulfur</material></heading>

    <block>
        <activity type="casting"/>
        <purpose type="observation"/>
        <material>Sulfur</material> is made beautiful by mixing in <material>soot
                <color>black</color></material> or <material_format>powdered
                <material>sanguine</material></material_format>, which makes it harder and stronger.
        After letting it melt entirely until it becomes liquid and similar to
            <material>oil</material>, then mixing it with <material>verdigris</material>, you can
        use it for casting a <animal>lizard</animal> or something else in
            <material>plaster</material>, very cleanly.</block>

    <block position="left-top">
        <activity type="casting"/>
        <purpose type="advice"/>You must not cast it until it has cooled down and lost all its
        bubbles and eyes, and its surface has fallen and become flat as <material>water</material>.
            <material>Soot black</material> gives it a fine luster and makes it neater. Use
                <material_format><color>yellow</color>
            <material>sulfur</material> of the best kind</material_format>, as the
                <material_format><color>grey</color>ish natural
            <material>sulfur</material></material_format> is no good. Don't cast it in the wind and
        cold for it would fill with bubbles. </block>
</entry>
<entry identifier="p012r_2">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Cimolee</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation"/>
        <material>Cimolee</material> or <material><profession>fullers</profession>’ clay</material>
            (<profession>fullers</profession> meaning those who finish <material>cloth</material>)
        is an excellent material for molding hollow or in relief. If you want to reheat it, it
        should first be warm and you should reheat gently from a distance, and little by little,
        otherwise it will crack. To reheat the figure put it in a <tool>pot</tool> in an
            <tool>oven</tool>, or in a <tool>closed oven</tool>. It comes out very smooth, clean and
        fine. With <material>cimolee</material> you can make a <tool>hollow mold</tool> of an
            <animal>animal</animal> and cast it in <material>lead</material>.</block>

    <block position="left-middle">
        <activity type="mold making"/>
        <purpose type="advice"/>The work needs to have dried for <time>4 or 5 days</time> before you
        bake it. When you are molding and making a hollow in <material>cimolee</material>, don't
        press all at once, but gently, or else it would split. </block>
</entry>
<entry identifier="p012r_2">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Paper</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation"> The <color>whitest</color> and thinnest is the best. And when
            the <tool>hollow mold</tool> is quite clean, as when it is made of
                <material>sulfur</material> or <material_format>baked
                <material>cimolee</material></material_format>, the <material>paper</material> comes
            out very clean. You can apply a layer or two of
                <material><color>white</color></material>, with a border of
                <material>gold</material>, to imitate <material>alabaster</material>. And after
            applying the <material><color>white</color></material> you may burnish it with a
                <tool>tooth</tool>.</purpose>
        <purpose type="advice"> Yet in order for it to take burnish you should soak the
                <material>lead <color>white</color></material> with <material>egg white</material>
            and <material_format>peelings from the <material><plant>fig
                tree</plant></material></material_format>. Or better still, varnish your work with
                    <material><color>white</color> varnish</material>. Also while you are molding
            with <material>paper</material>, as it starts drying, burnish the back of it with the
                <tool>tooth</tool>.</purpose>
    </block>

</entry>
<entry identifier="p012r_4">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Plaster</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation">
            <material_format>Mountain <material>plaster</material></material_format> is
                <color>grey</color>er, and that from the region of <place>Albi</place> is
                <color>white</color>r. It has to be heated over a <tool>closed fire</tool>, such as
            a <tool>reverberatory furnace</tool> or <tool><foreign language="french">fours de
                    barbiers</foreign></tool>. The more freshly heated, the better it is to work
            with.</purpose>
        <purpose type="advice">It should be finely crushed on
                <tool><material>marble</material></tool>. After preparing your <tool>hollow
                mold</tool> of <material>sulfur</material> or another [material] and
                <material>oil</material>ing it and surrounding it with a <tool>circle</tool>, soak
            your <material>plaster</material> in <material>water</material>, not too thick, and rub
            it well with your finger, and if it makes bubbles, throw on more <material_format>powder
                of the said <material>plaster</material></material_format> and crush it with your
            finger until +</purpose>
    </block>

    <block position="left-bottom">
        <activity type="casting"/>
        <purpose type="advice"/>+ it makes no more bubbles. Then once more throw and sprinkle
                <material_format><material>plaster</material> powder</material_format> on top and
        leave to set well, then scrape the <material>powder</material> off.</block>
</entry>
<entry identifier="p012v_1">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>

    <heading>Moulding <material>stucco</material> promptly</heading>

    <block><activity type="molding"/>
        <activity type="casting"/>
        <purpose type="making"/> Crush and pulverize finely <material>brick</material> or
            <material>Armenian bole</material> or <material>sanguine</material> and incorporate it
        with <material_format>melted <material>wax</material></material_format>, and thus melted,
        cast like the others on a <tool>relief medal</tool>, and so you will have a <tool>hollow
            mold</tool> where you will be able to cast <material_format>ground
                <material>paper</material></material_format> or
        <material>cimolee</material>.</block>

    <block position="left-top"><purpose type="observation"/><material_format>Finely sieved
                <material>brick</material></material_format> is better, since
            <material>bole</material> is too fat</block>
</entry>
<entry identifier="p012v_2">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>

    <heading>Cleaning <color>yellow</color>
        <material>pearls</material></heading>

    <block><purpose type="application"/>
        <activity type="polishing"/>Gently boil them in a <tool><profession>goldsmith</profession>'s
                <foreign language="french">bouteure</foreign></tool> then, with
            <material>tripoli</material> and a <tool>small piece of
            <material>leather</material></tool>, sprinkled on the flesh side with the powder of the
        said <material>tripoli</material>, rub and polish the <material>pearl</material>.</block>

</entry>
<entry identifier="p012v_3">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="polishing"/>
    <activity type="engraving"/>
    <heading>To <color>white</color>n <material>enilanroc</material></heading>

    <block>Some believe the ceruse-color crust that is on top to be natural. Others say that it is a
        lost secret of ancient <profession>lapidaries</profession>. Others say that it is
            <material>enamel</material> that has been reheated. And, from this crust, one can form
        multiple ciphers, letters, circles and other bizarre motifs. As to the means, I proceeded
        thus: I once wanted to add a layer of <material>arsenic</material> ground on
            <material>marble</material>. However, I did the experiment without it, and I put the
        above mentioned thing, <material>enilanroc</material>, in a <tool>small
                <material>iron</material> casket</tool> on the <tool>fire</tool> of my
                <tool><profession>goldsmith</profession>'s forge</tool> with three or four
            <material_format>small half-burnt <material>coal</material>s</material_format> and blew
        on it only with my <tool>mouth</tool>. However, the thing caught fire and became all <color>white</color>,
        not only on its surface but also inside. And then I let it cool on its own near the <tool>fire</tool>,
        since otherwise, exposing it suddenly to cold air, it would have cracked. While it was all
        <color>white</color>, I passed it through my <tool><material>lead</material> wheel</tool> and I found it to be as hard as it was before. And
        after scraping off a little of the <color>white</color>, I found it to be of <color>a clear fleshy tone</color>. Finally,
        I polished it and observed that it took quite a beautiful polish luster and that it could
        compare with a quite beautiful <material>agate</material> for the purpose of engraving it with some beautiful
        face and applying it to a table of</block>

    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>

    <block> <material>agate</material> of various colors. But because this overall <color>white</color>ness did not correspond with the
        <color>white</color> crust on the surface that I was seeking, leaving the rest of the thing its <color>natural
            color</color>, I made a hole in a <tool><material>brick</material></tool>, precisely the same size as the object, and put it inside.
        Then I heated two <tool><profession>glassmaker</profession>'s soldering iron</tool>s until they became <color>red</color> hot and, when they were
        <color>red</color> hot, I applied them one after the other onto the surface of the object until I got the
        <color>white</color> crust I was looking for, on which I made the drawing that I wanted, revealing the <color>red</color>
        background, with a <tool>diamond point</tool>, and I polished it with <tool>hog bristles</tool> and <tool><material>tripoli</material></tool>. I don't
            know if it would be better to reheat it under <tool><material_format>hot <material>ashes</material></material_format></tool>, and if it would be good to encase
            it in <tool><material>alabaster</material></tool>, which is quite cold, as I did in the <tool><material>brick</material></tool>. 
    </block>
</entry>
<entry identifier="p013r_1">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading><color>Flesh color</color> with <material>arsenic</material></heading>

    <block><material_format>Sublimated <material>arsenic</material></material_format>, that is to
        say, the <color>white</color> kind sold as <material_format>stone</material_format>, when
            <material_format>powdered</material_format> on <tool><material>marble</material></tool>,
        mixed with <material>vermilion</material> or <material>lake</material> or
            <material>mine</material>, produces a beautiful <color>flesh color</color> that always
        shines. <material_format><color>Yellow</color>
            <material>arsenic</material></material_format> has a very beautiful color, the
            <color>white</color> one works well in <material>oil</material> and goes well with
        lake.</block>

</entry>
<entry identifier="p013r_2">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="dyeing"/>
    <heading>To dye</heading>

    <block>Mix <material>sal ammoniac</material> and <material>vitriol</material> and boil them
        together. Then mix in <material>lake</material> or <material>verdigris</material> and
            <material>azure</material> or similar colors, and dye. This will not come off unless the
        <animal>animal</animal> sheds. @Non bona.</block>

</entry>
<entry identifier="p013r_3">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="observation"/>
    <activity type="polishing"/>
    <heading>Polishing of <material>stones</material></heading>

    <block><material_format>Engraved <material>stones</material></material_format> are not polished
        on a <tool><material>copper</material> wheel</tool>, but with <tool>brushes</tool> and
                <tool><material>tripoli</material></tool>. Yet <material_format>faceted and flat
                <material>stones</material></material_format> are polished on the said
            <tool>wheel</tool>.</block>

</entry>
<entry identifier="p013r_4">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>

    <heading><tool>Fine sieves</tool> of <material_format>raw
            <material>silk</material></material_format></heading>

    <block>
        <activity type="weaving"/>
        <purpose type="observation">
            <material_format>Tammy</material_format> of <material_format>raw
                    <material>silk</material></material_format> is made on a <tool>weaver</tool>, to
            make <tool>very fine and delicate sieves</tool>.</purpose>
        <purpose type="advice">And for that effect, you must not choose <material_format>raw
                    <material>silk</material></material_format>
            <color>white</color>ned by <material_format><material>sulfur</material>
                smoke</material_format>: this covers the <material>silk</material> in a sticky vapor
            that would hold the <material>flour</material> and in the end would prevent it
            from</purpose>
    </block>

    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>

    <block>
        <purpose type="advice">passing through so well. But for this effect, choose
                <material_format>yellow and natural raw <material>silk</material></material_format>
            because it is stronger and rejects <material>flour</material> as
                <material>horsehair</material> does.</purpose>
    </block>

</entry>
<entry identifier="p013v_1">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading>To recognize <material_format>good <material>azur</material> dust</material_format> for
            <material>oil</material></heading>

    <block>The one that piles up in small clods and is lumpy is the best because it is finer. Also
        the one that is also <color>very pale in color</color>, because <material>oil</material>
        darkens it. Certain <profession>sophists</profession> mix them together, but you will find
        this out if you pour some onto <material_format>a piece of
            <material>paper</material></material_format> and lay it flat and spread it with your
            <tool>finger</tool> since, if it is mixed, it will be found varied and so to say with
        light and darker stripes, but if it is whole it will be even and of one color.</block>

</entry>
<entry identifier="p013v_2">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="cleaning"/>
    <heading><color>White</color>ning <material>pearls</material></heading>

    <block>When they have been applied in embroidery on some garment, they are greasy and may be
        cleaned in <material_format>soapy <material>water</material></material_format>.</block>

</entry>
<entry identifier="p013v_3">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>

    <heading>
        <material>Toadstone</material>
    </heading>

    <block>
        <activity type="painting">That which comes from the head of the <animal>toad</animal> and
            has the shape of the <animal>toad</animal>, painted naturally as you have seen, is the
            most excellent.</activity>
        <activity type="medicine">It is said that if <material_format>powder made from
                it</material_format> is put on a <tool>brazier</tool> in someone's room at night,
            they will be unable to move, speak, or stop <profession>thieves</profession>.</activity>
    </block>

</entry>
<entry identifier="p013v_4">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="animals"/>

    <heading>
        <animal>Snakes</animal>
    </heading>

    <block>It is said that if one calls a <animal>snake</animal> in Greek, saying <foreign
            language="greek">ΟΦΗ ΟΦΗ</foreign>, it will flee. Similarly, that if one calls a
            <animal>swine</animal> in Greek, <foreign language="greek">ïon</foreign>, it will
        come.</block>

</entry>
<entry identifier="p013v_1">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="candle making"/>
    <heading>Candles</heading>

    <block><profession>Candlemakers</profession> never make good candles when the autan wind blows
        because they always melt, however good is the <material>tallow</material> they use in
        them.</block>

</entry>
<entry identifier="p014r_1">
    <folio number="0114r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f31.item"/>
    <purpose type="observation"/>
    <activity type="construction"/>
    <heading>For <material_format><material>earth</material> walls</material_format> and rustic
        construction</heading>

    <block><animal>Swallows</animal> have taught us this craft by building their nests out of
            <material>mud</material> mingled with wisps and bits of
            <material><plant>hay</plant></material> or <material><plant>straw</plant></material> to
        make it bond. Therefore, in places where <material>stones</material> and
            <material>bricks</material> are lacking, one can use <material>earth</material> to make
        walls thin and thick. The best for this is <material_format>light
            <material>earth</material></material_format>, which does not form clumps when plowed, or
        better, that which in some way mingled with <material>arene</material>, because it can be
        most easily beaten and tamped down. It is true that it needs to be dampened and cut into
        clumps with a <tool>ditch-spade</tool>, and put and placed in this <tool>form</tool>. This
        one lasts more and does not require that much effort, and dryness doesn't make it split or
        crack. However, since such kinds of <material>earth</material> are not found everywhere,
        those who live on good and fertile land, after drawing the width and length of their
        foundations with a <tool>rope</tool>, drive in <tool>long poles and rafters</tool> along the
        edges on each side to support <tool>boards</tool> between which they throw the
            <material>earth</material>, making each layer about <unit>one foot</unit> thick,
        interspersed with <material_format>S.S.S-shaped branches of
                <material><plant>heather</plant></material></material_format> or similar things,
        then they tamp it down and beat it with <tool>beaters of three different forms</tool>. One
        is called the <tool>mall</tool>, which has a triangular form like A, and this is used
        firstly to tamp down the <material>earth</material>. Then one uses another made of
            <tool>pointed <material>woodblocks</material> fitted onto a thick stick</tool>, and this
        one is used to properly press the <material>earth</material> at the wall’s ends and edges
        where they adhere to the <tool>boards</tool>, and is called [blank]. The other one is called
        the <tool>bat</tool> and is used to flatten and beat the <material>earth</material> for the
        last time, as shown in C. Then one makes another layer of <material>earth</material> and
                <material><plant>heather</plant></material> and beats as has been said, and
        continues thus until completing the wall, which is covered with
                <material><plant>heather</plant></material> and then with
        <material>earth</material>. Some intersperse the said wall with rows of
            <material>bricks</material>. They also make walls with a sloped foot, adding width to
        the foundations according to how high they want to build the wall. When it is old it
            <color>white</color>ns, showing that it has <material>saltpeter</material> in it. Which
        is why, when they fall down, <profession>gunpowder</profession> makers profit from
        them.</block>

    <figure identifier="fig_p014r_1" position="left-bottom"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5b2lVN19SU1Z6UkU"/>

</entry>
<entry identifier="p015r_a1">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDV0hwRWRzOFVad3c"
            title="Damasked Cloth"/>
    </annotations>
    <purpose type="making"/>
    <activity type="dyeing"/>
    <heading>Damask Cloth</heading>

    <block>You can make damask cloth of two different colours and imitate embroidery without adding
        anything else to it, as follows. Once it is is dyed <color>yellow</color>, pounce onto it
        such a pattern as will please you. Then you will sew some <tool>string or a bigger
            cord</tool> loosely onto the pattern and throw it into a dye of
            <material>woad</material> or <material>pastel</material> and it will become
            <color>green</color>, except that which is beneath the <tool>string</tool>, which will
        remain <color>yellow</color> because the <color>green</color> dye will not have penetrated
        there. And you can do the same with other colours and, instead of <tool>string or
            cord</tool>, add some <tool>pieces of poor quality cloth cut in <name type="group"
                >Moorish</name> shapes</tool> on top of the first colour. In that manner, you will
        have cheap embroidery.</block>

</entry>
<entry identifier="p015r_a2">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="casting"/>
    <heading>Casting <material>metal</material>s</heading>

    <block>Candlesticks and small works are cast in a <tool>frame</tool> with
            <material>sand</material>. Having stamped the work, sprinkle it with
            <material>flour</material> in order to make the <material>copper</material> or
            <material>latten</material> run better. When the <material>sand</material> has been in
        use for one month, it is necessary to take some new <material>sand</material> because that
        which has been used, being reheated +, dries &amp; loses its binding power. Yet it is used
        mixed with the new <material>sand</material>, because it makes the work less porous. Large
        works such as artillery, bells and similar things are cast in <material>earth</material>,
        and <material>copper</material> cast in <material>earth</material> makes less crust and is
            <color>white</color>r than when cast in <material>sand</material>. The
            <material>earth</material> is <material_format>sandy
            <material>clay</material></material_format> mixed with <material><animal>horse</animal>
            dung</material> and <material_format><material>cloth</material> waste</material_format>.
        The <material>earth</material> that has been used for casting, which is
        <color>black</color>, baked and as if burnt, is mixed with <material_format>artificial
                <material>sand</material></material_format>, and is very good. For softening and
        making the <material>copper</material> run, once it is melted, one throws in some
            <material>lead</material>, which does not form an alloy but is found on the surface of
        the cast.</block>

    <block position="left-middle">+ by <tool>the heat of <material_format>molten
                    <material>metal</material></material_format></tool></block>

</entry>
<entry identifier="p015r_a3">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>
    <purpose type="observation"/>
    <activity type="casting"/>
    <heading>Casting <material>gold</material> and <material>silver</material></heading>

    <block>The <material>sand</material> must be made from something very dry and arid and reheated
        well because, if it were humid, like <material_format><profession>founder</profession>'s
                <material>sand</material></material_format>, the <material>gold</material> and
            <material>silver</material> would leap out of the <tool>mold</tool> and sustain damage.
        It is also necessary for the <material>earth</material> to absorb the
            <material>metal</material> because <material_format>cast
            <material>gold</material></material_format> or <material_format>cast
                <material>silver</material></material_format> becomes very porous. That is why it
        must be beaten out again, otherwise it is brittle, as seen in spoon handles.</block>

</entry>
<entry identifier="p015v_1">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="writing"/>
    <activity type="embellishing"/>
    <heading>Tablets</heading>

    <block>Some are made from <material>boxwood</material> and inlaid with
            <material>ebony</material>, <material>sandalwood</material>, <material>ivory</material>,
        or from <material>gold</material> and <material>silver</material> like damascening. After
        that one writes with <tool><material>silver</material>point</tool> and then erases by
        rubbing them with a <tool><material><animal>cuttlefish</animal>
        bone</material></tool>.</block>

</entry>
<entry identifier="p015v_2">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="optics"/>
    <heading>Making letters easier to read</heading>

    <block>One cuts the largest pieces of <material>beryl</material> or <material>crystal</material>
        round on one side and flat on the other, then one fits it with a little handle and puts the
        flat side on the letter</block>

</entry>
<entry identifier="p015v_3">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="making"/>
    <activity type="stamping"/>
    <heading>Stamping</heading>

    <block>If you have a <material_format><material>bronze</material> medal</material_format> and
        you want to make it very light, make a <material>lead</material> cavity, then spread upon it
        a <material_format>thin plate of <material>gold</material></material_format>, or
            <material_format>sheets of <material>lead</material></material_format> or
            <material_format>reheated <material>silver</material></material_format>, place your
                <material_format><material>bronze</material> medal</material_format> on top and
        hammer it with a <tool><material>wood</material> mallet</tool>.</block>

</entry>
<entry identifier="p015v_4">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="preparing materials"/>
    <heading>Softening <material>>horn</material></heading>

    <block>Those who mount <foreign language="french">acou</foreign>
        <foreign language="latin">Agnus Dei</foreign>s and make circles from
            <material>horn</material> for certain little boxes soften the said circles by soaking
        them in <material_format>hot <material>water</material></material_format> and then shape
        them on a <tool>round or oval-shaped triblet</tool>.</block>

</entry>
<entry identifier="p015v_1">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <activity type="medicinal"/>
    <heading>Ears</heading>

    <block>When a defluxion occurs in the ear, be very careful not to put anything in it, and
        following the proverb, ears and eyes should only be touched with your elbow. However, to an
        affected ear, it is good to apply <material_format>musky
            <material>cotton</material></material_format>, that is to say,
            <material>cotton</material> kept in <material>musk</material>, which comforts quite
        well.</block>

</entry>
<entry identifier="p015v_6">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="medicinal"/>
    <heading>Toothache</heading>

    <block>Some put <material_format>a clove of <material>garlic</material></material_format> in the
        ear on the side of the aching tooth, and after two or three hours they feel better. Others
        put in their nostril, on the same side as the tooth that hurts, some
                <material_format><color>green</color> skin scraped from the stem of
                        <material><plant><foreign language="french"
                >bisaube</foreign></plant></material></material_format>, namely that which is under
        the <color>grey</color> one that looks like a <plant>vine</plant>.</block>

</entry>

<entry identifier="p038v_1">
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type="making"/>
    <annotations>
        <annotation title="Black color for dyeing"
            url="https://docs.google.com/document/d/1ZNqXbJINti7teByIul9FVs52sOlzdV0NpW42-heVn3I/edit"
        />
    </annotations>

    <heading>Black color for dyeing</heading>

    <block purpose="making">Take <material>lye</material> made from <material>quicklime</material>
        and <material>white lead</material>, mix and leave to soak and you will have a dark brown
        dye, and reiterating the same you will make black. Try other colours with the lye made of
        <material>lime</material>.</block>
</entry>

<entry identifier="p038v_2">

    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='advice'/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZU5YM1N3RjJKdEU" title="Dragon’s Blood, fol. 29v, 38v (Reich)"/>
        </annotations>

    <heading>Against nose bleeding and for dyeing</heading>

    <block>Pound some of the kind of <material>vinete</material> or <material>lapathum acutum</material> that is red-veined, which is called
        <material>dragon's blood</material>, and apply it on the bleeding person's forehead. This herb is a strong dye &amp;
        makes beautiful violet.</block>
</entry>


<entry identifier="p038v_3">
   
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='advice'/>
    <purpose type='observation'/>
    <heading>Beautiful artichokes</heading>
    
    <block>You need to trim them every year so that only one stem is left, and water them a lot.
        Also plant some more every year, because the second year they will bear very beautiful fruits.</block>
</entry>


<entry identifier="p038v_4">
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Planting trees</heading>
    <block>It is said that rarely a tree planted on Saint Paul's day will fail to take. To cover the
        young shoots, <material>oxen manure</material> is very appropriate, for it doesn't come
        apart in the rain like earth.</block>
</entry>


<entry identifier="p038v_5">
    
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='observation'/>
    <heading>Merchants</heading>
    
    <block> Those who retail velvet and other materials do not keep double-entry books because they
        sell in small quantities and recording these details would be too much effort. They only
        have their sales book and account books. But those who sell in bulk and those who traffic in
        woad have a double-entry book.</block>
</entry>


<entry identifier="p039r_1">
    <folio number="039r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f83.image"/>
    <purpose type="observation"/>
    <heading>Goldsmith</heading>
    <block> They bind <material>silver filings</material> with <material>saltpeter</material> which
        refines it &amp; does not make it brittle. But <material>gold filings</material> are bound
        with <material>borax</material> or, to save the borax, with <material>lead</material>, which
        refines the gold &amp; softens it, for the saltpeter would make it brittle, which it does
        not do to silver. This is why, in order to save, goldsmiths use it to bind it in order to
        save borax, which costs viii sols per ounce &amp; saltpeter costs x sols per lb. When
        goldsmiths have thus bound their silver filings with salpeter, a red enamel vitrifies at the
        bottom of the crucible. I do not know if the <material>copper</material> mixed in with the
        silver is the cause for this. Try for enamel.</block>
</entry>


<entry identifier="p039r_2">
    <folio number="039r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f83.image"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    <heading>Dyers’ woad</heading>
    <block> It is grown in <place>Lauragais</place> where the deep soil is so fertile that every
        year wheat was grown there, it would lie flat for being too vigorous. This is why dyers’
        woad and wheat are grown there alternately. For cultivating dyers’ woad, the soil is
        ploughed with <tool>iron shovels</tool>, as gardeners do. Next, it is harrowed with
            <tool>rakes</tool>, &amp; broken up finely as for sowing some kitchen herbs. It is
        commonly sown on Saint Anthony's day in January. Eight harvests are made. The first ones are
        better. The best dyers’ woad of Lauragais is the one from <place>Carmail</place> &amp; the
        one from <place>Auragne</place>. And sometimes the dyers’ woad is good in one field &amp; in
        the one close by it will hardly have worth. The goodness of the dyers’ woad can be
        recognized when put in the mouth it gives the taste of vinegar, or when crumbling &amp;
        breaking it, it has some mold-like veins which are as it were golden or silver. It is
        assayed in the <tool>dyers' vat</tool>, and to fill a vat with it, six bales of it are
        needed. There several flocks of <material>wool</material> are dyed, and if it dyes fifteen
        times, it is said to be worth 15 florins, if it gives xx dyings, xx florins. The good kind
        dyes up to 30 times &amp; commonly up to xxv or 26.</block>
</entry>


<entry identifier="p039v_a1">

    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type='application'/>
    <purpose type='observation'/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
        </annotations>

    <heading>Enamel</heading>

    <block> <material>Enamel</material> takes more readily on <material>copper</material> than on <material>silver</material>. It is true that the cut needs to be
        well hollowed out &amp; rough. Azure in body &amp; the red called gules, white enamel &amp;
        thick green take very well. Having enamelled, one gilds the feuillages of the
        cutting[illegible]. Copper has a similar hardness when cut as pure <material>silver</material> or <material>pistolet</material>
        gold.</block>
</entry>


<entry identifier="p039v_a2">
    
    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type='application'/>
    <purpose type='observation'/>
    <heading>Colors for illumination on glass</heading>
    
    <block> In order that your turpentine colors shall not run, &amp; become unified, mix in a
        little <material>larme de mastic</material> together with the <material>turpentine</material>.</block>
</entry>

<entry identifier="p039v_a3">

    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <purpose type="observation"/>

    <annotations>
        <annotation title="Tracing a history on glass"
            url="https://docs.google.com/document/d/1hadGQunGoh9R6eJUndm-5MxRcoIi_r95EOG-ZqizP4Y/edit"
        />
    </annotations>

    <heading>Tracing a history on glass</heading>

    <block>If you want to trace a history in intaglio on <material>glass</material>, you can do so
        in different ways. Place your glass pane on, as thin as possible, over the printed history,
        &amp; having cleaned the glass well with <material>lye</material> &amp;
            <material>ashes</material> so that it is not at all greasy, trace over the lines visible
        to you with oily black or scales black with a <tool>pinceau</tool>, if you want to paint
        with colors in the manner of glaziers, who spread a wash of scales black all over their
        glass pane &amp; then scratch &amp; uncover what they want to coat with color, leaving that
        which is necessary for shading. But if you want to make gilt histories on glass with a
        background of colors, which imitates the basse-taille of goldsmiths, gild the whole glass
        pane with <material>gum water</material> or <material>garlic juice</material> or
            <material>fig-tree milk</material>. Then moisten your printed history with two wet
            <tool>linen cloths</tool> &amp; lay it down on the gilt glass. Then with a
            <tool>pin</tool> mounted on a small <tool>stick</tool>, follow the lines of your history
        as if you wished to pounce it, &amp; thus you shall vividly trace it on the gilding of the
        glass. &amp; next you shall uncover the background &amp; what needs to be empty with a quite
        pointy steel <tool>awl</tool>, &amp; and neatly follow once more the lines &amp; accomplish
        your work &amp; fashion your faces &amp; flesh tones in <material>pounded silver</material>;
        then fill the background with <material>azur d’esmail</material> or
            <material>verdigris</material> or <material>fine laque platte</material>, tempered with
        clear <material>turpentine</material>, mixed with a little <material>larme de
            mastic</material> if you want the colors to be more unified &amp; not to run. Next,
        apply on the back of the glass &amp; over the colors a white <tool>tin sheet</tool>. And
        once this is dry, you can cover the tin sheet of with color to hide your secret. The tin
        sheet gives light to the colors. Thus you will be able to paint without being</block>
    <folio number="040r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <block>being at all expert in painting. If your glass pane is bulging as if taken from the belly
        of a jar, it will show better. When you apply your turpentine colors to your glass panes,
        first place them on a <tool>hot tile</tool> &amp;, once they are hot, spread your colors
        &amp; leave it a while on the tile, then lay down your tin sheet.</block>
</entry>


<entry identifier="p040r_1">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <heading>Dye</heading>
    <block>Some take the <material>root of Lapathium acutum maius</material>, which looks like
            <material>monk’s-rhubarb</material> or <material>sorrel</material>, &amp; using the
        root, which is yellow in summer, they dye <material>threads</material> &amp; similar things.</block>
</entry>


<entry identifier="p040r_1">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <heading>Aqua fortis</heading>
    <block>Some put on for four pounds of <material>aqua fortis matter</material> four that is in
        the retort, four ounces of common <material>water</material> in the container, which is
        better than putting it into the retort. The <material>alum</material> is de-phlegmed &amp;
        calcined such that the water does not have as many dregs. Many make it without de-phlegming
        the alum.</block>
</entry>


<entry identifier="p040r_3">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <heading>Vinegar</heading>
    <block>One takes for granted that jec heat red-hot the <material>mineral salt</material> that
        looks like <material>marble</material> &amp; that is called in <place>Catalonia</place>
        &amp; at the border of <place>Spain</place>
        <material>Cardana salt</material>C, &amp; throwing it in the red hot or quite hot in
            <material>wine</material>, it turns it into very good <material>vinegar</material>. Some
        make it with <material>water</material> poured on <material>pomace</material> soured after
        being pressed by <tool>grape pickers</tool>, but it will not keep &amp; spoils in heat &amp;
        thunder storms.</block>
</entry>


<entry identifier="p040r_4">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <heading>Silver gilt buttons</heading>
    <block>Because <material>silver gilt</material> does not fear fire, it is cut into lozenges
        flat[illegible] on one side, then they are joined together in a star shape with a paste of
            <material>crushed enamel</material>, which is then melted &amp; the enamel is gilt with
        <material>gold leaf</material> and then reheated.</block>
</entry>


<entry identifier="p040r_5">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="observation"/>
    <heading>Grottos</heading>
    <block>To fill some empty place that cannot be laden with hanging rocks, one puts a piece of
        thick <material>parchment</material> close to the fire, which shrinks &amp; crumples. Then
        one paints it with <material>distemper</material>, then in <material>oil</material>. Next
        one affixes it.</block>
</entry>


<entry identifier="p040v_02">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <heading>Latten and calamine</heading>
    <block>Founders do not melt latten in a <tool>bellow furnace</tool> but in
            <tool>crucibles</tool>, for in a bellow furnace and amid the
            <material>charcoals</material>, the <material>calamine</material> would
        disappear.</block>
</entry>


<entry identifier="p040v_03">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <heading>Metal</heading>
    <block><material>Tin</material> needs to be pure because if there is any
            <material>lead</material>, it will go up in smoke whilst melting. Alloyed tin withstands
        fire for a long time but in ashes it will come apart.</block>
</entry>


<entry identifier="p040v_04">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Aqua fortis</heading>
    <block>If your retort is well luted you should not surround it with ashes, which would only
        prevent the vapors from escaping properly. But when, towards the end, you fire it intensely,
        surround it with <material>charcoals</material> lit elsewhere beforehand, such as those in
        the <tool>furnace</tool> should be, so they do not crackle or smoke. Place said lit
        charcoals around the body of the retort, not close to the neck, which does not need to be
        heated as much. The top grate, on which you place your retort, should be sufficiently far,
        one dour or half a foot, from the bottom grate where the charcoal is placed, since thus you
        will not waste as much <material>aqua fortis</material>.</block>
</entry>


<entry identifier="p040v_1">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDWm03YUhIbEltRHM"
            title="Rouge Clair, fol. 40v (Chang, Shi)"/>
    </annotations>
    <heading>Cross of the commanders of Malta</heading>
    <block>The fine rouge <material>clair</material> which is the background of the white enamel
        cross is of fine <material>dragon's blood</material> drops soaked with <material>eau de
            vie</material> or <material>Indian laque plate</material>, which I believe is made in
            <place>Flanders</place>, distempered with clear <material>turpentine</material> and
            <material>mastic</material> drops and applied on a <material>silver leaf</material>, not
        the one used by painters but a thicker one, which is burnished by the makers of foil
        backings for <material>gemstones</material> or by goldsmiths, and that gives it its fine
        brilliance.</block>
</entry>


<entry identifier="p041r_02">
    
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type='observation'/>
    <heading>Garden lily</heading>
    
    <block>If it is broken during its first blossom, it will not grow or bloom until the following
        year, and I believe it is the same for bulbous flowers [in general].</block>
</entry>


<entry identifier="p041r_03">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <purpose type="advice"/>
    <heading>Sand</heading>
    <block>The <material>sand</material> to be used for casting should be chosen such that it is not
        too dry for it won't hold together, nor should it be too fat. And although you find some in
        nature, however, it is not everywhere. And if you are in a place where it is not found, you
        can put it together yourself but not from <material>fat earth</material>, because the sand
        should contain none at all, since it makes it porous. But you can make it bind by mixing it
        with <material>brick</material> well ground on <material>marble</material>, or
            <material>plaster</material> or <material>calcinated alabaster</material> or something
        similar, or the burned <material>marrow</material> of ox horn or burned
            <material>asphalt</material>. If you grind it quite finely on <tool>porphyry</tool>, it
        binds better &amp; then you can burn it with asphalt or mix it with a quarter of
            <material>tripoli</material>. Make sure no bread falls into your sand because this makes
        it porous.</block>
    <block position="left-middle">Try mixing in soot black.</block>
</entry>


<entry identifier="p041r_04">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="observation"/>
    <heading>Ducks</heading>
    <block>Young domestic ones do not grow for a month after hatching but remain in this state. But
        after, they soon grow up, even if they go into the water. They are fed boiled
            <material>millet grains</material>, to which are added crumbled
            <material>bread</material> and finely chopped <material>lettuce</material>.</block>
</entry>


<entry identifier="p041r_1">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <purpose type="advice"/>
    <heading>Casting earth for founders</heading>
    <block>It becomes fat by being beaten and also mixed with <material>horse manure</material>.
            <material>Potter's earth</material> would be too soft and would break and wouldn't
        resist the fire. But [your soil] has to be mixed with one half of <material>sand</material>
        and a quarter or a fifth of horse manure. And leave it to dry, then reduce it to powder,
        then put it through a <tool>sieve</tool> to make it fine and free from gravel, which would
        prevent it from casting cleanly. The manure makes the earth more amenable [to casting] &amp;
        easier to work with, but it should be free of straw and other things. And when the earth is
        very fat, you have to add more sand and more manure. But one does find fat varieties of
        earth [that are] naturally mixed with sand. If they are not, make them so artificially. One
        should always cook the soils again before casting.</block>
</entry>


<entry identifier="p041v_1">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="observation"/>
    <heading>Glassmaker's black</heading>
    <block>Filings of <material>iron</material> taken from bars that have been in the fire for a
        long time, which are thick, are much better than the common soft ones that fall under the
            <tool>anvil</tool> in the <tool>forge</tool>, because they imitate niello. To said
        black, described elsewhere, some people add a little <material>minium</material>.</block>
</entry>


<entry identifier="p041v_2">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="observation"/>
    <heading>Sheared ewes</heading>
    <block>If the shearer wounds them at some point, he applies the very
            <material>excrement</material> of the ewe on it. When they are fat, they are easier to
        shear and do not get hurt as easily.</block>
    <block position="left-middle">If the shearer wants to 'viscorter' them, that is to castrate them
        as [they] are one or two years old, he must not have been with his wife, because this would
        cause the sheep to die.</block>
</entry>


<entry identifier="p041v_3">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <annotations>
        <annotation title="Colors and gilt on glass"
            url="https://docs.google.com/document/d/1Ju7l92d5a-3Rg-ZoGVlLDOnT3cXFWOf1Nf0e8PU8K_A/edit"
        />
    </annotations>
    <heading>Colors and gilt on glass</heading>
    <block>You should not put as strong <material>gummed water</material> on
            <material>glass</material> for the silver layer as for the gold layer because a
            <material>silver leaf</material> is twice as strong as <material>gold leaf</material>.
        Also, silver is harder and therefore does not scratch as easily. And if
            <material>gum</material> was not a little [too] strong for silver, it would not crack so
        clearly. When you work, the exhalation of your breath humidifies the leaf lying on the
        glass, and therefore it would be good, when working, to heat it up a few times. You have to
        very thoroughly wash what you want to be empty and used as a surface painted with colors,
        because if it is not really clean of the gum's grease and viscosity, and of other things,
        the colors will not be so clear on it. To advance your work you can smooth with a
            <tool>pumice stone</tool>, or [you can do this] to better lay down gum and leaf on a cut
            <tool>paper</tool>. This way, you will have to do very little repairs. If you want a
        gold color there without gold, mix soaked dried <material>saffron</material> with a little
        bit of <material>massicot</material>.</block>
</entry>

<entry identifier="p042r_1">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Founder</heading>

    <block>The <tool>clay mould</tool> should be baked until sometimes it becomes red hot, since
        otherwise the <material>metal</material> would be unstable and be no good at all. Similarly,
        the inner core must be baked very hard, and mixed with <material>charcoal
        powder</material>.</block>
</entry>

<entry identifier="p042r_2">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="advice"/>
    <purpose type="making"/>
    <heading>Wax for seals and impressions</heading>

    <block>For large wax seals, you should always have tepid <material>water</material> handy, and
        keep your <material>wax</material> in it. Yet previously you should have kneaded it with
        your hands, so as to make it very smooth and even, for otherwise the water would penetrate
        the wax and prevent it from holding together. Afterwards, you can imprint whatever you want.
        Cover the wax in three or four sheets of <material>paper</material>, and, with a round and
        smooth <tool>stick</tool> similar to a <tool>pestle</tool>, roll it out as if to polish it.
        It will then stick to the paper, helping you to take it off from the seal. In this way you
        will imprint better than if you were dripping molten wax. You can carve figures and color
        them in gold, in silver, or paint them with <material>couleurs à vernis</material>, and
        transfer them onto a <material>glass pane</material> painted with <material>couleurs à
            tourmentine</material> &amp; <material>mastic</material>. And if you want to apply these
        designs by inlaying, use <material>gum ammoniacum</material> mixed with
            <material>vinegar</material>, and it will stick well.</block>
</entry>

<entry identifier="p042r_a3">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="making"/>
    <heading>Casting in plaster</heading>

    <block>Melt some <material>wax</material>, and with a big <tool>brush</tool> coat it over the
        relief of which you want to have the cave, as if you wanted to paint it. And a light crust
        will be formed upon which you will cast <material>plaster</material>, to give it shape and
        consistency. Afterwards, in the cave of the wax, cast your plaster as well to get the
        relief, and it will come out very easily, because of the wax. This is done more often for
        large pieces in haut relief than for others.</block>
</entry>

<entry identifier="p042v_a1">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <heading>Pounce for scratching satin</heading>

    <block>After pouncing with <material>crushed flour</material> or <material>chalk</material>, in
        order that the dots of the pounce not be erased, go over the trace with <material>egg
            white</material> beaten with the <material>milk or bark of a fig tree</material>, which
        will immediately make the egg white clear up like water, without becoming opaque, it will
        maintain the trace that you will go over again and scratch with a <tool>piece of
            glass</tool> or <tool>penknife</tool>.</block>
</entry>

<entry identifier="p042v_a2">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="making"/>
    <heading>Canvas for oil painting without breaking</heading>

    <block>In order that your oil painting be not broken or ruined as you bend it, make your
        (preparatory) layer with <material>honey</material>honey, a bit of <material>oil</material>,
            <material>water</material>, and <material>flour</material>.</block>
</entry>

<entry identifier="p042v_a3">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="application"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTmhNdHU1YnRjeG8"
            title="Oil Painting on Taffeta"/>
    </annotations>

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>

    <heading>Oil painting on taffeta</heading>

    <block>In order that the <material>oil</material> not run, make your first layer with
        <material>honey</material>, <material>water of alum</material>, and <material>essence of amidin</material>.</block>
</entry>

<entry identifier="p042v_a4">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Casting sand</heading>

    <block>The key is to grind it well upon <tool>marble</tool>, and that it be extremely fine; mix
        in a bit of <material>calcined alabaster</material>.</block>
</entry>

<entry identifier="p042v_a5">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="application"/>
    <heading>For decorating a painting</heading>

    <block>Go over the lines with <material>lacquer</material> ground together with <material>olive
            oil</material>, which will not dry out.</block>
</entry>

<entry identifier="p042v_a6">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="making"/>
    <purpose type="applicaiton"/>
    <purpose type="advice"/>
    <heading>White varnish on plaster</heading>

    <block>Put down two or three layers of <material>white glue</material> for painting. Afterwards,
        varnish with <material>varnish of sandarac</material>, <material>aspic oil</material>, and a
        bit of <material>mastic</material>. Put it into a <tool>vessel</tool> at night, everything
        ground well together without fire, which would make it turn yellow. Then, with a
            <tool>paintbrush</tool>, it becomes dry immediately. Filter the oil that will have
        absorbed the substance.</block>
</entry>

<entry identifier="p043r_a1">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type='advice'/>
    <heading>Mericoton and pavis</heading>

    <block>One should graft them before Christmas so that they will not freeze too much.</block>
</entry>

<entry identifier="p043r_a2">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <puropse type="applicaiton"/>
    <pupose type="advice"/>
    <heading>White bronzing on plaster</heading>

    <block>One must apply four layers of <material>painters' distemper glue</material> onto the
            <material>plaster</material> portrait, leaving one layer to dry at a time. Then apply
        gently some <material>burnt English point</material> ground on a <tool>marble slab</tool>,
        or some <tool>lead burnt</tool>, ground and distempered with a bit of
            <material>gum</material> or <material>glue</material>. When dry, rub gently with a
        little <tool>cotton</tool> and the plaster portrait will look like
        <material>lead</material>. Others grind <material>minium</material> with
            <material>quicksilver</material>.</block>
</entry>

<entry identifier="p043r_a3">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type="making"/>
    <heading>Purpurine</heading>

    <block>Take half an ounce of soft <material>tin</material>, melt it in a <tool>spoon</tool>.
        Once it is melted, throw in an ℥ of ☿, mix together. Once they are cold, grind on a
            <tool>porphyry slab</tool>. Then take an ℥ of <material>sal ammoniac</material> and an ℥
        of the yellowest <material>sulfur</material> that may be found, grind both. And then mix
        very well all the aforementioned materials. Then put all together into a <tool>glass
            sublimatorium</tool>. Hold this over a small fire for an hour, and for an hour over a
        stronger fire, and for an hour over a very strong fire, and it will be ready. Then, to use
        it, apply <material>resin</material> black with the <material>glue</material> used by
        painters to paint, two or three times, until it is quite black. Then apply a bit of
            <material>varnish</material>. Once it is dry, apply the <material>purpurine</material>
        dry with a <tool>finger</tool> where you want. The more you apply, the finer it will look.
        Then, if you like, you can apply varnish on top.</block>
</entry>

<entry identifier="p043r_a4">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type="application"/>
    <purpose type="observation"/>
    <heading>White bronzing</heading>

    <block>Apply some <material>black</material>black with <material>glue</material> on the medal,
        as described above, and then varnish it. Once dry, rub it with <material>English
            point</material> using a <tool>brush</tool> or your <tool>finger</tool>. The said rubbed
        point embellishes <material>lead</material> medals.</block>
</entry>

<entry identifier="p043v_1">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <annotations>
        <annotation title="Sleight-of-hand tricks"
            url="https://docs.google.com/document/d/1g8zJFcK35VdDmYfw8bHrBRHvNiz35pRjAkri-hkfFTo/edit"
        />
    </annotations>
    <heading>Varied and transmuted wine</heading>

    <block>Grate <material>Brazilwood</material> very fine, let it soak for one or two hours in
        clear <material>water</material>. Then take this tinted water and add some clear water and
        you will make wine as clear as you like. If you please, put a drop of <material>juice of
            lemon</material> or of <material>orange</material> in it and it will immediately become
        white. You can drink it without danger.</block>
</entry>

<entry identifier="p043v_2">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="observation"/>
    <heading>Pearls</heading>

    <block>It is said that pulverised <material>talc</material> blown into a <tool>lamp</tool> makes
        them so.</block>
</entry>

<entry identifier="p043v_3">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose typ="advice"/>
    <purpose type="observation"/>
    <heading>Arquebusier</heading>

    <block>To shoot your <tool>arquebus</tool> precisely the end of the breech must come precisely
        on the edge of the light, because like this the <material>powder</material> catches [fire]
        and burns all at once without blowing and has more strength and does not recoil. On the
        contrary, if the breech is made hollow, as they commonly are, the powder catches more
        quickly in this place, makes it recoil, and blows. This is clearly shown [by] a arquebus
        with a chamber which recoils more than another. And since the cannon is bigger at the breech
        than at the muzzle the sights are also uneven, because that at the breech is higher than
        that at the muzzle. Additionally, the thickness of the cannon is greater than the caliber by
        about one line, and the sight by another. It would therefore be necessary to either make the
        cannon all of one size or to raise the barrel from the end and towards the muzzle, and push
        it in and lower towards the breech. The weight of the powder must be one third of the
        [weight of the] <tool>bullet</tool>.</block>
</entry>

<entry identifier="p043v_4">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="advice"/>
    <heading>Hail shot for the arquebus</heading>

    <block>If you want that it stays together put a piece of <material>felt</material> or
            <material>leather</material> or <material>paper</material> on it, depending on the
        distance, and let the piece be made with a <tool>form</tool> precisely cut depending on the
        caliber of the <tool>arquebus</tool>.</block>
</entry>

<entry identifier="p044r_a1">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>The reach of an arquebuse</heading>

    <block>The proportion of a fowling piece is: 4 king's feet long and the <tool>bullet</tool>
        weights xviii pennyweights, the expulsion vi pennyweight of <material>powder</material>, its
        range iiii-by-xx pans and 3 and a half feet and two thumbs and around a line, which is the
            <place>Paris</place> aulne. The medium <tool>arquebus</tool>, which is the usual one and
        the easiest, admits xv pennyweight of bullet, v pennyweight of powder &amp; reaches lx
        paces.</block>
</entry>

<entry identifier="p044r_a2">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>Pewtermaker</heading>

    <block>They mix viii or ten pounds of <material>lead</material> for each hundredweight of
            <material>tin</material> in the cities that have regulated guilds. But elsewhere, they
        add as much as they can. One also uses ii. lb. of <material>estaim de glace</material> to
        bind it and three lb. of broken <material> brass</material>, that is,
            <material>copper</material> scrap that kettlemakers make. This makes the
            <tool>vessel</tool> more reverberant and it is not as breakable.</block>
    <block location="left-middle">This <material>pewter</material> is called ordinary pewter.</block>
</entry>

<entry identifier="p044r_a3">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="advice"/>
    <heading>Arquebuse</heading>

    <block>To keep it from backfiring, clean your <tool>arquebus</tool> every eight days, and rub it
        with <material>oil</material>, and when you draw out, wet some <material>linen</material> in
        oil &amp; put it in instead of <material>paper</material>.</block>
</entry>

<entry identifier="p044r_a4">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <puropse type="applicaiton"/>
    <purpose type="advice"/>
    <heading>Lacquer</heading>

    <block>To test it, soak it and apply it to <material>paper</material>, and if one or two hours
        later it has not died at all, it's fine and well-done.</block>
</entry>

<entry identifier="p044r_a5">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>Dyes from flowers</heading>

    <block><plant>Red poppies</plant> that grow amongst <plant>wheat</plant> make a very beautiful
        columbine on white <material>leather</material>. The <material>boufain</material> makes a
        very beautiful blue. An <plant>herb</plant> which grows in hedges, which has a stem similar
        to <plant>flax</plant>, long and broad leaves like little <plant>bugloss</plant>, which has
        a violet <plant>flower</plant> verging on blue and looks like the fleur de lys, makes a
        quite beautiful turquin, better than azure. Another columbine flower of the shape and size
        of the bugloss flower, which has a leaf like that of the <plant>pansy</plant>, also makes a
        very beautiful turquin. It grows in wheat in light earth.</block>
</entry>

<entry identifier="p044v_1">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    <annotations>
        <annotation title="Fine raw silk sieves and horse hair sieves"
            url="https://drive.google.com/drive/search?q=annotation%20sieves"/>
    </annotations>
    <heading>Horsehair sieves</heading>

    <block>They are made often in <place>Normandy</place> with <material>horsetail hairy</material>
        that they clean with some washing <material>water</material> because they pick them out with
        their mouth and separate short and broken ones. They do not make the
            <material>thread</material> longer than the <tool>sieve</tool> and it is round. They
        attach the black or white <material>hair</material> at the two edges of the thread,
        according to the piece they want to make. And the thread is woven above and below like any
        other fabric. And passing a small flat <tool>stick</tool> of ii or three fingers wide
        between two, they pass between after two bits of hair at each step strike and weave with
        three steps. The entire sieve is made of xvii bits of hair. They sell them by dozens and
        each xxx sols. They bring them to <place>Toulouse</place> to send them then to
            <place>Spain</place> and there, they exchange it with <material>silk</material>.</block>
</entry>

<entry identifier="p044v_2">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    <heading>Excellent water against the pest by the Master of Montorsin</heading>

    <block>Take some <material>theriac rue</material>, <material>dittany</material> and good
            <material>vinegar</material>, put the whole in a <tool>glass bottle</tool> and leave it
        half-open and well attached. And put it in a <tool>bath</tool> for three or 4 days. Then
        take some of your brew from its container when you need it and pour some, when necessary, on
        a red hot <tool>tile</tool> and receive the vapor and also perfume your clothes. This is a
        very precious and proved secret.</block>
</entry>

<entry identifier="p044v_3">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose ype="making"/>
    <purpose type="advice"/>
    <heading>White soporific oil</heading>

    <block>Have x or 12 Mandragore <material>apples</material>, put them in quarters together with
        some <material>olive oil</material> in a <tool>glass bottle</tool> which you will cook in a
            <tool>bain marie</tool> for two days and your oil will turn white with which you rub the
        sole of your feet and you will quickly feel sleepy.</block>
</entry>

<entry identifier="p044v_4">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="application"/>
    <purpose type="advice"/>
    <heading>Stucco</heading>

    <block>To stick <material>stones</material>, some do not use <material>gem</material> and pitch
        black <material>rosin</material> because it is too greasy, but they use as much rosin and
            <material>sulphur</material> and the same quantity of <material>wax</material> and then
        add finely ground <material>brick</material>. Others some <material>white chalk</material>
        and crushed and powdered and sieved <material>white stone</material>.</block>
</entry>

<entry identifier="p045r_1">

    <folio number="045r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f95.image"/>
    <purpose type="advice"/>
    <purposet ype="making"/>
    <purpose type="observation"/>
    <heading>Loading a pellet arquebus</heading>
    <figure number="fig_p045r_1" position="top-center"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5bkhmQklfNHJoRnc"/>

    <block>It is necessary to make a <tool>wooden pipe</tool> 4 or 5 fingers wide that is perfectly
        hollow, according to the open end of your barrel, of the form represented in A. Then, having
        cut some <material>paper</material>, which has to be as strong as that of large printed
        books, in the form indicated in D and as wide as you want your cartridge to be long, wrap
        the paper around the <tool>baton</tool> B and at the top, where the pointed tip F will be
        around the aforementioned paper, and the cartridge will be formed. But, in order to make the
        bottom more uniform, put it into <tool>pipe</tool> A, then introduce baton B and, in the
        other end of the pipe, which is marked G, insert baton C and pack so as to compact and press
        the folded tip of your cartridge, then take it out, and the charge in this, put three or
        four drageons or <material>larmes</material>. Then, with a <tool>punch</tool>, marked E, of
        the same caliber of your arquebus or pistol, punch round pieces on cardboard or felt or
        waxed cloth, and put this round piece into your cartridge, and push it until the drageons
        with the baton B, the more drageons, 3 or 4, then a round piece. And continue like that
        until the cartridge is full, the put it into the <tool>arquebus</tool>. If you want your
        pellet to scatter earlier, make round pieces out of paper. If you want it to reach further
        without scattering, make the piece out of <material>cardboard</material>. If you want it to
        reach even further, make the round piece out of <material>waxed cloth</material>, or either
        of <material>leather</material> or <material>felt</material>, and a piece of waxed cloth on
        the top. And if you make the cartridge in part with waxed cloth or <material>waxed
            paper</material>, it will reach one hundred paces and will make a big hole, and the
        pellet, barely scattering, will produce a big opening. But if you make your cartridge with
        waxed cloth or a material stronger than paper, it cannot be so long, with the cardboard tip
        being like in D, because it is enough if it wrapped around twice. In such a way, the pellet
        barely scatters and makes a big hole in porte-corps armor or others.</block>
</entry>

<entry identifier="p045v_1">

    <folio number="045v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f96.image"/>
    <puropse type="observation"/>
    <purpose type="advice"/>
    <heading>Loading an arquebus</heading>

    <block>You must have different charges depending to the range that you want your
            <tool>arquebus</tool> to have, all of which have a screw on the end that fits in the nut
        of the the said arquebus' <tool>ramrod</tool>. So when you put the
            <material>powder</material>powder in the charge, which is in the <tool>nut</tool>, hold
        the ramrod upright. And raising your arquebus up, insert the said ramrod until the charge is
        in the bottom of the arquebus, then straighten the arquebus, the mouth of the barrel up, and
        remove the ramrod. That way, your powder will now be entirely in the breech without any
        grain or dust that lines the sides of the arquebus, which always has some grime in the
        chamber. That way it will not recoil, and you will shoot more true.</block>
    <figure number="fig_p045v_1" position="left-middle"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZlVWTkcyU2FfanM"/>
</entry>

<entry identifier="p045v_2">

    <folio number="045v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f96.image"/>
    <purposet type="advice"/>
    <heading>How to adjust a bent gun barrel</heading>

    <block>Take off the <tool>breech</tool> and put it [the barrel] on a well-leveled
            <tool>table</tool> set perpendicular to the floor, and insert a very smooth
            <tool>string</tool> without knots, on each end of which there is a plumb hanging from
        each side. Then look in the barrel along the string, and if it does not touch equally all
        over, note the place where it does not touch and hit it with a <tool>hammer</tool> on
        the exterior of this this side in the same place, and this will make it straight. Do this
        all around it.</block>
</entry>
<entry identifier="p049v_1">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Birds</heading>

    <block position="right-top"><bird>Calandra larks</bird> and all birds taken from the nest and which have not known freedom are better, because those
    taken with a net never sing as well. However, wild birds give much pleasure with their chanting, but they must be taken before
    <time>Michaelmas</time>, otherwise they do not live long. All get a small impostume on the fork of their tail, sometimes, which
    some call "gaillardise", which makes them sick and sometimes kills them, especially calandra larks. One can tell when they are
    sad and do not sing. It must be pierced, not with a pin, but very delicately by turning with the tip of a quite sharp feather.
    The calandra lark should not be without river sand, and grey sand, a little rough, is the best. It rubs itself against it and
    purges itself [with it].</block>
  <purpose type="observation"/>
</entry>
<entry identifier="p049v_2">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Grain of lead</heading>

    <block position="middle">Take a <tool>playing card</tool>, pierced with a <tool>pin</tool> or <tool>needle</tool>, folded over on all four sides. Hold it
    with the end of a small split <tool>stick</tool> and, holding said stick by the other end, put your card three or 4 fingers away from the
    water that you will have put in a platter or a similar vessel. Then pour your lead, which should not be too hot, into the card
    and continually tap on the stick that holds it. And thus your lead will turn into round grains. And pass it through a large
    sieve to separate the larger grain from the smaller. The larger one will carry 25 to 30 paces.</block>
  <purpose type="application"/>
</entry>
<entry identifier="p049v_3">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Birds</heading>

    <block position="bottom">Those that are caught at <time>Michaelmas</time> are good to keep, but those that are caught in <time>March</time> die,
    because they are starting to fall in love. <bird>Ortolans</bird> are fed oats all summer so that they eat without getting fat,
    to be more suitable for hunting and helping to catch others. Then, when one wants to fatten them to sell, one gives them millet.
    They sing at night. They must be caught after mid-July and before Michaelmas, because after the period when they have their young
    in this country, they leave as turtledoves do. Siskins should also be caught after <time>All Saints' Day</time> and before
    <time>Christmas</time>, because afterwards they leave for the mountains to brood.</block>
  <purpose type="observation"/>
</entry>
<entry identifier="p049v_mb1">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


  <margin-block position="left-bottom">Ortolans are ventriloquists, so that, singing without opening their beaks, they seem to be...</margin-block>
</entry>
<entry identifier="p050r_1">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <heading>Preserving fruit for the entire year</heading>

    <block position="top">Take a rounded <tool>glass phial</tool>, with a large enough opening to receive cherries and plums and whatever fruit you want.
    Put in some hot <material>water</material> and leave it for two hours, and once your water is cold, throw it out and turn the phial upside
    down onto its opening on a perfectly even table and in a room where there is not a bit of draft or wind. Then prepare a stopper of fresh wax,
    wrapped in oilcloth, and adapt it precisely to the glass phial so that it will be ready to stop it once you have put in the fruit. And once
    you have hand-picked the fruit, only the non-rotten fruit, and on a warm and dry day, withdraw to the room, well closed so that
    no wind or draft can get in, and put it gently and deftly in the bottle. Then stop the bottle well with the stopper and lute it,
    making your lute, if you want, with some quicklime and oil, so that no water gets in. Then put your bottles into a tub full of
    water, in a cellar, during the summer, and in the winter put your bottles into a basket filled with some weights and lower it to
    the bottom of a deep well. Because in the winter the water in the tub would be too cold if your cellar is not warm enough, because
    the water needs to be like river water.</block>
  <purpose type="application"/>
</entry>
<entry identifier="p050r_2">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <heading>Molding</heading>

    <block position="top">If you want to quickly mold in demi-relief anything you come upon, fold some <material>paper</material> five or six times over,
    and place it on the <material>medal</material> and make sure the paper is folded around the edges of the medal so it is very secure.
    Next take a <material>stick</material>, broad at one end and with a well-dulled point at the other, and rub firmly on the paper, and
    retrace the lines with the point of the stick until you reckon that your impression is well done. Then, at your convenience, rub oil
    onto the paper lightly with a <tool>brush</tool>, and cast some <material>tallow</material> or <material>wax</material> or
    <material>sulphur</material> into it. And the paper, without burning, will give you a neat design that you can then mold in
    <material>plaster</material> or <material>tripoli</material> and then in <material>lead</material> and other metals.</block>
  <purpose type="making"/>
</entry>
<entry identifier="p050r_mb1">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <margin-block position="left-bottom">Polished <material>cardboard</material> of little thickness and slightly humid is appropriate. Then if you want,
    strengthen it with some <material>paper</material> glued on the reverse side.</margin-block>
</entry>
<entry identifier="p050v_mb1">
  <folio
  number="050v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f106.image"/>


    <block position="left-bottom"><material>Steel</material> is applied to tools not on both sides, but underneath the part where one sharpens and whets
    them, and this part must be made of very soft <material>iron</material>.</block>
  

    <block position="left-bottom"><people>Levantines</people> refine our own steel because their country provides them with none, and they reheat it in
    a <tool>pot</tool> with <material>bitumen</material> etc.</block>
</entry>
<entry identifier="p061r_1">
    <folio number="061r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
    <purpose type="making"/>
    <activity type="color making"/>
    <heading>Skin colors</heading>
    <block>It is necessary that you make it of two kinds, one more
            <color>red</color> to make the main layer, the other more pale for the highlights, as
        around the eyes. And then on this last skin color, you will touch lightly the main lights
        with a little <material>white lead</material>. But avoid applying too much of it because
        this will look like a face of death. The beautiful <material>Florence lacquer</material>
        makes a beautiful vivid skin color that resembles the complexion of <color>alexandrine
            pink</color> and <color>incarnadine</color></block>. 
     
     <margin-block position="left-top"
        purpose="observation"> Certain colors need to be ground like minium or massicot. The
            <material>ashes</material> don't need to be ground at all.</margin-block>
</entry>
<entry identifier="p061r_2">
<folio
number="061r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
  <purpose type="making"/>
  <activity type="painting"/>

<heading>Making things round</heading>

<block>If you want to model well, soften round things by rounding them off with the <tool>brush point</tool> and the rest with a <tool>flat part</tool> if it is flat, and thus for the others according to their nature, and lightly with the dry and flattened brush point and with patience.</block>.
</entry>
<entry identifier="p061r_3">
    <folio number="061r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading>White lead</heading>
    <block>Without this, you can't work on a small scale for which it is
        necessary to soften with great care. But you can't do it with <material>ceruse</material>
        because it does not have enough body.</block>. </entry>
<entry identifier="p061r_4">
<folio
number="061r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
<purpose type="making"/>
<activity type="painting"/>

<heading>Lights</heading>

<block>Your <tool>brush</tool> shows it to you by making some shadow which must always follow the back of your hand, not in a straight line like this, <figure/> because the light would be too crude and too harsh, but obliquely and as an incline like this. <figure/><figure/> It is necessary that the painting is not facing the light, but be half turned back against it, and above all look for a soft light, for it makes a soft shadow and soft work, like a harsh light makes a harsh work.</block>
<block position="bottom"/>
</entry>
<entry identifier="p061v_1">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>
<purpose type="making"/>
<activity type="painting"/>

<heading><material>Water</material> to make light for painters</heading>

<block>Distill some <material>vine water</material> and put it into a big <tool>bottle</tool>. Put your <tool>candle</tool> behind that, and it won't disturb your vision.</block>.
</entry>
<entry identifier="p061v_2">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>
<purpose type="observation"/>
<activity type="painting"/>

<heading>Chassis used by Germans</heading>

<block><Foreign>Germans</Foreign> who work in small scale make 'chassis" not of <material>glass</material> but of <tool>canvas</tool> oiled with clear <material>turpentine varnish</material>, that is half of <material>turpentine oil</material> and almost half of <material>turpentine</material>, because such light, being less bright than glass, makes the lines appear thicker. And when they want to make something more delicate, such as veins and similar things, they use <tool>brushes</tool> made of two or three <material>rat hairs</material>.
</block>.
</entry>
<entry identifier="p061v_3">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>

<heading><material>Azure enamel</material> with <material>oil</material></heading>

<block purpose="making">One must choose the finest possible, for if it is coarse one cannot work in oil. And if you cannot find any that is fine enough, you may as well grind it, not with <material>water</material> but with <material>oil</material>, and grind it thick. Then lay it on your palette and mix in some <material>turpentine</material> but not much, to make it bind, and make it as thick as butter or mortar, and then, with a large enough <tool>brush</tool>, work it while always moving the brush freely. Then, to soften it, make jagged hatching movements with the tip of the brush. The highlights will be made using the same diluted with <material>ceruse</material>, which makes it bind, making it easier to work. I have seen it used thus. It must be very thick, so that you almost need an effort to spread it with your <tool>brush</tool>. And it will be all the better if you lay down your painting. All these difficulties do not occur when it is very fine and fluid without being crushed, and it doesn't run.
</block>.<activity type="making color"/>
 

<block purpose="observation"><color>Azure</color> needs to be applied neatly, which is why it always fades when it is applied over old, already tarnished, azure to mend an old painting. In such cases, it is better to scrape off the old layer and prime again and then apply the <color>azure</color>. It is the same for almost all other colors. Also <color>azure</color> mixed with <material>oil</material> always remains shiny, which is not good for azure because that makes it fade.
  </block>
<block position="left bottom">
<activity type="applying color"/>
</block>
</entry>
<entry identifier="p061v_4">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>

<heading>Grinding colors</heading>
<purpose type="advice"/>
<acivity type="making color"/>

<block>A slab of <tool>glass</tool> <unit>>one inch</unit> thick is more appropriate than anything else for grinding colours neatly, especially for <color>lacquer</color> and for <color>whites</color>..
</block>.
</entry>
<entry identifier="p062r_1">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>
<purpose type="advice"/>
<activity type="painting perspective"/>

<heading>Perspectives</heading>

<block>Painting perspectives in oil takes a long time because of the many lines that need to be drawn with a <tool>ruler</tool>, and for that reason one generally paints them in <material>distemper</material>. One chooses the vanishing points at will. The main thing is to know where the point is. One commonly sets two or three, sometimes up to five.
</block>.
</entry>
<entry identifier="p062r_2">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading><color>Ocher</color></heading>

<block purpose="observation">This is used for faces, hair, skulls and rocks.
</block>.
</entry>
<entry identifier="p062r_3">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading>Distant people and animals</heading>

<block purpose="painting">First one roughs them out in <color>gray</color> or in <color>purple</color>, which is made of <material>azure ash</material> and <material>lake</material>. Once dry, one highlights and finishes with flesh tones and other colors and <color>white</color>. And it will look better and is quicker to do than in <color>black</color> and <color>white</color>. Armies are painted the same way.
</block>.
</entry>
<entry identifier="p062r_4">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading>Drawing</heading>

<block purpose="painting">After you have primed your panel and scraped it with a <tool>knife</tool> to make it quite even, you will start drawing with the longest possible piece of <material>charcoal</material>, because with a short one you would not see your line so well and you would make it rougher. Let the tip of the <material>charcoal</material> be sharp, and to prevent if from quickly becoming dulled and blunt, drag the tip flat, thus you will constantly sharpen it. Hold your <material>charcoal</material> as far as possible, and accustom yourself to drawing with a light touch. Because if you become accustomed to drawing delicately with charcoal, you shall do the same with colors. And whoever is rough with charcoal is never exquisite with colors. And by a line of charcoal, masters assess their apprentices. First make the contour of your drawing, that is the outline, lightly and without too diligent work, rather with boldness. By so doing, you will learn to be an artist, and if you need to erase anything, you will not waste as much time as if you had elaborated it. Afterwards work on all the details, not standing too close to your panel, but sometimes stepping back in order to better assess the proportions. Once you are satisfied with the first drawing, retrace all the lines with your <tool>paintbrush</tool> in <color>pink</color> or another gummed or distempered color. Thus you will work more surely with colors, and with less trouble.

</block>
</entry>
<entry identifier="p062v_1">
<folio
number="062v"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f130.item"/>

<heading>Portraits</heading>

<block>To become an artist, it is necessary to draw by eye, without <tool>compass</tool> or <tool>ruler</tool>. Masters do not allow apprentices to use them.
</block>
<block>When the priming has been done a long while ago, it becomes greasy. It must be scrubbed with <material>ashes</material> and <material>water</material>.
</block>
</entry>
<entry identifier="p062v_2">
<folio
number="062v"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f130.item"/>

<heading>Perspective</heading>

<block>In order to tell where the vanishing point is one must lay a <tool>ruler</tool> over the lines, and the point will be where the lines meet. Some make a hole at the end of their <tool>rulers</tool> in order to fix the point by that hole while moving the <tool>ruler</tool> about. Others lay a <tool>ruler</tool> across the <tool>panel</tool>,, then on this ruler they place the tip of another <tool>ruler</tool> which, being attached to the former by a <tool>screw</tool>, will move about and reach as far as necessary without losing the point. The <tool>ruler</tool> and <tool>compass</tool> without discernment of the eye will cause errors. Perspective is very difficult.
</block>

<figure identifier="fig_p062v_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZkRNOG9hZmpMT2M"/>

<block position="left-middle">To paint a perspective in <material>oil</material>, you should not use a <tool>ruler</tool>, for you would smudge everything. Instead, in applying your colors you must keep and follow the lines of your first drawing.
</block>
</entry>
<entry identifier="p074r_1">
<folio number="074r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


<heading>To bronze in white</heading>

<block>Take looking-glass <material>tin</material> and put it to soak in <material>gum water</material>, and pound it in a <tool>pestle</tool>. And afterwards, you will put it on the <material>marble</material>.</block>
</entry>
<entry identifier="p074r_2">
  <folio number="074r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


  <heading>To make <material>vermillion</material></heading>

  <block>Take two pounds of <material>sulphur</material>, and melt it, and add two pounds of <material>mercury</material> to it. And if this material ignites, cover it quite neatly, so that the air does not pass into the <tool>pot</tool>, then put everything for some time after into a <tool>leaded pot</tool>, into the fire. In the space of twenty-four hours, you will have good <material>vermillion</material>.</block>
</entry>
<entry identifier="p074r_3">
<folio number="074r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


<heading>To make varnish</heading>

<block>Take one pound of <material>linseed oil</material>, and then put it in a pot of earth mixed with a <material>breadcrust</material> and three <material>onions</material>, and put it on a charcoal fire, and you will cook it on a low fire, and let it boil for the space of five hours. You will take half an ounce of <material>flour glue</material>, and will make it boil just as before, and stir continuously with a <tool>spoon</tool>. And then afterwards, you will add two ounces of well-pounded <material>sandarac</material> to it, and will do so as above. And then afterwards, you will take <material>mastic</material> and <material>gum arabic</material>, two ounces of each, both well pounded, and will put everything together, and will have it boil, always stirring, for the space of five hours. And then you will add <material>rock alum</material>, two ounces, and then you will make it boil. And if you add two ounces of <material>gum arabic</material> to it, if you see that they are not cooked enough, have it cook more on a low</block>

<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<block>fire until it is cooked enough. And strain it through a <tool>cloth</tool> that is compact enough. And when you have strained it, leave it to cool a little. And if you see that it is so thick that you cannot strain it, you will add a little of that oil and will make it better.</block>
</entry>
<entry identifier="p074v_1">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>To make red varnish</heading>

<block>Take <material>vermillion</material>, and let it  soak in quite light <material>gum water</material>, like the other, and make two or three ground layers as is said above.</block>
</entry>
<entry identifier="p074v_2">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>To make yellow varnish</heading>

<block>Take some <material>gum arabic</material> and let it soak in <material>water</material>, then take some well beaten <material>saffran</material> and soak said gum. And make it quite light, then make your ground layer on that which you want to varnish, and leave it to dry, and when it will be dry give another ground layer of the same <sup>varnish</sup>, and leave it to dry as before, until it will be dry enough. Then take varnish from an <place>apothecary</place>, crushed by strokes far enough from one another. Then wash your hands quite well and spread your varnish with their palms.</block>
</entry>
<entry identifier="p074v_3">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>Recipe for white gum</heading>

<block>Take <material>white wax</material> and <material>ceruse</material> and a little fine <material>pitch</material>, very well pounded together, and put it in a small new <tool>pot</tool> and make it melt. And when it will be melted you will make a palette of wood and burnish what you want.</block>
</entry>
<entry identifier="p074v_4">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading><material>Green gum</material></heading>

<block>Take <material>green wax</material> with a little <material>verdigris</material> and make it melt as said above.</block>
</entry>
<entry identifier="p075v_2">
  <folio number="075v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f156.item"/>


  <heading>
    <material>Gilding wood</material>
  </heading>

  <block>First of all it is necessary to apply a coat of very clear <material>glue</material>; and
    when it is dry, you will apply a coat of yellow <material>gold</material>; and when this is done
    you will take <material>fig tree wood</material> and soak it for a while, and wash the place you
    want to gild,<note>dhdjhjdhdjh</note> and cut your gold with a <tool>knife</tool> near where you will put it; and said
    gold must be applied with <tool>cotton</tool>, and if you can find some fig tree, take an
      <material>egg white</material> and stir it frequently.</block>

  <block>If your gold does not have a nice enough color, you will take a <material>partridge
      feather</material> burn it in a <tool>chafing-dish</tool>, and turn the smoke toward what you
    have gilded.</block>
  
   <identifier>jkfjoehwfoihwoq ehcfo3  h 2oth  o </identifier>
</entry>
<entry identifier="p075v_4">
<folio number="075v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f156.item"/>


<heading>Recipe for coloring all wood</heading>

<block>To make it black, the wood needs to be soaked in <material>olive oil</material> and tough <material>meat</material> in a similar case for four or five days, then boil it in where the wood has soaked for one hour, then take it the wood out of the oil. Take some <material>natural sulphur</material> if possible otherwise take another</block>

<folio number="076r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f157.item"/>

<block><material>sulphur</material>. Cover the aforementioned wood with this powder, until it cools, and bring it back to a boil. Upon boiling one will see whether or not it is black enough. If it is not, take the aforementioned powder and apply some over the wood and boil it.</block>
</entry>
<entry identifier="p077r_a2">
<folio number="077r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f159.image"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDVEUtZWtJYy1XR0k" title="Smoke as Medicine, fol. 77r (DeVinney)"/>
      </annotations>

<heading>Medicine of orientals against all maladies</heading>

<figure identifier="fig_p077r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5ckxxXzJIeWhnMDg"/>

 <block> Dry some <material>rosemary</material> in the month of May, then fill this <tool>bowl</tool> with powder made of it, and place a lit <material>charcoal</material> on top. And, receive the smoke by a quite tightened mouth having closed your mouth well, and a part will come out by your nose. But if you want to purge the head also pinch the nose.  Against colds, rheums, and other maladies.</block>
</entry>
<entry identifier="p079_3">
<folio number="079v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f164.image"/>


<heading><material>Tin</material> for casting</heading>

<block>They use common <material>tin</material>, which is the one that <profession>pewterers</profession> use for plates, which is composed of 9 or ten pounds of pure <material>lead</material> on one quintall of <material>tin</material>.</block>

<block position="left-bottom">
Some find that there is nothing better than pure <material>tin</material>.
</block>

</entry>
<entry identifier="p080r_3">
<folio number="080r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f165.item"/>


<heading>Fountains</heading>

<figure identifier="fig_p080r_2"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5c3dLNVNsem9nTjQ"/>

<block>If you wish to raise <material>water</material> higher than its source, make a <material>pipe</material> descend as in A. to B. to give it push , then from B. to C. make the <material>pipe</material> ascend, but not quite to the height of the source, here represented by the dotted line, and then make it descend again in a <material>pipe</material> from C. to D., and then let it rise higher than the line demarcating the height of the source, and do this successively until you reach the desired height. Remark nonetheless that the length of the descending pipe is always twice as long as the ascending <material>pipe</material>. This cone also fills itself and demonstrates a perpetual fountain which you can adapt into a rock, attracting the water with which it is filled by the tip here marked, by sucking and breathing in. You can also make a watering can pipe in this way, so long as the bent pipe is just as long as the straight pipe, but does not extend as far down.</block>

<block position="left-middle">
<figure identifier="fig_p080r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5N2U2RXB5UFc3TUE"/>
</block>

<block position="left-middle">
<figure identifier="fig_p080r_3"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5R2ZBNWRseEpQdnc"/>
</block>

</entry>
<entry identifier="p080v_a1">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>

<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>

<heading>Founders of small <material>tin</material> work</heading>

<block>
  They usually cast from soft <material>solder</material> the things that should not become hollow, because hollow works require fine and <material>soft tin</material>. However, these things would not otherwise lose their coat or become hollow if they are mixed or include <material>glass tin</material>  in them, just like they mix a little <sup><material>glass tin</material></sup> in the <material>soft tin</material>. They carve their work on <material>stones</material> of which the sharpening stones or barber's files are made. These are found in great flakes near the <place>mountains</place>, and resemble <material>slate</material>. They are found in three colors: one reddish, that is not as perfect as the others because it does not sustain heat ; <sup>another</sup> one  is the color of dark <material>slate</material>, and the other is whitish. When they work a relief, first they print it on <material>carton</material>, which is one finger thick, to serve as a pattern. After planing their <material>stones</material> and rubbing them together , they use a <tool>compass</tool> or <tool>little iron tools</tool> to carve their figures. They make their molds with three or four <material>stones</material>, to make a circle or a square with the <material>stones</material> which join perfectly because the <material>stones</material> are of equal size. Before casting, they rub the mould over with <material>tallow</material>, and it <sup>the mould</sup> absorbs it quickly because it is hot. Then, having <sup>put</sup> fine powder of <material>quicklime</material> into a <tool>cloth</tool>, they rub the mould using pounce in beating the <material>linen</material> on top, then blow it a little on top; this prevents bubbles <sup>from forming</sup>. The main thing is to make some vents. If the work is big, they do as it is shown <sup>on the picture</sup>. They make a hole in the <m>medal</m>, somewhere where it is least visible, and with a bit they pierce the mold on the side of the <material>medal</material>.
</block>

<figure identifier="fig_p080r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5VktqeFlScTAyczQ"/>

<block>And if they want their work to last, they pierce <sup>it</sup> somewhere and fit in a piece of <material>cork</material>. <material>Lead</material> or <material>tin</material> will not damage it. </block>

</entry>
<entry identifier="p080v_mb1">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-top">
Make sure the <tool>pegs</tool> of your frame fit in easily so  it will open with ease without moving anything else. Your box molds should fit well, and the table should be very flat.
</block>
</entry>
<entry identifier="p080v_mb2">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-top">
Try to carve with <material>distilled vinegar</material>.
</block>
</entry>
<entry identifier="p080v_mb3">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-middle">
Try calcined <material>oyster shells</material>; they are said to be excellent for molding.
</block>
</entry>


<entry identifier="p088r_a1">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Vine</heading>
    
    <block>
    As with a bramble, it can be planted on both sides. And those who plant the larger side facing a slope say that it makes a larger stock. But it only has a higher point, because it grows higher.
    
    </block>
</entry>

<entry identifier="p088r_a2">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Mortars</heading>
    
    <block>
        The fine copper mortars do not throw any flames, as long as the iron pestle is not tempered. If the mortar is indeed made from metal, when this is sour, in this case one makes the bottom of large mortars from fine copper.
        
    </block>
</entry>



<entry identifier="p088r_a3">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Varnish</heading>
    
    <block>
        Turpentine oil: turpentine &amp; good eau de vie, to dry it out; heat it without mixing on the stove, so that it mixes  of its own accord in melting. After, test it on a very clean blade, &amp; you will know from this whether it has enough body and whether it does not flow too much.
        
    </block>
</entry>


<entry identifier="p088r_a4">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Grafting</heading>
    
    <block>
        One knows from experience that the young shoot that is enters into the incision on the sunny side takes hardly often at all when it is also bowed.
    </block>
</entry>


<entry identifier="p088r_a5">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Baker</heading>
    
    <block>
        Dust guards wheat against being worm-eaten. And to clean it well when it is stained &amp; like rust, pass some ashes through a sieve and mix them with the wheat, then sift the whole thing with a bolting cloth made from rough cloth or canvas. The ashes will pass through &amp; your wheat will stay nicely yellow &amp; very fine.
        
    </block>
</entry>



<entry identifier="p088r_a6">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Looking-glass tin</heading>
    
    <block>
        It makes material whiter.
    </block>
</entry>




<entry identifier="p088v_a1">
    <folio number="088v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f182.image"/>
    
    <heading>Sand from pulverised rock salt and sand from a minium finely ground on marble </heading>
    
    <block>
        After they have been dryly ground and beaten in the mortar, they are ground finely on the marble. I mixed the same quantity of each material, and in order to mix them better, I ground them on the porphyry again, and then filtered this through a double sieve or the sleeve of a shirt. Then, I put them on sheets of paper and stored it on marble in a cellar. In one night, they were both moist enough [that there there was no need] to dampen them further because rock salt, like all other salts, dissolves in dampness. I molded with this very neatly because both should be quite fine. They need to be moist enough so it can be removed easily.
        
    </block>
</entry>


<entry identifier="p088v_a2">
    <folio number="088v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f182.image"/>
    
    <heading>Mineral sand</heading>
    
    <block>
        It does not matter if the sand color is white or yellow. Above all it the sand must be lumped together much like a precious stone or a stone, and the deeper in the earth one gets it from, the better. The signs of its quality is that it is thus gathered together, that, if the stone is removed as it should be i.e. in the correct way, it forms pieces and  lumps together, which demonstrates its capacity for binding, and that it the sand is not too dry.
        
        However, it should crumble in your hands. And the grain must be  quite small, fine, and homogeneous. If this sand is not fine enough, you can filter it and grind it up finely either with water, or through a sieve, when it or on the porphyry. That way it loses its dryness and becomes greasy and well bound. You can mold it in  a box mold or in a noyau without wadding, and try it with lead because, if it does not swell and casts neatly, it will bear out well too. Some say that fatty sands do not work for casting metal that is too hot. Artisans who undertake a big job and who want to save money do not need to crush sand and seek the curious properties of artificial sand; they have more to profit from finding natural sand that has the finest grain possible. And for a small job, they take advantage of finding the finest natural sand they can. For a smaller job, they only filter the sand through the sieve. But those who work on a very small scale crush the sand and grind it finely until it becomes impalpable, because they do not need as much sand.
        
     </block>
    
        <block position="left-middle">
        
        Ground wheat makes a tawny-colored powder that is quite fine and quite soft. Once this powder has been mixed, it can mix mold very neatly. Try wheat flour burned in an enclosed fire.
    </block>
</entry>





<entry identifier="p089r_a1">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfjNRYzJEYS1Nemd1Sm1aT2J0S0t0clViNThnQlpNYjVtUWwtVlRHNlhaZ00" title="Ox Bone and Rock Salt"/>
    </annotations>
    
    <heading>Powder of ox bone and rock salt </heading>
    
    <block>
        I pulverised them separately and ground them finely on the porphyry as much as I could. Then I mixed all of one with the other and re-ground it on the porphyry. Afterwards I moistened it in paper folded in a moist napkin which is made wet more quickly from the moisture of the night, or the moisture of the cellar. I have never found one which can be removed more cleanly from the mold than this, though it needs to be quite moist. And if you want to cast small works, make it very hot. It came out very cleanly from the doulx tin, like the main one, and has sustained several castings. For tin, I believe that it is not necessary to look further to find a material that takes to powder better, and even for use with fine lead which has almost better results than tinTou. The bone of an ox hoof is always dry, that is why you must mix it with fatty sand, so it will bind like tripoli, salts, felt, ashes and similar materials. If you do not mix ox-hoof bone, it will not turn out from the mold and will not mold cleanly because it crumbles.
        
        
    </block>
</entry>




<entry identifier="p089r_a2">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <heading>Reheating or wiping a box mold</heading>
    
    <block>
        Always arrange the most delicate parts, like faces or handles, so that nothing will fall which would then disturb your fusion.
        
    </block>
</entry>




<entry identifier="p089r_a3">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <heading>Natural sand </heading>
    
    <block>
        This should not be reheated for lead and tin, it is  better all new and fresh.
        
    </block>
</entry>




<entry identifier="p089v_a1">
    <folio number="089v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f184.image"/>
    
    <heading>Ammonia salt and alabaster</heading>
    
    <block>
        Dry ammonia salt, ground  on a marble slab, molds very cleanly and is easily removed from the mold. When mixed with pulverized alabaster, use two ounces per pound of alabaster; it also is easily removed from the mold. It should be humidified in a cellar or in the cool humid evening air, or to have it quickly, in a sheet of paper in a moist towel. Take care not to leave it too long because it will soften, which would not be good if you wanted to use it as a box mold. However you can use it well as a core provided that you dry it gently and away from the fire. Otherwise the heat would make it swell, and push the salt onto the surface, causing lumps. If you want to mold a core,  rub your medal with aspic oil. It is better to use 4 ounces of ammonia salt per pound. Humidify it in a damp place for two or three days, so that the material can be handled without sticking. You will mold very cleanly. Let the mold dry out and reheat it, that way it will get body, and become as hard as stone and when it is like that it is far easier to remove from the mold. If you do not reheat it, it could crumble when removed from the mold because of its thinness. It is the same with a large relief medal. Once you have molded, pulverize the material like before, and moisten it in a damp atmosphere.
        
        
        
        left-middleAll sands which can be removed easily from the mold have body, well-made fat ammonia, and  is sand that removes easily from a mold. There is nothing better for binding than the salt of the metal itself. When ground into powder, they pick up moisture, dry and reheat together.
        
        
        
    </block>
</entry>






<entry identifier="p089v_a2">
    <folio number="089v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f184.image"/>
    
    <heading>White glassmaker's sand mixed with ammonia salt</heading>
    
    <block>
        You can find this sand in Cominge, near the town Aurignac. This sand is dry and as white  as salt. Glassmakers and potters use this sand ground on the porphyry until it becomes as fine as possible. Easy to grind, this sand looks like calcined alabaster, and provides a very clean mold. I have not found another as suitable for delicate bas reliefs. It is also excellent to mold as a core, without any box mold. You must grind it very finely on a porphyry with gummed water or pure water, then apply a thick coat (as thick as mustard or a little bit thicker) over the medal, which has already been lightly rubbed with oil, walnut oil or, even better, aspic oil. For best results, let it dry by itself, away from fire, for one or two days. If you are in a hurry, you can heat it; it should not break if the coat is quite thick. If it is suddenly exposed to fire, some holes will appear; that does not happen if it has been gently dried. Once dry, reheat it, and it should allow for several castings.
        
        
    </block>
</entry>





<entry identifier="p090r_a1">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Sal ammoniac and iron dross</heading>
    
    <block>
        I pulverized sal ammoniac, previously well dried in a hot bronze mortar over heat. Then I filtered the salt through a double sieve; it became very fine. But to make it finer, I dry ground it  on the porphyry, then I mixed it with iron dross which was pulverized and ground the same way. Both ingredients take a very clean cast of bas-reliefs, without being moistened with serain, or into the hollow mould, or anywhere else with the serviette, and the cast can be cleanly removed. 
        
    </block>
</entry>



<entry identifier="p090r_a2">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Sand</heading>
    
    <block>
        Molders from Foix who cast their medals sideways use crocum ferri and calcinated slate. It is used for very flat things.
        
    </block>
</entry>



<entry identifier="p090r_a3">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Every kind of sand can be made useful</heading>
    
    <block>
        Artisans who do big works, and who need to search for things made by nature to pursue their work, because nature does not want to sell its wares to its children, and in order to save the time they would spend grinding, pulverizing and artificially preparing their sand, look for sand from sandpits, which is not too fat from the soil, nor too arid and, consequently, without any binder effect. From deep in the sandpit, one can find some lumps and gravel that show the sand's natural compaction; it is quite hard to break, with very small and fine grains, quite smooth between the fingers. And since it is found solely close to mountainous regions or arid lands, you cannot find any near every good town, where artisans live. Thus, if they can't find any close to their home, they prefer to order some of this sand from afar, like Lyon, Venice or Paris, near the Sainte Chapelle, and similar areas, instead of preparing it themselves. Nonetheless, you can be assured that in all locations, you can make sand from the sandpit
        and will be good and will mold cleanly. Because the sand is coarse and dry, filter it through a sieve. If it is not fine enough, wash it. And when the water has settled a little, pour the soiled water into another pot. The coarse [grains] will quickly fall to the bottom of the first pot. But the sand from the troubled water pot, having settled, will be much finer. If this sand does not bind enough, dry crush it on the porphyry, thus making it impalpable, and it will bind as chalk does.  If you wish you can reheat it, and straight after crush it and blend it with salts, or burned cloth, or felt, or paper ashes, or similar material.
        
    </block>
</entry>

<entry identifier="p090v_a1">
    <folio number="090v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f186.image"/>
    
    <heading>Potters' clay</heading>
    
    <block>
        Grind it in a mortar mustard mill with water, and it will become as impalpable as possible. Dry it, then moisten it with salt water, which give force to  all sands in order to allow several castings.
        
    </block>
</entry>






<entry identifier="p090v_a2">
    <folio number="090v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f186.image"/>
    
    <heading>Orange trees</heading>
    
    <block>
        In Italy, particularly in the coldest areas like Lombardia, people plant the orange trees inside squared wood planters. The planters are larger at the bottom than at the top. People make handles on each side, where they attach straps in order to carry the planter, like one carries the gout sufferers, because if one used wheels to roll them one would damage the garden's paths. Every two year they remember to open the sides of the planters and meticulously cut and trim the ends of the orange tree's roots, which are dry. Otherwise, the roots find the wood [of the planter] and tighten on it, they double over themselves, the ends dry and the tree dies. Once trimmed, the roots gain new space  to expand, without encountering resistance from the wood of the planter. That is why it is better to join the sides of the planter with screws rather than nails, to avoid shaking the soil when one opens them.
        
        
    </block>
</entry>






<entry identifier="p091r_1">
    <folio number="091r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f187.image"/>
    
    <heading>Grafting</heading>
    
    <block>
                
        Any tree that has a large pith will be hard to be graft from, because the cutting is difficult to remove.  If the pith is damaged, the graft will take in an unstraight manner, like with vines of all peach and apricot trees.
        
        
        
        Apricot trees have a very thin bark, and so it is necessary to graft them onto young trees whose own bark is not thick yet, such as the young shoots of prune trees or apricot trees.
        
        
        
        The graft will not take if the cutting gets wet.  It is necessary therefore to graft in serein and mild weather, not too cold and not too windy.
        
        
        
        One must use old wood to graft, if one wants to graft on a tree that is already mature and quite big; because if this is the case, it will compress the cutting, and if the cutting is of young wood, it will not grow properly. But old wood resists the compression of old wood better than the young, because it is harder than young wood. But if the graft is done with only old wood, it will never grow beautifully, but will be frail and short and will take a long time to grow.
        
        
    </block>
</entry>






<entry identifier="p091r_2">
    <folio number="091r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f187.image"/>
    <heading>Molding with cuttlefish bone</heading>
    <block> Pay attention to keep the bones in a dry place, because they are very prone to dampness.
        If you have a small medal, divide the bone into two pieces, then smooth the two parts with a
        knife. And on a dry, smooth rooftile [that has been] pulverized with willow charcoal, rub
        and polish the two half bones. In this way, the bones soak up the willow charcoal so that
        the bones will come off cleanly from the cast, and will not stick to it. Then on a fake
        bone, that is to say a bit of smooth brick of the same width as your bone, place your medal.
        And then on the medal, put your bone and press it firmly with another stone of the same
        size. And for a second time, mold it, and instead smooth over the top with willow charcoal
        and blow slowly, then press as before, and it will cast neatly. If it is for a spoon handle,
        two whole bones are needed. Any work that is cast is brittle and prone to breaking, because
        the metal swells when cast, and contracts and condenses when hammered. That is why it is
        necessary to retrace with a chisel the cast object and in this way the metal will contract
        again and let it escrouir. If the piece you have to cast is in high relief, first trace the
        mold and the hollow with a penknife, to make a clear path for the medal and then cast it.
        And if the medal has two sides </block>
    <block position="left-bottom">Rather than casting, heat the bones only to make them lose the
        coldness and wetness.</block>
    <block position="left-bottom"> When the lead gets too hot, it calcinates. </block>
    <folio  number="091v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f188.image"/>
    <block> Because the two bones are joined, cut around them with precision, and make notches in
        different places which cross through where the two bones are joined, so as to recognize the
        place where they were first joined. Or with little shards of wood, you can also pierce the
        bones, or coat the joints with clay, and leave it to dry. Compress between them it with your
        two hands in between your knees; and do not use a normal press, otherwise the bones will
        break. Mold at your leisure two or three times, until you can see that it has the design
        come up and is well imprinted. And on each occasion rather than putting the piece straight
        back in the mold, smooth with willow charcoal because it helps it to come out easily. Once
        you have cast, rub your medal with oil and willow charcoal with a brush, to make it dull.
        Take care that your medal is not greasy or oily when you cast it in cuttlefish bone. Once
        you have cast, leave it to cool rather than taking the medal out straight away, because when
        one takes it out hot, some bone will come away with the medal. Cast at medium heat, which
        you will recognize because the bone should stay almost white. But when it is too hot, the
        bone becomes brown. The proportion of lead and tin is equal, one to the other. If the piece
        is difficult to cast, and composed of various pieces, cast it with a forked pattern, of
        three or four grooves, and make and make these grooves where the metal is the thickest. Also
        make these grooves around the medal and directly on the head because this attracts the metal
        and will fill the figure best. Lift your boxmold a little, once you cast, and in this way
        you will be able to make several clean casts. Tin that is too hot burns the bone which
        becomes damaged. Moreover, having come out of the mold hot , it risks breaking. <figure
            identifier="fig_p091v_1"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5Q2hHbzNsX1JlYUU"/>
    </block>
</entry>


<entry identifier="p092r_1">
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Sand mixture easy to melt</heading>
    
    <block>
        
        One ℥ of part soft tin, one part fine lead, one part looking-glass tin and one part argent vif arresté makes an alloy and a solder, so easy to melt that it could easily be melted in a dish of fine tin.
        
    </block>
</entry>





<entry identifier="p092r_2">
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfmlmV1RuaUJjald2bmlQN3V1N0NTdnM2VzVBdDAwTXVnVnQ3b2lmTGFNaEU" title="One-Sided Hollow Cast Medals"/>
    </annotations>
    
    <heading>Molding hollow on one side and in relief on the other</heading>
    
    <block>
       And for this effect, one casts a medal of fine tin, which is harder to melt. And since it is neat, one molds with it.  And one leaves it in one half of the box mold, &amp; presses it a little so that it holds better. And next, you shall cast in your box mold the solder described above, or another more meltable than fine tin. And thus, the second medal will melt and mold itself on the first one without ruining it. But to be safer, temper lamp black with water, &amp; with a pinceau, give a light coat of this to the medal, which remains in the box mold, &amp; leave to dry. Thus it will not melt.
        
        But if you have a  medal of copper or silver, you can leave it in the casting, if you want to cast with lead or tin; but it is necessary that it be a little hot, for the cold would make the tin contract.
        
        Tin needs to be cast quite hot to come out neat.
        
        Tin doulx, which is the best for the cast, is the one that once cast en grille, is burnished &amp; shiny &amp; polished like a mirror, &amp; appears to have been burnished, &amp; does not have holes like the one that is brittle, &amp; that is not shiny, as if burnished.
        
    </block>
</entry>





<entry identifier="p092r_3">

    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Potin</heading>
    
    <block>
        Potin, once cast very hot, runs and drips like tin. But the medal becomes whitish and immediately casts off the green, which good substances do not do.
        
        
    </block>
</entry>





<entry identifier="p092r_4">
    
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Molding statues</heading>
    
    <block>
        Half founder’s earth, which founders use, and half clay earth renders very neatly.
        
    </block>
</entry>






<entry identifier="p092v_a1">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Sand of river tellins and mussels</heading>
    
    <block>
        
        The long shells that can be found in rivers of fresh water, being calcinated, make a white and very fine [impalpable] sand which moulds very clean.
    </block>
</entry>



<entry identifier="p092v_a2">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Freezing mercury</heading>
    
    <block>
        
        It can be frozen, as I tested, letting it boil one or two hours in a rather large iron pan putting, for each ℥ of ☿, ii  ℥ of  vert-de-gris and  vitriol of saltpetre, each in the same quantity, with enough of the blacksmith's old water.
        
        Or melt 4 ℥ of tin, and when it  has cooled, purify it by removing the filth on the top, then make a hole and inside there add  i ℥ of ☿ and if you remelt it, it will be like tin but it will be fragile. If you want to know if it is tin or ☿, redden a shovel and put a small piece of your ingot on the top. If it is tin, the piece will melt but remain, but if it is ☿, it will melt immediately then, crackling quite hard, it will evaporate. It must be frozen in a ladle or in a hollow crucible, and make the hole medium sized.
        
        It can also be frozen, as I tried, that is to say with aqua fortis which before corroded a bit of silver. This, mixed, will make tin and lead fluid.
        
    </block>
</entry>



<entry identifier="p092v_a3">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Mixture</heading>
    
    <block>
        
        Pure tin, frozen mercury, smells like tin. Iced tin, pure lead, as much of one as of the other, makes a substance that  melts very quickly but that is fragile and white. I think that it would be good for soldering. [Takes a] long time to cool.
        
    </block>
</entry>



<entry identifier="p093r_a1">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Olives</heading>
    
    <block>
        The olives go bad if you do not refresh their salt water once a month, do not touch it with your hands, otherwise they will go bad.
        
    </block>
</entry>



<entry identifier="p093r_a2">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Country folk's observation</heading>
    
    <block>
       
        When it freezes on Palm Sunday, it will freeze every month of the year
        
        When the first flowers fall because of the frost, the other flowers also start perish. 
    </block>
</entry>



<entry identifier="p093r_a3">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Grafts</heading>
    
    <block>
               
        Do not use a graft from old wood, because it never makes a beautiful tree.
        
        Leave only two shoots on the graft and no more, otherwise it will become weaker. The wind torments it and leaves it strengthless to propagate by cuttings.
        
        Trees which have big pith, such as peach trees, and all other trees of their kind, and the plum trees, can't be grafted when freezing because the cold damages their pith, which also has to be protected avoiding to cut the bottom of the graft.
        
        All grafts must not be done earlier than the sap flows up, otherwise they dry.
    </block>
</entry>



<entry identifier="p093r_a4">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Sand</heading>
    
    <block>
       
        The white ash of all kinds of wood, which still sticks to the wood while burning, and which has not fallen into the hearth, molds very clean
        
    </block>
</entry>




<entry identifier="p093r_a5">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Sand</heading>
    
    <block>
        
        Very fine pulverized soot molds and removes easily from the mold.  The best soot, which is greasy and shiny, is the one from the big kitchens
        
        Very fine pulverized quicklime works, but mixed flint, crumbled into the hollow, does better.
        
        
    </block>
</entry>




<entry identifier="p093v_1">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTkM0UklMWDhqZlU" title="Painting Skin and Shadows a destrempe, fol. 65r, 66r, 93v (Nisse)"/>
        </annotations>

    <heading>Faces painted with distemper</heading>

    <block>

        Because colors painted with distemper dry quickly and one would not have enough time to complete the shadows and touches on the face, one wets the reverse of the face, on canvas, with a wet sponge. Then, with a small pinceau, one makes the shadows, which won't come off. Next, one lays the flesh tones, which do not prevent the already painted shadows from appearing. And then, one retouches the more prominent areas with lively flesh tones. And with another pinceau one retouches the shadows in hatching. The shadow strokes do not come off because they are made of bister, which stains the canvas like rust. The said bister is good for making shadows with distemper, for in oil it has no body and would dry with great difficulty. One mixes ru ochre in the said bister for shadows with a little sap green. The best bister is the rich, shiny one from the fireplaces of large kitchens. It is difficult to grind and screeches on the marble slab.

     </block>
</entry>


<entry identifier="p093v_2">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjVoVURubFJMRlk" title="Azure Enamels, fol. 11r, 59r, 61v, 93v (Chang, Clemens)"/>
        </annotations>

    <heading>Azure</heading>

    <block>
       Azur desmail always wants to be cleaned because the filth that can be seen in the used water would makes it die. It always needs to be coated twice, &amp; first very thickly, driving the pinceau by laying it lengthwise then across. It is better used on canvas, which imbibes it immediately, than on wood. Varnish restores its vigor, because while imbibing, it becomes dark. To try it, painters bring their palettes to the grocers and distemper and mix @ it with a bit of white crushed in oil, for in this way the beautiful shows its turquine vivacity, while the mediocre is lavender grey. The thinner one is best to work with. It is made thinner by being washed.

    </block>
</entry>


<entry identifier="p093v_3">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    
    <heading>Purple and lake</heading>
    
    <block>
        
        It is made of azure and lake which is also tested on the palette with white. The one which gives a clear red rose color, tending slightly towards purple, on a polished knife or on glass, is esteemed beautiful. The dark red one is not as pleasant.
        
        
    </block>
</entry>




<entry identifier="p094r_1">
    <folio number="094r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f193.image"/>
    
    <heading>Burnisher</heading>
    
    <block>
        The different parts of a sword are the handle, [and] the sheath of the sword. What comes next is the heel. The rest is the blade. The sides are the edge and the point. Certain blades, acute in point, have only one side filed in the middle &amp; along the whole length, and are easy to break. Other blades are called of three molds or three grips, which have one good rise in the middle, but this elevation is flat as if it were acute in point but flattened. These ones are most certain. Others are called fluted, which are notched from the middle, &amp; when it is along the whole length, they are just as easy to break as those acute in point and are more troublesome to burnish because the burnishing stick can't get in. But they make one specially that is narrow.
        
        Making up the hilt of the sword are the pommel, the branches of the hilt and the cross-guard, which is this iron strip that closes off the guard [and] that is at the end of the heel to stop thrusts from sliding down the hilt. The rings are these two branches in half round that start from the eye of the guard and go all the way to the branch of the cross-guard.  The branch that crosses the hilt is called the body and this escutcheon, by which the sword enters the sheath and to which all the branches return, and which holds them, is called the eye of the guard.
        
        
        
        Following is the wood of the grip which one glues or more fittingly [uses] some mingled wax which is made of wax and pitch, for rosin would be too hard. He heats it lightly, then rubs the wood of the grip so that the tang takes hold, or the threads, otherwise, when a thread frays off, the whole thing will break all at once. With iron thread or dog skin, one also uses glue. The trimming set on the wood, which is made of silk or thread, is called the cord, which is made from two or three threads twined on the spinning wheel, or 4 if the silk is thin. A cord a little bigger holds better. The rivements, which are also made of silk at both ends of the grip, are called the buttons.
        
        
        
        Some grips are made of silk, seal skin, iron thread reheated with gold and fine and false silver thread &amp; velvet [thread]. Iron thread is of less price and is most durable. Next is that of silk, if one does not have the convenience of being close to the sea in order to recover some dog skin, which is quite convenient. The good skin costs fifty or lx s{ous} and makes 4 or five dozen grips. This one gives a good grip and a sure hand. To put it to work, if it is too hard, soak it for one or two hours in slightly lukewarm aqua fortis. Because if it were too hot, it would boil and spoil the skin. It is sewn with black thread. 
        
    </block>
        <block position="left-middle">
        <figure identifier="fig_p094r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5YTlFNHRBSVRrOEU"/>
        </block>
         
        <folio  number="094v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f194.image"/>
        
    <block>
        The gold handles are made with some yellow thin cloth set below or other kind of chalk-yellowed fabric. And this cloth is set on with glue or aforesaid gum. This is in order to make the thread hold better on it. These latter are made of cordons like the silk ones and between two cordons are put one or two threads to enhance it. The silver one is identically made. And there is as much difficulty as for the silk one, not because silk is difficult to twisted, but it needs to be twisted twice. A fine gold handle is worth 28 or 20 cents.
        
        The best sword point is of sage foliage.
        
        
        
        This long stick on which the sword is laid down and attached in order to furbish is called the chameau. It is commonly made from rowan which is hard and even.
        
        The stick underneath which is folded bow-like is called the arch.
        
        The stick above is called stick of the fustée.
        
        And this square piece, used on the sword to burnish it, is called the fustée.
        
        There are two horns, one is called the oil hornet and the other the emery hornet. 
        
        There is an iron tool with the shape of a halberd point, square and made of very even and well limed steel called the grateau which helps to soften lime strokes on swords hilts and to sharpen blades once they are softened which is better than with stone or other tools which leave some scratches.
        
        To make the swords cut better, the edge from the point is also sharpened.
        
        Those who create sword hilts are different craftsmen than furbishers.
        
        The fustée is a three-finger-thick, square wood tool, made of boxwood which fit in the middle of the fustée stick to furbish.
        
        The fresil stick is made of willow wood which is to […] weapon with some clinker which is the iron scale falling from the blacksmiths' forge.
        
        </block>
    <block position="left-top">
        <figure identifier="fig_p094v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5Q29MTEVLUGE5RGs"/>
        
               
         le banc 
        
        des fourreaux
        
    </block>
    <block position="left-middle">
        <figure identifier="fig_p094v_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5OEQ3OEFSNnEzeE0"/>
        
    </block>

        
        <block position="left-middle">
        a b
        
        D
        
        
        
        le baston 
        
        a felinder
        
        
        
        c
        
        le flin ou pierre
        
        de fouldre
        </block>
    
    <folio  number="095r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f195.image"/>
    
    <block>
        The furbisher buys his blades by the dozen which are not finished, [but ready] to be pulled from [their] sheaths since he does this himself in order to add them well at the pommels and guards.
        
        
        
        Spanish swords are esteemed to be better for they are of better steel and iron but they are not as well-forged as Vienna swords, in Dauphiné. The Spanish ones are not as well sharpened from the forge since they sharpen them with their feet and this is what makes them wavy.
        
        
        
        Vienna blades cost commonly Xviii or 19 lb.
        
        
        
        The first thing the furbisher does to his new blades is to draw them out from the sheath, which he does himself or has it done by locksmiths or blacksmiths to whom he gives some liart for their charcoal. Afterwards they pass it over a grindstone to cut it down. Then they lay it down on the chameau, and with some powdered emery, fine and soft as flour, and soaked with oil to make it take, they polish the sword with the stick used to take off the tracks left by the grindstone and then they clean the blade well with the emery. And they add a drop or two of oil spread with the finger to give it luster. Once the oil is applied, they polish it again on the chameau with the "felin" which is a thunderstone mounted on the middle of a stick like the "fustée." And this stick is called the "felindel" stick. Once they used the "felin," they polish it again with some chalk and the oil [already] on the sword. After they follow this and going over it again, they polish it with dry chalk. Finally when they are finished with mounting [of the pommel and guard], they give it a sharp edge with a file. They then dry it and sharpen it and furbish it again with some dry chalk. At the end when they are completed and mounted, they give it [the blade] a sharp edge with a grater.
        
        
        
        They are polished on a false mounting with the guards which are present in order to find out if they work well together. And employing a blade of the sort of which all the sizes should be made in the hand, one conjectures whether it will be as strong when mounted.
        
        
        
        One puts the blade in a vice between two pieces of wood, then with a file, they enlarge [it] if needed for attaching the guard. Then to clench it, one positions the place to be riveted and the pommel on a piece of wood. And with a hammer, one beats on the top to make it very level and to secure the pommel. Then with the hammer, one finishes the rivet when the hammer is well secured and does not shake. The wood is placed so as not to put gashes in the pommel. Afterwards one makes a place for the rivet with a file or chisel. And some make the rivet [or attachment] in a diamond-shape but this is not as good as a round [topped one] because one cuts oneself on the corner of the rivet.
        
        
    </block>
    
    <folio  number="095v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f196.image"/>
    
    <block>
        
        The end can be bought already made, a dozen of small ones costs six sols but the big ones 2 carolii.The end is fixed either with nails which are fixed on the sides of the cutting edge, but this only spoils the sword and rots the scabbard for the water goes into it via the juncture of the nail. The best way is to apply some resin or glue but the resin is better. And the best is when the end is tightly set and so hot when set that powdered resin on the end melts, in that way it doesn't fall and can't be undone unless it is put in fire.
        
        Hilts are of different types:
        
        Ornate
        
        Guttered which is with round mouldings
        
        Pearled
        
        Scarfed when the bands are crosswise
        
        Onioned which is with a flat head
        
        In the King's manner, fully covered 
        
        The furbishers buy them by dozens, the dozen of full ones costs 10 lb. the worked one, 30 sols or [more] depending on its nature.
        
        
        
        The first thing that the apprentice does is to furbish as said.
        
        And then to adorn the sword and make a scabbard which is the summum of the art.
        
        They buy scabbards' wood pieces which are wholly made of beech wood, a hundred for 15 or 20 or 30 sols, depending on how far they are made.
        
        Theses wood pieces are thus called estelles, and have to be very clean and without any knots and are one finger thick.
        
        Then the furbisher puts them on a small bench, called a scabbard bench and with a small iron tool similar to the joiners' bench, they maintain it firmly.  Then with a plane, which is like a two-handled knife, they work the wood piece from the top, then use the joyner's plane to flatten it more. Afterwards, the inside is scoured with a
        
    </block>
        
</entry>
<entry identifier="p102r_1" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>Provisions for the work of Colchos</heading>

<list>
    <activity type="Colchos"/>
<item>7 <unit><tool>limbecks</tool></unit> of <material>glasse</material></item>

<item>2 <unit>lbs.</unit> of <material>☿</material></item>

<item>One <unit>measure</unit> of <material>coarse salt</material></item>

<item>6 <tool>unleaded earthenware vessel</tool></item>

<item>2 <tool>large unleaded pots</tool> for calcinating</item>

<item>2 <tool>alembics</tool> to distill <material>vinegar</material></item>

<item>4 <unit><tool>pots</tool></unit> of <material>good vinegar</material></item>

<item>3 or 4 <tool>lamps</tool></item>

<item>2 <unit>lbs.</unit> of <material>cotton</material></item>

<item>One pair of <tool>scissors</tool></item>
</list>
</entry>
<entry identifier="p102r_2" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>For the furnace</heading>

<list>
    <activity type="Colchos"/>
<item>A <tool>chest with a ten inch wide square <material>stone</material>, and of a one-foot thickness, pierced in the middle</tool></item>

<item>2 <tool>boxes</tool> or two <tool>earthenware pots with a lid</tool></item>

<item>2 <tool>small pipes of <material>white iron</material></tool> to evacuate the <material>smoke</material> of the <tool>furnace</tool></item>

<item><material>Turnipseed oil</material> for the <tool>lamps</tool> to heat the <tool>furnace</tool></item>

<item>A <tool>fire-steel</tool></item>
</list>
</entry>
<entry identifier="p102r_3" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>Royal cement</heading>

<list>
<activity type="Colchos"/>
<item>One pound and a half of <material>vitriol</material></item>

<item>As much <material>saltpeter</material></item>

<item>As much <material>rock alum</material></item>
</list>
</entry>
<entry identifier="p102r_4" group="Colchos">
<folio number="102r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading><material>Glass</material> <tool>vessel</tool></heading>

<block><activity type="Colchos"/>The <material>glass</material> <tool>vessel</tool> must be either pear-shaped or round pyramid-shaped, of the same thickness as the small back of a <tool>knife</tool>, round on the bottom without folding over on itself, like <tool>flasks</tool>, its opening of such a size that a <foreign>Dutch</foreign> <material>feather</material>can just about get in, with a lip at the end, in this way of the height of seven <unit>fingers' width</unit>.</block>

<figure identifier="fig_p102r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5MVhNYTRzOXJzR2M" position="middle-bottom"/>
</entry>
<entry identifier="p102v_1">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>Painting on crystal or glass</heading>

<block><activity type="painting"/>They paint without any traces <material>oil</material>, except for faces where they outline the nose and the mouth in very fine <color>black</color> work. Then they make strokes and highlight them in <color>white</color>, and then they apply a coat of <color>flesh-tinted color</color>.  As for the background, they do it in natural <material>azur</material> from <place>Acre</place> to make it more beautiful, or <material>lacquer</material> for a quickly-done <color>red</color>, or for a finer <color>red</color>, <material>dragon's blood</material>. But it is necessary to apply it little by little so that it is smooth and of one color, and in the same way for other colors. Then they apply underneath it, a leaf of <material>topaz</material>, <material>gold</material> or <material>silver</material>.</block>
</entry>
<entry identifier="p102v_2">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>

<heading>Infusion of <material><plant>anthos</plant></material> or <material><plant>rosemary</plant></material></heading>

<block><activity type="infusing"/>It is better to cook the <material><plant>flower</plant></material> in <time>August</time> and more suited to <material>oil</material>-making. Take as much as you want. Then put it into a <tool>bottle</tool> very well corked, and leave them to wilt in the shade for a <time>day</time>. Then add the first substance of <material>wine</material> and leave to settle three or four days; and express it all in another <tool>vessel</tool> and into this very same substance of <material>wine</material>, add seven or eight infusions made out of new <material><plant>flowers</plant></material>. Then leave the latest infusion in the sun for a <time>month</time>. Then distill it through a <tool>still</tool>. Then mix two <unit>ounces</unit> of this <material>water</material> with two or three <unit>spoons</unit> of <material>white wine</material>; but this is for the elderly. <name type="person">Paul the Third</name> used it.</block>
</entry>
<entry identifier="p102v_3">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>

<heading>Casting</heading>

<block><activity type="casting"/><material>Tin</material> casts better when it is thin and delicate, than when it is thick, because when it is thick it contracts in high heat. So if you want to mold a thick piece in <material>tin</material>, mold it only one one side, and if it is possible, make it hollow on the other side. In this way your piece will be neater. And then you can solder two half pieces together. But if you have no choice but to mold it thick, make the shape of it and mold <foreign language="French">force abreuvouers</foreign> around the figure in this way.</block>

<figure identifier="fig_p102v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5SjZwV0ZHdW93ZEk" position="middle-bottom"/>
</entry>
<entry identifier="p103r_1">
<folio number="103r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f211.item"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    
    <heading>Excellent burn relief</heading>

    <block><activity type="medicine"/>Heat <material>linseed oil</material> on a light fire, without letting it boil and simmer. But when it is hot put a quarter part(of the quantity of the <material>linseed oil</material>) of the newest <material>wax</material> you can find. Once it has melted, let it cool and when it begins to curdle, stir it continuously with a new <tool>wooden spatula</tool> for the length of time it takes to say 9 <foreign language="Latin"><time>pater nosters</time></foreign>, and while you say them, wash this composition with <material>holy water</material>, always stirring. Having said the first of 9 <foreign language="Latin"><time>pater nosters</time></foreign>, pour the first <material>water</material> out and add more, then wash and stir the composition for the time it takes to say 8 <foreign language="Latin"><time>pater nosters</time></foreign>. In the interval it takes to say 3 of the 7 <foreign language="Latin"><time>pater nosters</time></foreign>, and continuing thusly, add more <material>water</material>, as above, until there is only one last new <foreign language="Latin"><time>pater noster</time></foreign> left. Then you will have a soft <color>white</color> <material>ointment</material>, with which you will apply to the burn for 9 <time>days</time>. But don't apply any more, you must let the flesh grow over. Dress it twice a <time>day</time> and each time you wash your face with <material>water</material>, and mix it together a bit tepidly, without rubbing. But press it with <tool>wet linen</tool>, and wipe it similarly with <tool>fine linen</tool>, and apply the <material>ointment</material>. On which you can put <tool>binder's string</tool>. This will regrow your hair and prevent a scar from forming. A <material>powder</material> maker who was completely burnt but had no sign of burns taught it to me.</block>
</entry><entry identifier="p103r_2">
    <folio number="103r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f211.item"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    
    <heading>Against <animal>dog</animal>'s gall.</heading>
    
    <block>The <name type="people">English</name>, who fawn over their <animal>dogs</animal> owing to the care they take of their <animal>livestock</animal>, have <profession>healers</profession> for them the <animal>dogs</animal> who hold this particular office, and who melt <material>pitch</material> in <material>water</material> and, leaving it wet, rub the <animal>dogs</animal> with this <material>water</material> or with <material>water sublimate</material>.</block>
</entry>
<entry identifier="p103v_1">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><tool>Enema</tool></heading>

<block><activity type="medicine"/>In order for the <tool>pipe</tool> to not hurt children at all, or those with swollen or protruding hemorrhoidal veins, one covers the <tool>pipe</tool> with a parcel of <material><animal>chicken</animal> entrail</material> and fold it over the end, and in this way, one gives the <tool>enema</tool>.</block>
</entry>
<entry identifier="p103v_2">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>

<heading>Casting</heading>

<block><activity type="casting"/><material>Tin</material> recoils if thick, therefore it is better to cast it thin and from one piece, to make two and then solder them together, if necessary. One makes use of a strong piece of <material><tool>taffeta</tool></material> to sieve the <material>fine sand</material> with which one first covers the medal, which is of the thickness of a teston.</block>
</entry>
<entry identifier="p103v_3">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>

<heading>To make colors fluid</heading>

<block><activity type="colormaking"/>Mix some <material>vinegar</material> with a bit of <material>bile</material>, put it into a <tool><material>glass</material> bottle</tool>, and if you want to preserve it for a long time, add some <material>salt</material> and mix some of this with your colors which will make them flow.</block>
</entry>
<entry identifier="p103v_4">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>Earwax</heading>

<block><activity type="experimentation"/>If you take enough with the tip of an <tool>ear picker</tool> and you sieve it with <material>foam of urine</material>, which often forms in the <material>urine</material> of those who have a headache, all the foam will dissipate.</block>
</entry>
<entry identifier="p103v_5">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
      </annotations>

<heading>Enamels</heading>

<block><activity type="enameling"/>To well recognize their difference and their true <color>color</color> by candlelight, it is necessary to put the <tool>candle</tool> behind a <material>crystal</material> mirror, or a <tool><material>glass</material> globe</tool> or <tool>jar</tool> full of <material>water</material>, because this light is like sunlight.</block>
</entry>
<entry identifier="p104r_a1">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Corroding and dissolving absolutely pure <material>gold</material></heading>

<block><activity type="metalworking"/>Put it regular <material>salt</material> with <material>aqua fortis</material> into a <tool>violl</tool>. Let it rest for two <time>hours</time>, without heating it. Put [in this mixture] <material>tenuous gold</material>, and draw it out as if it had been separated from <material>silver</material>.</block>
</entry>
<entry identifier="p104r_a2">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Engraving on <material>iron</material></heading>

<block><activity type="metalworking"/>One <unit>℥</unit> of <material>verdigris</material> and 2 <unit>℥</unit> of <material>coarse salt</material> and a bit of <material>sublimate</material>, or crush some <material>ocher</material> with <material>linseed oil</material>, and use it to cover the <tool>blade</tool> or the very neat and polished <material>iron</material>. And let it dry on the fire or in the sun. Then, to engrave and make it beautiful, take a <unit>small coin's worth</unit> of <material>verdigris</material> twice that quantity of <material>coarse salt</material> and about four <unit>grains</unit> of <material>ammoniac</material>, and six <unit>grains</unit> of <material>sublimate</material>, and the <material>water</material> must not be hot.</block>
</entry>
<entry identifier="p104r_a3">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Good mixture to color <color>gold</color></heading>

<block><activity type="colormaking"/><material>Sulphur</material> and small <material>gravel</material> as much of one as of the other, and the third part of this quantity of <material>salt</material>, and as much <material>turmeric</material> as <material>sulphur</material>.</block>
</entry>
<entry identifier="p104r_a4">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>How to <material>silver</material> plate <material>copper</material> and <material>latten</material></heading>

<block><activity type="metalworking"/>Mold the <material>silver</material> as the <material>gold</material>, and put it in the <tool>oven</tool> in order to get a good gilt pot. And do not let it heat, otherwise the <material>silver</material> would tarnish. Once it will be well spread, make it boil in <material>walnut oil</material>, and then heat it a bit, and put it [into the <material>water</material> the <profession>silversmiths</profession> use to bleach their works].</block>
</entry>
<entry identifier="p104r_a5">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>
<annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
    </annotations>

<heading><material><plant>Enameling a carnelian</plant></material></heading>

<block><activity type="enameling"/>Soak some <material>wheat flour</material> in <material>white wine</material>, and slop and cover the whole <material><plant>carnelian</plant></material>. Then cook the <material><plant>violet</plant></material> again, then soak it into <material>white wine</material> for one or two <unit>hours</unit>, then rub it and leave the part you want to keep on it, then lay on some more on top again.</block>
</entry>
<entry identifier="p104v_a4">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDaHBIVmRtMFRwZjg" title="Spinet playing by itself, fol. 104v (Hiebert)"/>
      </annotations>

<heading>Spinet playing by itself</heading>

<block><activity type="musical instrument-making"/>Make an axle surrounded with wheels pierced all around in their thickness and attach <material>feathers</material> as for a cittern or a spinet and arrange them according to the song you want it to play, leaving a suitable distance. And, turning the axle either by yourself or by a <tool>clock spring</tool>, your invention will effect itself.</block>

<figure identifier="fig_p104v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5cWFSaUU5a2R6N2s" position="left-bottom"/>
</entry>
<entry identifier="p104v_a1">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>

<heading>Against <animal>dog</animal>s' mange</heading>

<block><activity type="medicine"/>For normal-sized <animal>dogs</animal>, take half an <unit>℥</unit> of <material>stavesacre</material>, and one <unit>℥</unit> for big <animal>dogs</animal>, as fine powder beaten with two <material>egg whites</material> and one <unit>quarteron</unit> of oil. They must drink the beverage on an empty stomach, after keeping them locked without any <material>food</material>. Approved.</block>
</entry>
<entry identifier="p104v_a2">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>

<heading>For casting</heading>

<block><activity type="casting"/>If you've got a big piece which does not allow an easy stripping of casting, mold it with some wax, either on the hollow side or in relief, because it is soft and hollow and so can easily be separated from the piece without leaving anything. But be sure that the melted <material>wax</material> is neither too hot nor too cold. Some people use for molding some <material>wax</material> warmed in boiled <material>water</material>, but while pressing the mold it bends and becomes unusable. Once you have made your <material>wax</material> cavity, you can cast in some very soft and clear <material>clay</material>, and let it dry. Then, upon it you will make a <material>lead</material> or <material>tin</material> cavity, in which what you will make will easily be stripped.</block>
</entry>
<entry identifier="p104v_a3">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><profession>Goldsmith</profession></heading>

<block><activity type="metalworking"/>Know what it is to work on spangled garments, it is small pieces of pure <material>silver</material> and of <material>silver-gilt</material> with which one makes the archers' coats.</block>
</entry>
<entry identifier="p105r_1">
    <folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="observation"/>

    <heading><animal>Turtles</animal></heading>

    <block><activity type="animal observation"/>Males have shells that turn down at the end near their tails, and their underbelly shells have lined marks along the bottom from their tails to their head. And the females have neither the turned down shell near the tail nor the marks.</block>
</entry>
<entry identifier="p105r_2">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Drying colors</heading>

<block><activity type="colormaking"/><color>Soot black</color> and others will not dry in <material>oil</material> unless you add <material>verdigris</material>.</block>
</entry>
<entry identifier="p105r_3">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Painting</heading>

<block><activity type="painting"/>Colors that have been applied twice are more gritty by themselves, unless they have a binding agent. Otherwise, paint on <material>wood</material>; otherwise, on <material>canvas</material>; otherwise on walls.</block>
</entry>
<entry identifier="p105r_4">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="advice"/>
<purpose type="making"/>

<heading>Gardening</heading>

<block><activity type="gardening"/>To graft, it is necessary to take the new growth that was produced within the year by the <plant>tree</plant> you wish to graft. And cut off a branch in which you can see that beside the place where the leaves join the stem, there are little buttons we call buds, the initial stages of a sprout. With dexterity you must, with a very sharp <tool>pen-knife</tool>, cut in the shape of a graft a small bit of the skin of the <plant>tree</plant>, which contains a bud or a sprout with the leaf, as you can see in B. Then on the tender <material>wood</material>, which is full of <material>sap</material>, and on which you wish to graft, cut quickly two lines as you can see , then add in the middle a slit thusly.<figure identifier="fig_p105r_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5T1FZYTdOT1U4Qzg" position="right-bottom"/> Then with the point of your <tool>pen-knife</tool> separate the bark from the <plant>tree</plant>, and open it from the slit in the middle, and having neatly lodged your graft so that nothing is sticking out, only the sprout, binding everything well and wrap the whole thing with a bit of <tool>linen</tool> or <tool>soft string</tool>. In this way, there will be nothing uncovered but the leaf, which in three or 4 <time>days</time> will indicate whether the graft has taken hold, by being green. Keep your graft in this way for seven or eight <time>days</time>. Then unwrap it, and join it to the bark, keeping the sprout itself straight, and then rewrap the whole thing gently, but not as strongly as before. And if there is any growth, leave it some room to grow and then three or four times</block>

<figure identifier="fig_p105r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5UWpzdGVweGVvQTg" position="left-bottom"/>

<folio number="105v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>

<block><activity type="gardening"/>Then, when the graft has taken hold, cut the top of the <plant>tree</plant>, which is above your <plant>tree</plant>, three or four <unit>fingers</unit> above the graft for the first time. Then, closer so that it serves. But be advised that when you do your initial grafting there should be no small hole at the back of your sprout, because this means that root is broken and your graft will never take. Therefore make sure the back is in tact. This type of grafting can be done from <time>mid-May</time> onwards, because the <plant>trees</plant> have budded and made new growth, until the beginning of <time>August</time> when the <plant>trees</plant> are full of <material>sap</material>. <plant>Almond trees</plant> which are naturally drier lose their <material>sap</material> earlier. Those who want to graft onto them the <plant>almond trees <foreign language="French">mericotons</foreign></plant>, <plant>apricots</plant> and <plant>nut-tree</plant> grafts, which are the best, should do so usually in <time>January</time>. <plant>Nut trees</plant>, such as <plant><foreign language="French">perches mericotons</foreign></plant> should be grafted <foreign language="French">en fente</foreign>. It is said that <plant>trees</plant> graft by the shield-graft method take longer to bear fruit.</block>
</entry>
<entry identifier="p105v_1">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>

<heading>Gardening</heading>

<block><activity type="gardening"/>It's not very strange to cultivate in your garden some <plant>arnols</plant>, because when your soup or broth goes cold, you get <animal>worms</animal>.</block>
</entry>
<entry identifier="p105v_2">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="making"/>

<heading>Fountain</heading>

<block><activity type="fountain making"/>Recooked <material>plaster</material> runs when mixed with <material>water</material>, which you will see in the next recipe about wet molds.  When put on the joints of the fountain conduits, it resists as much as any <material>stucco</material>.</block>
</entry>
<entry identifier="p105v_3">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
<purpose type="making"/>

<heading>Catching nightingales</heading>
<block>
See the 15th folio after this.
</block>
<block><activity type="catching animals"/>
In order to catch them, you must observe them in real life, the food that they favor and their mating season.  The <animal>nightingale</animal>, as long as he is singing, marks his own territory.  Therefore approach him by pretending to look for something on the ground.  Take some <animal>worms</animal> from <material>old flour</material> or from beneath what you are kneading or from mills, which <animal>nightingales</animal> love, and put some on your hat, fastened with a pin or in any other way, so that it can wiggle.  And five or six steps away from the hedge where it is singing, dig a hole, and place some <animal>worms</animal> in it, as well as your device made out of little criss-crossed sticks.  As soon as you leave it will be anxious to go and see what you have done.  And seeing <animal>worms</animal> it will enter.
</block>

<block position="left-bottom">
Some people sell <animal>nightingales</animal> on <plant>trees</plant>.
</block>

<block position="left-bottom">
It is easier to catch <animal>nightingales</animal> in the cool of the morning or evening, near fountains or shaded areas.
</block>
</entry>
<entry identifier="p105v_4">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><animal>Nightingale</animal></heading>

<block><activity type="keeping animals"/>The <material>iron</material> wire used for its cage must be the thickest possible, so that should it try to leave, it will not hurt itself.  At the beginning of its captivity cover its cage in <material>fabric</material>. The first day you will have to forcibly feed it, moving it from its cage in your hand and opening its beak and with a small <tool>wooden needle</tool>, place its food in its throat and make it swallow. And continue to do so until it is no longer willful.  You must do this to keep it alive, because should it become thin or lose weight it will die.</block>
</entry>
<entry identifier="p105v_5">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="advice"/>

<heading><animal>Nightingale</animal></heading>

<block><activity type="keeping animals"/>It will need a cage made in the shape of a barn, like the ones for <animal>larks</animal>, lined with <color>green</color> <material>fabric</material>, because it feels the cold. And to get it to eat when it is first put in the cage, you must give it <animal>ants</animal> mixed with <material>earth</material> in the bottom of the cage to get it used to pecking, and you can give it <material>minced <animal>sheep</animal>'s heart</material>, and sometimes <material>eggs</material>, and sometimes <animal>mealworm</animal>.</block>
</entry>
<entry identifier="p106r_a1">
<folio
number="106r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f217.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>To cast</heading>

<block><activity type="casting"/><material>Asphalt</material> from <place>Germany</place> is the most excellent sand you can find for molding in a box frame, because it is fitting for <material>silver</material> &amp; for <material>gold</material>. And the more you use it and the older it is, the better it is. With it, one molds very slender &amp; subtle things.</block>
</entry>
<entry identifier="p106r_a2">
<folio
number="106r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f217.image"/>
<purpose type="making"/>

<heading>Making <material>gold</material> run for casting</heading>

<block><activity type="casting"/>Because <material>gold</material> cools down very quickly, you have to give it a mixture when it is well melted that will keep the heat. <material>Sublimate</material> softens it nicely. But, since it vanishes into <material>smoke</material>, it won't aid you for very long. Therefore mix this mixture into it when you want to cast it: of <material>sal ammoniac</material>, the best <material>verdigris</material> that you can find, a bit of <material>borax</material> and some <material>saltpeter</material>. And this, held over the heat, will become neat. The <material>saltpeter</material> makes it clear and heats it. But the key thing in this mixture is the <material>verdigris</material>, which has to be good. This mixture softens your <material>gold</material> so much that it becomes as tractable as <material>lead</material>, even if it is good <material>gold</material>.</block>

<!-- Does everything that follows still belong to the 'Making gold run for casting' entry?-->

<block><activity type="casting"/>For <material>sand</material> for molding <material><plant>flowers</plant></material> and <material><plant>leaves</plant></material> &amp; other delicate things, mix in <material>raw plaster</material>, <material>crushed brick</material> and <material>stone alum</material>.</block>

<block><activity type="casting"/>To moisten <material>sand</material>, <material>spirits</material> are excellent because it makes <material>sand</material> fine and leaves in a vapor when you reheat your <tool>box frame</tool>.</block>

<block><activity type="casting"/><material>Dilute sal ammoniac</material> is very good, is excellent for moistening <material>sand</material>, but for lots of <material>water</material> you only need a little bit of <material>sal ammoniac</material>.</block>

<block><activity type="casting"/>A raw lump of <material>metal</material>, if you don't have <material>crocum ferri</material>, is good for <material>gold</material>.</block>

<block><activity type="casting"/>The <animal>snakes</animal> and the <animal>lizards</animal> you wish to mold should not be kept for a long time, because if they are alive, they will waste away, and if they are dead, they will decay.</block>

<block><activity type="casting"/><material>Plaster of Paris</material> is as hard as <material>stone</material> and very good. When you want to choose some for your <material>sand</material>, take the rawest and the hardest that is possible for you &amp; that does not make any powder. Transparent <material>[plaster]</material> and that which makes powder in giving way is that which is not good for this work. A sign of that which is near perfect is that it is hard &amp; makes shining grains that look almost like <material>sugar</material>. Finally, to mix it into the <material>sand</material> to cast <material>gold</material>, it has to be put in the fire twice, &amp; reheated twice.</block>

<block position="left-top"><activity type="metalworking"/>
When <material>gold</material> is really pure, it is so dry that it can just barely endure a <tool>hammer</tool>. But this mixture softens it like <material>lead</material>.
</block>
</entry>
<entry identifier="p108r_a1">
<folio number="108r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f221.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading><material>Spalt</material></heading>

<block><activity type="casting"/>
<material>Spalt</material> is white like <material>cooked plaster</material> and one can find it in mounds and <material>stones</material> made in long stairs and long veins. It is very soft such that with a fingernail and it makes a powder like that of our <material>chalk from Champagne</material>. And because everything which is provided from the earth is mixed with some other substance, to purify it [the spalt], one boils it with somewhat large <material>gemstones</material> then tempers it with <material>essence of sal ammoniac</material>. One puts [a lump of it] <unit>the size of a walnut</unit> in a large <tool>bottle</tool> of <material>water</material> and <folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>that way one tempers it &amp; reducing it into small balls, [one] purges it of impurities [by] then putting it on to cook cleanly in a <tool>vessel of earth[enware]</tool> in a <tool>furnace</tool> like those in which <tool>pots</tool> [are made] and one leaves it there to the point at which <tool>pots</tool> would be fired. After one tempers it more with <material>essence of sal ammoniac</material> &amp; boiling it very strongly and emptying the <material>murky water</material> &amp; putting it in a separate <tool>vessel</tool> straight after put back the same <material>water</material> over it &amp; one boils &amp; one puts back the <material>murky water</material> again with the other. And one does this therefore until that which is there has passed away. In this way one purges and purifies and makes it a very fine and malleable [matter]. After one has taken away the <material>water</material> by tilting [it] or with a <tool>sponge</tool>, one takes the residue and dries it. Then moistening it with the aforementioned <material>water</material> the way one did with the other <material>sand</material>, one uses it in a <tool>frame</tool> or if it shrinks [this] is a sign that it is not fired enough &amp; needs to be fired more. This one is proper for molding all <material>metal</material> and especially <material>gold</material> and <material>silver</material> and the more it is used the better it is. One should put <material>alum</material> which you have cast of <material>lead</material> or <material>tin</material> separately because it makes <material>gold</material>. sour if you cast it there.
</block>
</entry>
<entry identifier="p108v_a1">
<folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>
<purpose type="making"/>

<heading>[Stone alum]</heading>

<block><activity type="casting"/><material>Stone alum</material> must be reheated in a <tool>pot</tool> covered with a <tool>tile</tool> over a good <material>charcoal</material> fire so that the impurities which might be in it [are] burned with that which does not burn. This is done either in the <tool>goldsmith forge</tool> surrounded by <material>bricks</material> or in a little <tool>oven</tool> vented to the fusion fire such that the <tool>pot</tool> stays red for a quarter of an <time>hour</time>. This is more to purify it than for anything else. It becomes <color>reddish</color> on top and the inside remains <color>white</color> and dries best this way.#</block>

 <block position="left-middle"><activity type="casting"/> # Once your <material>stone alum</material> is cooled down, crush it in a <tool>mortar</tool>, then grind it more finely on <tool><material>marble</material></tool>. And this makes it into very fine wooly dust that gives binding to <material>sand</material> without burning like all other things. [This is] a beautiful invention. Crush it on the <tool>mortar</tool> to being careful to keep the grindings together because the dust flying can get down your collar or on your face which can have very grave consequences. Put a little each time in the <tool>mortar</tool> to avoid the dust flying. It is best to grind therefore with the <tool>pestle</tool> trained on the <tool>mortar</tool> rather than on the <tool><material>marble</material></tool> where it spreads and on the <tool>mortar</tool> it gathers [the dust] from all sides and renders it very fine and sweet to the touch.</block>
</entry>
<entry identifier="p108v_a2">
<folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>
<purpose type="making"/>

<heading>[Clay]</heading>

<block><activity type="casting"/><material>Clay</material> used to surround molds, should be very fat and malleable, and should not be used for anything else except to make the contour of the molds. Therefore one should only choose that which is very fat and beat it very well and soak it moderately with <material>water</material> and have it in a pit or <tool>earthenware pot</tool> and make good holes with a <tool>stick</tool> with which one replenishes it with <material>water</material> to keep it always fresh and soft and ready to use when needed.</block>
</entry>
<entry identifier="p109r_1">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="waxwork"/>

<heading>Working in rough with <material>wax</material></heading>

<block>When the <material>wax</material> is too hard, one mixes in some <material>turpentine</material> or a bit of <material>butter</material>, which renders the <material>wax</material> malleable, and cleaner than <material>tallow</material>, which the <name type="people">Italians</name> mix in, because oftentimes, it is necessary to put the <tool>tools</tool> into the mouth, <tool>tools</tool> which are better when made from <material>box wood</material> or <material>antler</material>.</block>
</entry>
<entry identifier="p109r_2">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="waxwork"/>

<heading><material>Wax</material> for molding</heading>

<block><activity type="molding"/>Since the <material>wax</material> is molten, they have some <material>sulphur</material> in a <tool>spoon</tool> or <tool>crucible</tool> and pour it in the molten <material>wax</material>. And with the <material>sulphur</material> going to the bottom or staying on top, it stays where it is and mixes only its substance in the <material>wax</material>, and renders it more meltable when warming it, in such a way that having molded it, the <material>wax</material> gently melts in the mold like <material>butter</material>, without leaving any blister or boil.  Also be warned to not give it too much heat.</block>

<block position="left-top">If</block>
</entry>
<entry identifier="p109r_3">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="waxwork"/>

<heading>Molding <material>wax</material></heading>

<block>So that your mold takes hold without repelling any surface on a form or figure in <material>wax</material>, it is necessary to rub the <material>wax</material> with <material>oil</material> and soak your <material>sand</material> in lukewarm <material>water</material>, because cold <material>water</material> repels <material>oil</material> even more and will not make a good layer on the <material>wax</material>.</block>

<block position="left-middle"> Rub the <material>oil</material> on very very lightly, use so little that it hardly appears at all. Then rub with some <material>spirits</material>. After soak your <material>sand</material> in lukewarm <material>water</material> so that it does not repel the <material>oil</material>.</block>
</entry>
<entry identifier="p109r_4">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Forge <tool>bellows</tool></heading>

<block>It is better that at the end with the air chamber the bellows be set in some kind of bit of cloven board because they are more secure this way. Afterwards you can lightly secure them from the top.  It is necessary that the nozzles be four <unit>fingers</unit> above the bottom of the forge.</block>
</entry>
<entry identifier="p109r_5">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<purpose type="observation"/>
<activity type="keeping animals"/>
<activity type="casting"/>

<heading>Molding <animal>snakes</animal></heading>

<block>When you get them for molding, if it is possible, do not remove their teeth if you [think you might] want to keep them, because having had their teeth removed, it hurts their gums and mouths, and they can no longer eat.  You can keep [the snakes] in a <tool>barrel</tool> full of <material>bran</material> or even better of <material>earth</material>, in a cool place, or in a <material>glass</material> <tool>bottle</tool>.  And give them some live <animal>frog</animal> or other live <animal>animal</animal> because they do not eat anything that is dead. Also I have noticed that<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/> when they want to bite or to eat something, they [snakes] do not go at it head on, but sideways and by sinuous coiling, as do <name type="personal">Satan</name> and his henchmen. The <animal>snake</animal> has a small head, but a very large body; the entryway to sin seems small and inconsequential, but the consequences are great indeed. A <animal>snake</animal> can abstain from eating for seven or eight days, once he has swallowed a <animal>frog</animal>, and can swallow three or four <animal>frogs</animal>, one after the other, and what it has devoured does not rot and is not digested all at once in its stomach, but each part little by little, i.e. the bones and everything. The rest is just as fresh as when the <animal>snake</animal> ate it, such that when one bothers and torments it, it spits out what it swallowed up, which, in part, is totally digested, with the other part as fresh as if the <animal>frog</animal> were alive. It can hold a swallowed <animal>frog</animal> down for two or three <time>hours</time> and spit it out alive.</block>
</entry>
<entry identifier="p109v_1">
<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="medicine"/>

<heading><animal>Toad</animal></heading>

<block>If by chance you want to mold this ugly animal and if it should piss in your hand, it will sting your hand and cause it to itch, as if you had been holding nettles. But the very best remedy for this is to put your hand into <material>fresh dirt</material>, and to cover it as if you wanted to bury it. <animal>Frogs</animal> are not so beautiful when molded because they have shiny skin, and <animal>toads</animal> have lumpy skin.</block>

<block position="left-bottom"> You can mold the <animal>toad</animal> hollow, and leaving a notch open on the underbelly, you will make it jump with the twisted cord of the saw. If it is a small, put it on a <tool>magnet</tool> cut small to the size of the <animal>toad</animal>, then put it in good <material>vinegar</material>.</block>

<block position="right-middle"> If it is big, mold hollow, and if you want to mold it with its mouth open, put some <material>cotton</material> therein, and then put some melted <material>wax</material> on the <material>cotton</material>.</block>
</entry>
<entry identifier="p109v_2">
<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/>
<purpose type="advice"/>
<activity type="keeping animals"/>

<heading>Killing <animal>snakes</animal> for molding</heading>

<block>Some put a drop of <material>aqua fortis</material> into their mouths, which stupefies them, so that the head and the body look dead. But the head is still alive, and when you stick it with a <tool>needle</tool> in order to fix it to your mold, it moves and spoils and undoes everything. Therefore, to kill your <animal>snake</animal>, put it into a <tool>bottle</tool> filled with good <material>vinegar</material> and some <material>spirits</material>. Do the same with <animal>lizards</animal> and other similar animals.</block>

<block position="left-bottom">If you want to keep them, you can put them in a <tool>pipe</tool> full of <material>dirt</material> in a garden outdoors, but it is necessary that the <tool>pipe</tool> be covered with <material>latten wire</material>, because otherwise, the <animal>snakes</animal> will crawl and climb up quite high.</block>
</entry>
<entry identifier="p110v_3">
<folio
number="110v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f226.image"/>

<heading>A cast of lead or tin</heading>

<block purpose="making">Because you want to cast <material>tin</material> very thinly, if your <material>medal</material>, <material>plant</material> or other thing you want to mold is thin and fine, make sure to include more <material>tin</material>, much more than <material>lead</material>, namely less than the fourth part of <material>lead</material> for three of <material>tin</material>. And moreover, one only puts <material>lead</material> in as an alloy. Contrarily, if you want to mold something strong and thick, put a lot more <material>lead</material> in than <material>tin</material>. And for the one and the other you can put in a little <material>looking-glass tin</material>, but only a very little, with a little <material>resin</material>, when you want to cast.  Since then, when molding with pure new <material>lead</material>, I put in two <unit>ounces</unit> of <material>pure tin</material> for every <unit>pound</unit> of <material>lead</material>.  And when molding with <material>pure tin</material>, I put in two <unit>ounces</unit> of <material>pure lead</material> for every <unit>pound</unit> of <material>tin</material>. I made some <material>plants</material> and <animal>snakes</animal> as if they were real.</block>

<margin-block position="left-bottom" purpose="making">
I cast <material>tin</material> when it was nearly red, and the same thing with <material>lead</material>, which however had not remained in the fire for too long, because it becomes brittle and burns up.
</margin-block>
</entry>
<entry identifier="p114r_1">
<folio number="114r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f233.image"/>

<annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDLU9qZ0xaSUxRU00" title="Bread as Mediating Material: Tactile Memory and Touch in Ms. Fr. 640, fols. 29r, 114v, 129v, 130r (Le Pouésard)"/>
    </annotations>
<purpose type="making"/>

<heading>Second Casting</heading>

    <block><activity type="casting"/>When you have well molded the first part of the <animal>animal</animal>, that is to say the back, the spine, and the entire top part, and when the half-mold where the part is encased is hard enough <figure identifier="fig_114r_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5SWVndzB0aEk5MWs" position="left-top"/> turn over the bottom and the sides of the belly, sometimes using a <tool>knife</tool> for the thicker parts, and then with a <tool>pen-knife</tool> for the places where the more fragile parts are encased, like legs, tail, and similar things. Because the head is higher, you will have to dig deeper to expose it and do a deeper notch that has to be well exposed, by enlarging it from the outside, in order for the second mold that you cast on top of it releases well. A process for which the <animal>animal</animal> himself can be useful because his nature so permits. However, make sure that you reveal the <animal>lizard's</animal> throat more than you would do a <animal>snake</animal>, because the <animal>lizard</animal> has big jaws and big bones that do not cast as easily, and has deep ears in which the <material>wet sand</material> is not as easy to remove. But you will avoid all of this if you expose half of the head and those things that you know do not release easily. When everything is well exposed, blow over it and wipe each part again with a <tool>cloth made of swine hair</tool>, slightly dampened into <material>salt water</material> or <material>clear water</material>, do that gently, that way the lower part of your uncovered <animal>animal</animal> will be very neat. # <material>🝋</material> Once it is done, dip the covered side of your mold into <material>water</material> for a <foreign language="Latin">pater noster</foreign>. It will suck <material>water</material> inside, that way when you'll rub with <material>oil</material> the uncovered side, the <material>oil</material> will remain on the top, and to prevent the second cast which you will cast on top from sticking. Dip your mold into <material>water</material>, take a particularly <tool>fine brush</tool> and rub with <material>oil</material> the entire mold but the <animal>animal</animal>; it should not be touched with <material>oil</material>. Make sure to use you brush between the parts and on all the fragile parts. And if by mistake <material>oil</material> is soaked, dip the mold into <material>water</material>, as it is said above, and drop by drop the <material>oil</material> will come back to the top.</block>

<block position="left-top">Mold small <animal>animals</animal> as big ones, however, for small animals, use very <tool>fine tacks</tool> made of <material>cords of cittern</material>, short and long ones.</block>

<figure identifier="fig_p114r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5NVR5Y2FtZHM0ck0" position="left-top"/>

<block position="left-top">remove all the little <tool>tacks</tool> with the help of very small flat <tool>pincers</tool>. # then + [illegible] # However, leave the <tool>tack</tool> which is pinned into the throat so that it will help you to turn the head over, because it is sunk deeper than any other part, because when you drew the plan, you put higher up. It is at the level of the head that you must make the biggest notch and you should start at that notch to expose and then keep following by looking at the traces left by the <tool>tacks</tool>.</block>

<block position="left-bottom"># and if a small piece of nail, or piece of tail, or other fine things separate from the mold, put a little piece of <material>wax</material> between them, and join them with the tip of a hot <tool><material>iron</material> wire</tool>, then smooth it in your mold with a <tool>knife</tool>, and make notches on the sides in order for the other half of the mold to adhere to it. <material>🝋</material> </block>

<figure identifier="fig_p114r_6" url="https://drive.google.com/open?id=0B9-oNrvWdlO5TTRuWU8yVktnc3M" position="left-bottom"/>

<folio number="114v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f234.image"/>

<block>This thus prepared, put your first half-mold on the disc of <material>clay</material>, surround it with a <material>clay</material> circle and do a thickness mark similar to the first one. Then, with a rather <tool>thick brush</tool>, wet with <material>spirits</material> all your <animal>animal's</animal> exposed half, without, if possible, missing any part, because therein lies the secret to casting neatly. Then, as fast as possible before the <material>spirits</material> evaporate, soak your <material>sand</material>, and cast it, shaking, blowing, and moving the mold, as you did for the first one, making sure that what you pour first on the <animal>animal</animal> is clearer than the rest, so that it is soaked everywhere and highlights the finer parts. So, leave it for fifteen <unit>minutes</unit> so it sets, then remove the <material>clay</material> circle and disc. And, with a <tool>knife</tool>, join you two molds together in a longish form, like a mandore, as we say, because of how you cast. Then soak a little in <material>water</material> the whole mold up to the level of the joints. Because this is another secret to separate them more easily. Otherwise, you would break everything. Separate them like this skillfully. After this, gently and patiently remove half of the <animal>animal</animal> still in the mold, pulling it sometimes on one side and sometimes on the other, in order to avoid breaking it, or ruining parts of the mold. The mold, being empty, rejoin both half so that no <material>dust</material> comes in, and put them aside until you want to heat them up, make the <tool>runners</tool>, the <tool>vents</tool> and put the <tool>clamps</tool>. As for the <animal>animal</animal>, to avoid it drying, and in order to be be able to use it to mold 4 or 5 of times, put it on <material>water</material>. I believe that it would be better preserved in <material>spirits</material>. However, it would be best to make the 4 or 5 molds the same day because these <animal>animals</animal> rot and will smell within the <unit>day</unit>. Having left your molds to dry out, for they will stay humid for at least a <unit>month</unit>, make the vents for one half.</block>

<figure identifier="fig_p114v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5dmlRQm1lTjc4aXc" position="left-top"/>

<block position="left-top">+ Note that once you have made your second casting, if you left your mold without opening it for a <unit>day</unit> or a <unit>night</unit>, you would then need to put it into hot <material>water</material> or reheat it, rather than open it, like for the <animal>crab</animal>.</block>

<block position="left-top">If after both halfs of the <foreign language="French">noyau</foreign> have set and hardened, it would not open if you did not dip it into <material>water</material>. But as you dip the back of your mold into <material>water</material>, <material>oil</material> comes back to the top and touches the joints which separates them.</block>

<block position="left-middle">However, be sure that your second mold is thick enough, and hard enough otherwise it could break while dipping it into <material>water</material> if you want to open it. To avoid this mistake dip the entire mold into <material>water</material> and rub it everywhere, if the mold has set enough it will harden. Then take both molds with a <tool>rough cloth</tool>, in order to grip it better. Then strongly separate the molds as if you wanted to tear <material>bread</material> apart.  But in case it breaks, rejoin them, and fortifies the joints with <tool>clamps</tool>.</block>

<figure identifier="fig_p114v_4" url="https://drive.google.com/open?id=0B9-oNrvWdlO5NmZxVUxKTmhYSXM" position="middle-bottom"/>

<figure identifier="fig_p114v_3" url="https://drive.google.com/open?id=0B9-oNrvWdlO5dkk3MW10YzNIbDg" position="right-bottom"/>

<block position="right-bottom">Afterwards you can repair the mistakes with a small pair of <tool>scissors</tool>.</block>

</entry>

<entry identifier="p130r_1">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Drying animals in an oven </heading>
<purpose type="making"/>
    <activity type="drying animals"/>

    <block>One can skin small <animal>cats</animal> and remove their eyes and all their guts. Then place a small
        <tool>stick</tool> vertically between the teeth in order to open their mouths. Then with <tool>iron nails</tool> one
        should attach their feet to a small board, arrange the required position. Once they are tied
        by their feet with small <tool>iron rings</tool>, one has to hang them upside down into the sun. By doing
        so, they will get the right shape and dry, the belly will tighten and the the tail will
        remain high up thanks to the twist that you made. Once they are already a bit dry, one may
        twist the head as he wishes and secure the position with any tool. One may finish to dry the
        animal by placing it in an oven once the bread has been taken off. Then place some
        realistically painted <material>lead balls</material> or <material>wax balls</material> in the eye-sockets. One should paint them with
        gummed ink so that they look like jet. One can add a painted tongue, or horns, or wings or
        anything you may imagine, same goes for <animal>rats</animal> or any animal. </block>


    <!-- left-top marginalia on p130r, here included as block -->
    <block>
        <figure identifier="fig_p130r"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5cHVsNnNVQ1l5RnM"/> which surround the
        fingers of the paws and which stick in the jacket of clay. </block>

</entry>

<entry identifier="p130r_2">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Reddening lively crayfish which will look as if they were boiled </heading>
    <purpose type="making"/>
    <activity type="coloring animals"/>
    <block> Rub your <animal>crayfish</animal> with good <material>vinegar</material> diluted with a
        little <material>eau-de-vie</material> and not much, then you can present them as if they
        were cooked and yet they will walk. </block>

</entry>

<entry identifier="p130r_3">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Molding a single spider </heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> One has to display it on the <material>jacket of clay</material> as it is said for the
            <plant>vine leaf</plant>. Then do the first cast. And once it dry, peel the mold off to
        the middle of the legs and do the second cast. </block>

    <!-- marginalia on left-bottom of 130r -->
    <block> Also. One cannot mold the hairy legs of big <animal>spiders</animal> or any other hairy
        animal if they had not been rubbed with <material>wheat oil</material> before they are laid
        flat. This will make the hair firmer and will dry very quickly. Hairy things entangle in the
            <material>sand</material>, and do not burn very well. </block>

</entry>

<entry identifier="p130r_4">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>"
        <heading> Molding a single vine leaf </heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Attach it with <material>brass wire points</material> on the <material>jacket of clay</material> and then cast the first mold.
        Once it is dry peel off the back side and make the second cast. Then peel away the back
        side, and make your second cast. Once it is dry, you may remove the leaf. You must heat your
        mold only once, because there is nothing to be burnt inside. </block>
</entry>
    
<entry identifier="p130v_1">

    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>
    <heading> Molding a crab</heading>
<purpose type="making"/>
    <purpose type="advice"/>
    <activity type="casting animals"/>
    <block> It is a secret and a masterpiece to mold [a crab] well because it is necessary to
        proceed differently [than you would] with other animals, because its shell is quite
        difficult to [...] and that is why it is necessary to reheat the mold three or four times.
        And on top of all that, it leaves a hard crust [that is] gray like ash. It is not molded
        from one piece and one cast as [is done with] plants. Rather, [it is moulded] in two casts
        as [is done] with <animal>serpents</animal> which are easily stripped from it [the mold].
        After it is opened, nimbly remove this crust with the very fine point of a
            <tool>pen-knife</tool> {and not with <tool>quicksilver</tool> which removes nothing from
        it} and likewise those small crusts of the second cast which get into the cavities that the
        sand or the molded animal made because it has curved legs. Here is the subtlety and the
        secret of stripping it. As you molded it [the crab] from the back side in the way [that you
        did for] the others [animals], remove the stomach and all the curved legs from it. Make your
        second cast in the way [that you did for] the other [animals], but as it will have set, take
        care that you not open the mold unless you have first reheated it well. Otherwise, because
        of its curved legs, you would break the whole thing. Herein lies the subtlety. If, after it
        has been well reheated and opened, you see that the crust is not burned enough, reheat [it]
        until it is burned [enough]. </block>

    <block position="left-top"> It [a crab] can be painted like a <animal>crayfish</animal>. </block>
    <block position="left-top"> It does nothing. </block>
    <block position="left-bottom"> For opening the mold, it is not necessary to soak it because,
        once reheated, it will open itself by itself. </block>
</entry>

<entry identifier="p130v_2">
    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>


    <heading>Stag beetle </heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> Like a <animal>crab</animal>, it [a <animal>stag beetle</animal>] is also difficult to
        burn, therefore do [<animal>stag beetles</animal>] as you did <animal>crabs</animal>.
    </block>
</entry>


<entry identifier="p130v_3">
    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>

    <heading>For molding thinly </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> After you have molded the first mold as the core, leave it to dry well before removing
        the figure from <material>wax</material>, so that the mold is not ruined. Afterwards, then
        make make a small lasagna of paste as thick as you like, and, once you have greased the
        cavity of your first hollowed mold with <material>butter</material>, apply the paste to it
        [the cavity of the first concave mold] and then the upper part of the second mold. If you
        grease [the mold] with <material>oil</material>, it will be soaked up [into the mold] and it
        will not be as clean as <material>butter</material>.</block>
</entry>

<entry identifier="p131r_1">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading> Herbs difficult to burn in the mold </heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Mold them in two or three castings; being annealed, your mold will open, and it will be
        easier to extract the <material>charcoal</material> from inside. </block>
    <block position="left-top"> Try [this] </block>
</entry>

<entry identifier="p131r_2">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfmlUdWdYdlczSW5HVmNVam5pN1kwYXBvTlZuSDBXZUJDZlRLTkVmdk92N0k"
            title="Molded Letter Paper"/>
    </annotations>

    <heading>molded letter paper</heading>
    <purpose type="making"/>
    <activity type="casting things too thin"/>
    <block> Write with some <material>ink</material> well thickened with <material>gum</material> or
        any other color dye which has body, and which is not erased if dampened with
            <material>brandy</material>. Then put your <material>paper</material> on the sheet of
        clay, and dampen it with brandy. Cast both sides [of paper].</block>
</entry>

<entry identifier="p131r_3">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Adorning beds, mirrors and similar things</heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> Model any drawing in half relief on a flat slate in order to set it on round or flat
        things. Cast with very fine <material>tin</material>, then you can gild it with
            <material>gold leaf</material>, and set it wherever you want. Fill the bottom of the
        relief with small <material>rubies</material>, <material>orpiment</material>, or any colored
        little grains.</block>
</entry>

<entry identifier="p131r_4">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Training a dog</heading>
    <purpose type="advice"/>
  
    <block> You need to keep your <animal>dog</animal> attached; when it does what you command, to win its love, give
        it a piece of cheese which was held under the armpit. This cheese would be a bad drug if the
        master, or the apprentice, is red-haired. </block>
</entry>

<entry identifier="p131r_5">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Molded wax</heading>
    <purpose type="making"/>

    <block>
        <material>Wax</material> representations made from <material>white lead</material> and
            <material>cerussite</material> are not made to be burned and melted in a mold where you
        want to cast <material>silver</material> and <material>gold</material>; this would make it
        brittle. Moreover if you use such a mold, the <material>wax</material> would be stripped
        thanks to the violence of the fire which makes it boil, and the mixture made of
            <material>cerrusite</material> or any other metal would attack the mold. That's why if
        you want to sketch things </block>
    <block position="left-bottom"> +White <material>wax</material> is more delicate than the other,
        and it doesn't leave any filth when you want to mold it as a core, or to mold hollow. </block>
    <folio number="131v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f268.item.r=
        "/>
    <block> to be cast with <material>gold</material> and <material>silver</material>. Do not add to
        your wax all the drugs you are preparing, but only melted <material>sulphur</material>, as
        the candle melts, and also candle smoke. Melted <material>sulphur</material> falls down to
        the bottom of your mold, but lets the wax keeps some of its quality, melting it but leaving
        it a little firm. You can thus melt your wax representation on fire. If your
            <material>wax</material> is composed of <material>cerussite</material> or something
        similar, you need to put your mold into boiling water. </block>
    <!--margin block on the next page -->
    <block position="left-top"> You don't need all this to mold flat representations made of wax,
        because the <material>wax</material> can be removed completely from the mold, and won't
        remain inside it. </block>
</entry>

<entry identifier="p131v_1">
<folio number="131v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f268.item.r="/>
    <heading> When lead or tin casts fill with bubbles </heading>
    <purpose type="making"/>
    <activity type="repairing"/>
    <block>If your casted work became porous, it can be repaired with very firm <material>wax</material>, and you can
        gild or silver it afterwards. If you cast fine, the alloy of one <unit>℥</unit> of <material>lead</material> to one lb of <material>tin</material>
        is good. But if you cast with <material>lead</material>[ligue illegible], indeed you need one <unit>lb</unit> of lead to two ℥
        of <material>tin</material>, because lead is fat and sticky, goes over the alloy. I have cast a very small <animal>lizard</animal>
        that way. If you cast something thick, which keep the heat for a long time, it will make
        bubble if there is not enough <material>tin</material>. Your mold should not be cold, but cool enough that you
        can hold it without burning your hand, or that you can hold your finger into the cast
        without burning yourself. Your tin or lead must be like red. Cast your lead first, then cast
        tin. When you are going to cast, add a piece of resin to your mixture, then a little
        looking-glass tin. If you add too much lead to your tin, the mixture wouldn't be fluid
        enough. To know [the right proportion], If tin cries loudly, it means that there is not too
        much lead; if tin cries softly, it means that you added too much <material>lead</material>. Be wary </block>
    <block position="left-middle">You can solder with the same matter, then rework it and [remove
        away all the unwanted thick parts] with a <tool>burin</tool>. </block>
    <block position="left-middle"> Tin is a metal that can[…], makes bubbles and burn, and more
        capricious to work with than <material>gold</material> and <material>silver</material>. </block>
    <block position="left-bottom"> Lead must not be only red, it must be quick, and as liquid as
        water, which is a sign of its perfect heat. Your mold must be so hot that you couldn't bear
        to put your finger into it. Do not open your mold until is has cooled down. Just as for
        <material>silver</material> and <material>gold</material>, it is a sign of good casting when lead comes out through the vent holes. </block>
<folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/> "
        <block> not to heat your mold too hot because it makes it brittle, it makes bubbles and
        shrinks tin, and would also break the molded thing. Do not dip you hot mold into water
        because tin and lead would shrink. </block>
</entry>

<entry identifier="p132r_1">
    <folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/>
    <heading>Mold made from two casts</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> It opens once anealed. To clean it after, fix the <tool>clamps</tool> again, lute the mold,
        particularly the joints. Then let the earth slowly dry. When it doesn't smoke anymore, let
        the mold cool down until you can hold it without burning your skin. Then put your molds into
        the <tool>presses</tool>, or into a <tool>pot</tool> filled with <material>sand</material>,
        and cast with <material>tin</material>. If you cast <material>gold</material> or
            <material>silver</material> your mold needs to be cast twice, and cast when your mold
        becomes red-hot.</block>

    <block position="left-top">If your heated mold […], shrinks because of the bad quality of the
        plaster, open it after the first heating, tighten it, then lute it and clamp it
        again.</block>

</entry>

<entry identifier="p132r_2">
    <folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/>
    <heading>How to anneal the molds</heading>
    <purpose type="making"/>
    <activity type="annealing"/>
    <block> Light your charcoals from the forge, then place them in a line in a corner of the forge
        according to the size of your mold, in order that it be surrounded with 3 or 4 fingers of
        charcoals, particularly at the bottom of the mole, where it is thicker. Then put your molds
        on these charcoals -- and not on a grate as some people do -- because they would get too
        strong a heat. Let your furnace heat up gradually for a while, always adding burning
        charcoal. As long as the mold is humid, your charcoal will be dampened at the bottom, but
        when it is dry, the charcoals start to blaze. When one side of the mold is dry, turn over;
        when both sides are dry and don't smoke anymore, increase the heat and cover your mold with
        burning coals. When the mold starts being red, do not blow on it with small bellows, because
        the mold would burst. Similarly, when your mold becomes red-hot, keep it well covered with
        burning charcoals and do not uncover it because it would crack. Prevent the draft from a
        window from reaching it. Then let it cool down. </block>
    <block position="left-middle">When you want to anneal your molds, luted or not, do mark the
        belly of your mold, in order to place that side at the bottom, against the burning
        charcoals, because if the intensity of the heat made the mold crack, it would be better that
        it do so on the bottom part instead of the top part. </block>

    <block position="left-bottom"> If your mold is small, do not heat it as long, otherwise it would
        crack and be damaged. </block>
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <block> dry by itself. When your mold starts to redden, it will soon be become completely
        red-hot. But make sure that its bottom is red-hot too, without any black spot. </block>

</entry>

<entry identifier="p132v_1">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <heading><material>Common quarry sand</material></heading>
    <purpose type="making"/>
    <activity type="casting with sand"/> 
    <block> In a frame, If you cast it hot, <material>sand</material> will bubble; thus you have to
        just dry it. </block>
    <block position="left-top">I have tried to prevent molds blended with <material>sand</material>
        from cracking when annealed, and thus not get any with flaws that crack. </block>
</entry>

<entry identifier="p132v_2">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>

    <heading>Crocum ferry</heading>
    <purpose type="making"/>
    <activity type="making sand"/>
    <block> After I processed it with <material>vinegar</material> and reddened under heat, I had it
        ground very finely on the <material>porphyry</material>, until there could be no ruggedness
        felt under the nails. Then I soaked it in very good <material>vinegar</material> for 2 or 3
        days, stirring the mixture several times a day. Then I boiled it and made it red-hot in a
            <tool>pot</tool>, and put the whole thing into an air furnace. I obtained a mass full of
        eyes, but that crumbled finely between the fingers. I mixed half as much as <material>stone
            alum</material> in the sand. I diluted the sand very thinly, and molded a very small
            <animal>lizard</animal>, which molded very cleanly and finely. <material>Crocum
            ferry</material> does not make the mold harder, but makes it firmer. When your mold is
        soft and fat under your nail, it means that the <material>crocum</material> is good, very
        fine and well prepared. You can add any quantity of crocum, your mold will not be damaged
        because it is a friend of <material>gold</material>. I think it would be the same with
            <material>silver</material>. And in order that molds made with it do not crack, make it
        with <material>needle filings</material>. </block>

    <block position="left-top"><material>Sand</material> is better made with distilled
            <material>vinegar</material>. </block>
    <block position="left-middle">You can add this <material>sand</material> to the molds you want
        to use to cast <material>silver</material>, because it make molds firmer, and when you
        scratch it, you will find it a bit rougher than the other molds not made from this
            <material>sand</material>. You mold very clean with this
        <material>sand</material>.</block>
    <block position="left-bottom">You can use this one for all molds, because it prevents them from
        cracking and bursting when heated. This <material>sand</material> withstands several casts
        for molding flat medals. <material>Sand</material> from <material>steel</material> or
            <material>needle filings</material> is redder and better. </block>
</entry>

<entry identifier="p132v_3">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <heading>Gilding animals casted with <material>silver</material></heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> You can gild them with an amalgam, the lines won't be damaged if they are made from
            <material>silver</material>. </block>


</entry>

<entry identifier="p133r_1">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Hard <material>wax</material> to imprint seals</heading>
    <purpose type="making"/>
    <activity type="wax molding"/>
    <block>One makes these [seals] out of white <material>wax</material> which is harder than the
        other and one mixes in it some <material>cerussite</material> or <material>leaded
            white</material> very finely ground such that it is as hard as you like and mix in a
        drop of <material>turpentine</material> to bind it. Afterwards mix it in the color that you
        want. It is in <material>wax</material> that serves goldsmiths for modeling. </block>
</entry>

<entry identifier="p133r_2">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Casting the feet of small lizards in <material>gold</material> and
            <material>silver</material></heading>
    <purpose type="making"/>
    <activity type="gold and silver casting"/>
    <activity type="casting animals"/>

    <block>Because the feet of these [<animal>lizards</animal>] that are very small are [also] very
        fine, once you have molded the top and you have uncover the vents and underneath the feet
        are covered lightly with <material>wax</material>, and then cast a second mold. And the wax
        that one removes, it leaves a little cast for these said feet, and again such that the
        underneath [part] comes out in one piece that you can repair well, And the scales on top of
        the toes come [out] well.</block>
    <block position="left-top"> Around the big lizard nails, put on each a small round of
            <material>wax</material> to make the cast like this. </block>

    <figure identifier="fig_p133r_1" position="left-middle"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5V2JZcWtNeEJmYWs"/>


</entry>

<entry identifier="p133r_3">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Marks [made by] the [pin] points of iron thread which one finds on the head of an
        animal</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/>
    <block> With the <material>points</material> [or <material>pins</material>] with which you have
        dressed [your animal] all over, do same with the head, but [out of] the head which is
        pierced, a certain moisture seeps out around the wound and this little exudation prevents
        the <material>sand</material> from covering the point well and there always remain little
        pinpricks. But to avoid this, you can plant in the plaster of the said blunt pin point and
        around the upper part of the point, and over this point, there put a little hard
            <material>wax</material> or a little <material>mastic</material> or
            <material>cement</material>. And by the medium of the hot <tool>thread of iron</tool>
        there you can hold the throat of the animal which one removes [the iron] when you come to
        uncover the vents and the throat for doing the second cast. </block>
</entry>

<entry identifier="p133r_4">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Clamps and the broken mold</heading>
    <purpose type="making"/>
    <activity type="repairing"/>
    <block> When you have done the first firing and taken off the <tool>clamps</tool> and you have
        opened your mold to clean it by taking off the bubbles with <material>quicksilver</material>
        which one cannot do with closed molds, reclose the mold and reattach the <tool>clamps</tool>
        but not in the same place as the first time. Reapply lute and dry it but if this is for
        casting <material>silver</material> or <material>gold</material> [use] lute with the rest of
            <material>sand</material> which has been used because this is the best netting. If your
        mold is broken in refiring you can augment it with <tool>clamps</tool> and lute. </block>

    <block position="left-bottom">X </block>
</entry>

<entry identifier="p133v_1">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>

    <heading>Porosity and little holes which are in the mold </heading>
<purpose type="making"/>
    <activity type="repairing"/>
    
    <block> It oftens happens when you cast two or three molds one after the other using the same
        <tool>dish</tool>, because the last casting comes from the bottom of the <tool>dish</tool> and is thicker, and then
        often the last cast which comes from the bottom and which is the thickest of the <tool>dish</tool>, may
        easily become porous. Cast thinner and neater, as long as you blow very strongly on the
        soaked <material>sand</material> while casting in order to clear the little air bubbles. </block>

    <block position="left-top"> When the <material>sand</material> is casted thick, it often becomes porous </block>

</entry>

<entry identifier="p133v_2">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>
    <heading>Thing that cannot be released from the mold</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/>
    <block> You must cut it inside the mold in order to burn it. Cut it with <tool>scissors</tool>
        at once, that way blood doesn't flow on the mold, and doesn't make dirty. Because this dirt
        would be removed with difficulty when reheated. Then place your mold into a furnace, or
        something similar, in order to quickly dry the mold which must be removed before the forming
        of crusts or molds.@ </block>
    <block position="left-middle"> + When you mold small <animal>lizards</animal>, and when you want
        to peel away the first molded part, start to peel away the heads, you will know its place
        thanks to the <tool>needle</tool>. Don't peel away the legs before peeling away the entire
        body, to avoid that the naked body, moving,doesn't remove the legs from their place, which
        would not be easy to put back into place. When you remove the small <tool>needles</tool>
        fixing the legs, block the legs or press the legs with something, that way while removing
        the <tool>needles</tool> the legs won't move; finally, you can fix the legs again with
            <material>wax</material>.</block>
</entry>

<entry identifier="p133v_3">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>
    <heading>Various animals entwined</heading>
    <purpose type="making"/>
    <activity type="lifecasting"/>
    <block> You can entwine a <animal>snake</animal> with a <animal>lizard</animal>, each one biting the other, or a <animal>snake</animal> eating a
        <animal>frog</animal>, or a <animal>wall lizard</animal> or something similar. But since these interlacings cannot be
        stripped, cut what's possible, and allow the rest to burn. To make the mouth of the <animal>snake</animal>,
        which must stand high, hold a <animal>wall lizard</animal>, which is small and would need to be held in the
        air, because the snake's head is higher, put under the wall <animal>lizard</animal> a mound of earth suitable
        to support it. And if you place the mold in a furnace, the animal drying quickly, it will
        quickly shrink, then it will burn more easily. These interlacings are also made to mask
        wounds or defects on the animal which happen when we catch them. Do not forget to join with
        <material>wax</material>, applied carefully with a hot <tool>iron wire</tool>, all the parts of the animal which are one on
        top of the other, or those which are not well pressed on the slab of <material>clay</material>, so that the
        soaked <material>sand</material> does not remove them. Do that in order to </block>
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <block> avoid putting <tool>pins</tool> that should not be put, only on the top of the head, the thickest
        parts of the body, and on the delicate parts like the middle of the lizard's feet, the nails
        of which you will drive into the <material>clay</material>, thus they won't move. Once your first mold is casted,
        peel away the belly of the animal, but do not forget to put some tenuous little pieces of
        <material>wax</material> at the tip of the lizard's feet. But if it is from a <animal>wall lizard</animal>, lightly cover all the
        sole of its feet with wax, which will be removed with the second cast. A cavity is left
        which will be fill these little fingers with metal. then rework it. Make sure that <material>wax</material> is
        fixed well on the parts of the animal which are one on top of the other, so that the soaked
        <material>sand</material> which comes in does not make them move. If that happened your jacket of <material>clay</material> would be
        spoiled and your mold wouldn't get the right thickness, would have holes, and would be
        spoiled. To obviate that you can make a thicker mold. If this occurs you could rework it in
        this fashion.</block>
</entry>

<entry identifier="p134r_1">
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <heading>To repair a pierced mold</heading>pairing
    <purpose type="making"/>
    <activity type="repairing"/>
    <block> If the molded animal pulls of in certain places, moves from the place you had fixed it,
        or has not completely died, or if you didn't fix it well with the <material>iron pins</material> or with the
        melted <material>wax</material>, or if the animal hasn't the right thickness on the outside at the relief, or if
        it is pierced, instead of removing the animal from the mold, peel away the weak parts, or
        the pierced part, and make holes all around these parts, then dip the back side of the mold,
        quickly cast onto this place with the same soaked sand which will go into the holes, the
        cast will adhere to the first cast. But you will have to lute this spot afterwards.</block>
</entry>

<entry identifier="p134r_2">
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <heading>Sand made of crocum [ferri]</heading>
    <purpose type="making"/>
    <activity type="making sand"/> 
    <block> You can use the mixture made of <material>crocum ferri</material> to cast
            <material>silver</material> or <material>gold</material>, this mixture will make these
        casts firm, and prevent these from cracking and making burrs. And I believe that for flat
        things, it would withstand severa casts. Which however is not commonly done for
            <material>gold</material> and <material>silver</material>. </block>
    <block position="left-bottom"> Try <material>crocum ferri</material> for
            <material>lead</material> and <material>tin</material>. </block>
</entry>


<entry identifier="p134v_1">
    <folio number="134v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f274.image"/>
    <heading>To make gold fluid</heading>
    <purpose type="making"/>
        <block>Put as much <material>verdigris</material> as <material>sal ammoniac</material>, as much
            <material>borax</material> as <material>saltpetre</material>. But don't add a greater
        quantity of <material>borax</material> and <material>saltpetre</material> than half the
        quantity of <material>verdegris</material> and <material>sal ammoniac</material>, in fact
        add as much <material>borax</material> and <material>saltpetre</material> all together as
            <material>verdigris</material>. Grind into powder the ingredients on the <tool>marble
            slab</tool>, then grind again with very good <material>vinegar</material> until it is
        very fine, like a ground color, grind <material>verdigris</material> with
            <material>oil</material>, then leave to dry if you have time, if you haven't so much
        time dry it with the fire of the forge, make so that it is very dry. </block>

    <block position="left-top">Grind </block>
    <block position="left-top"> One of the principal things for casting is to cast very hot,
        especially large metals </block>

</entry>

<entry identifier="p134v_2">
    <folio number="134v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f274.image"/>
    <heading>Casting big works with gold</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/> 
    <block> Not only should one clamp the mold very well, but also strengthen it with good <tool>iron wire
        links</tool> or adequate <tool>straps</tool>. </block>
    <block position="left-middle"> Before casting with gold, clean thoroughly your forge with <material>lead</material>
        and <material>tin</material>. </block>
</entry>

<entry identifier="p134v_3">
    <heading> Secret for soldering small works made of <material>gold</material> and
            <material>silver</material>
    </heading>
    <purpose type="advice"/>
    <purpose type="making"/>
    <activity type="soldering"/>
    <block> If some little pieces of legs cannot be easily removed from <material>gold</material> or
            <material>silver</material> casting, it is because you didn't cast wax under these
        parts. Beat some soldering <material>gold</material> very finely, then cut it into very fine
        flakes, cut the quantity you need. Take some of this phlegm or white and thick saliva which
        is on the teeth, put some of this matter to the place you want to solder with the point of a
            <tool>burin</tool>, then place your flakes, then put to the opposite part a mixture made
        of a small quantity of soaked fat earth and saliva, thanks to the mixture the solder will
        better adhere. Then pulverize a bit of <material>borax</material> on it, and heat up
            <material>Quince pulp seed water</material> to a boil and others too.</block>
</entry>

<entry identifier="p135r_1">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
        <heading>Colors for <material>gold</material>, or sauce</heading>
    <purpose type="making"/>
    <activity type="coloring"/>
    <block> Take as much <material>verdigris</material> as <material>sal ammoniac</material>, &amp;
            <material>saltpetre</material> the size of a bean. Because if you put in too much, it
        would make the whole thing boil so much that it would all pour out.
            <material>Saltpetre</material> is only put in to make it boil, so that you know when the
        material has boiled enough. This color put on sour melted gold makes it soft instantly. </block>
    <block position="left-top">Softening <material>gold</material>
    </block>
</entry>

<entry identifier="p135r_2">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
        <heading>Casting</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> It must be lengthened out with respect to the thing you have molded. And at a minimum
        for large molds it must be four or five fingers in length. You can make it large enough for
        half the mold &amp; then divide it in three points of such a sort, and so the molded things
        will [each] be small. But your points must be small. And in the middle of the casting &amp;
        of its points, make some holes to impede the fury of the metal &amp; make it run more
        softly. It is also necessary to fix the bent parts of the animal with little notched lines,
        and similarly the end of the tail and other fine parts so that the metal goes throughout
        &amp; flows from one part to the other. </block>
    <block> Do not forget to make a wax cast of the paws of [illeg] &amp; things as subtle as this. </block>
    <block position="left-top"> When you have molded an animal in the first part of the mold, do not
        let this part dry out before you have removed the said animal, because when the mold dries
        out it will shrink and it will also make the animal shrink. Keep it therefore in a damp
        &amp; humid place until you have done it. </block>
    <figure identifier="fig_p135r_1"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5U3BqOGxwTHNPeVk" position="left-middle"/>
    
</entry>

<entry identifier="p135r_3">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
    <heading><plant>Vine leaf</plant> and small frog</heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <activity type="casting animals"/>
    <block> To mold, take <plant>vine leaves</plant> as they are blooming, just as with all herbs &amp; flowers, or
        a young <plant>vine</plant> regrowing after it has been cut or when the leaves come off in autumn, because
        new leaves are knottier &amp; have more evident veins. By contrast, old leaves are smooth
        all the way through &amp; full of holes in many places. Place therefore your leaf, its back
        behind it against the <material>clay plaster</material>, and fasten it with little <tool>pins</tool>. Leave it nevertheless
        with its natural curling. And make a notch in the <material>clay</material> to hide the stem for the first cast.
        And when it's done and dry, take out the stem of the leaf and clean it well with your jacket
        and press it with a little scoop of <material>clay</material>. Afterwards, make many castings around the leaf
        with <material>wax</material>, as you know well, &amp; make a slender casting &amp; with many lines &amp; knots. </block>
    <block position="left-middle"> <plant>Vine leaf</plant> is painted with a <color>green</color> made of <material>scudegrun</material> &amp; verd de
        terre. </block>
    <block position="left-bottom"> You can cast a <animal>spider</animal> or <animal>frog</animal> &amp; whatever you like on the
        leaf. </block>
</entry>

<entry identifier="p135v_a1">
    <folio number="135v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f276.item.r="/>"
    <heading>Casting <material>gold</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Take a <tool>crusol</tool> that can contain a certain amount, as you wish to place roughly crushed
        <material>borax</material> into it. Place [the borax] at the bottom and then the <material>gold</material> on top of it. Arrange the
        <material>coal</material> in the forge in such a way that the wind of the bellow will blow above the <tool>crusol</tool> and
        no on its side as it would cool it down and would not heat it enough. Also, make sure it is
        three good fingers away from the wall of the forge so that it is quite surrounded by coal.
        Allow the <tool>crusol</tool> to anneal until it is quite red. Then, have your boy strongly blow the
        bellow with long pushes, as in this manner it heats it better. Meanwhile, once the <material>gold</material> will
        be melted, blow a small bellow above it. Because [otherwise] the <material>gold</material> would turn sour and
        would acquire some kind of coat. As long as there will be some swirling smoke as you blow
        this way, it means that it is not soft enough for the cast. Therefore, uncover the melting
        pot and without displacing it and without stopping the bellow, tilt it towards you so you
        may well see what is inside. Throw a ferue of <material>borax</material> in it and blow wind towards it with the
        small bellow in a jerky fashion. Should there be <material>coal</material> inside, blow a bit stronger to make
        them come out. And if the <material>gold</material> still smokes and swirls, add <material>borax</material> again and blow above it.
        Beware that it is still sour and not soft enough, it will show a coat when you blow it as if
        it had cooled down. By contrast, if it does not show this sign, it is soft enough. Then,
        blow strongly so that it [the gold] is quite heated and once you think it is hot enough,
        throw colour on top of it in the <tool>crusol</tool> and the colour should be composed as following:
        <material>verdigris</material>, <material>saltpeter</material>, <material>sal ammoniac</material>, and a bit of borax. And continue blowing with the small
        bellows, and the <material>gold</material> will turn shiny like </block>
    <block position="left-top">If you cast in <material>gold</material> some piece of important [dimensions], lute your
        mold with the same <material>sand</material> or put <material>crocum</material> on it. </block>
    <block position="left-top">If you wish to cast some large work, or of important [dimensions],
        create at the bottom or at an extremity of the forge a vented furnace where you may hold
        your mold in the <material>sand</material> so red. </block>
    <block position="left-middle">One may cast two or three <unit>pounds</unit> of <material>gold</material>. </block>
<folio number="136r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f277.item.r="/>
    <block> a mirror. And once you will want to [start] casting, put a bit more colour in
        and let it rest a little, still blowing wind with both the small and the large bellows.
        Finally, place your mold quite red between the small molds or in a <tool>crusol</tool> full of <material>sand</material> quite
        hot and [start] casting. And once it will have stuck, you may, if you wish, throw it into
        water as <material>gold</material> does not get damaged like tin which breaks. </block>
    <block> To melt <material>gold</material> bullion, there is no need to blow above [the crusol] with the small bellow. </block>
    <block> For large works, the <tool>crusol</tool> made of <material>sand</material> has to be placed in a wind oven so that it is
        all red at the end of the furnace. </block>
    <block> <material>Gold</material>, when exposed to wind or when forged becomes black. But a bit of <material>aqua forte</material> removes
        [the black] instantly. </block>
    <block> If you have to forge a work made of <material>gold</material> on <material>brass</material>, as is done on small statues, put a
        <material>lead</material> sheet between the <material>gold</material> and the <material>brass</material>, and rather than anneal it and put it back in the
        fire, dip it in the <material>aqua forte</material> and it will be soft. </block>
    <block> It is enough for the cast to be of the same thickness as the medal, that it from the
        middle of the cast, up to the medal. But if the medal is very thick, one should not thicken
        the cast as a result, because a thick cast never comes out well. It may be done large to
        embrace the medal as much as possible. </block>
</entry>


<entry identifier="p136v_1">
    <folio number="136v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f278.image"/>
    <heading><material>latten</material> casting </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Take <material>latten</material> from <tool>skillet pans</tool>, used to make baby's
        cereal, which is doulx and apt for the cast. Some people say that <tool>counter</tool> from
            <place>Germany</place> contain a lot of <material>calamine</material>. However, when
        they are tempered, <material>calamine</material> evaporates, <material>calamine</material>
        mixed with melted <material>latten</material> always evaporates, because
            <material>latten</material> becomes red again, thanks to the reiteration of melting.
        However, fresh <material>calamine</material> and only fresh <material>calamine</material>,
        which is blended with remelted <material>latten</material>, makes
            <material>latten</material> run, and allow a clean cast. Because
            <material>calamine</material> which is added to remelted <material>latten</material> is
        half-damaged compared with its natural state. This half-damaged
            <material>calamine</material> make <material>latten</material> porous and agitated
        because it has a tendency to evaporate. Thus add only very fresh
            <material>calamine</material> to melted <material>latten</material>. Make sure to cast
        your mold very hot, you mold must become red-hot, like molds to cast
            <material>gold</material>, <material>silver</material>, <material>copper</material> and
        metal. If you pour fresh <material>calamine</material>, avoid its smoke which is pernicious.
        To cast a medal, I took thirty <material>counters</material> from <place>Germany</place> and
        xii <material>clous de rosette</material> made of <material>doulx latton</material>, like
        for claires medals which are made of soft <material>latten</material>. This matter contains
        a lot of <material>calamine</material> like all kind of yellow <material>latten</material>,
        and make a lot of smoke which prevent <material>latten</material> from running, and make it
        porous, that is why it is necessary to make many vents and to cast very hot, latten must be
        as white as water, or as melted <material>silver</material> or as a polished mirror of
        steel. The second fusion will come out much better because evaporated
            <material>calamine</material> does not make as much smoke. If you use a molding frame
        that does not break and holds its own, the second [casting] will come more neatly out of the
        mold, because the frame is impregnated with the smoke of <material>calamine</material>. If
        you add <material>sal ammoniac</material> to your <material>latten</material>, this latten
        will be clear and shiny, but will be even more shiny with <material>huile
            tingente</material>. Do not use another <material>sand</material> than the above
        mentioned to mold a <material>noyau</material>, and the mold must become red-hot, like a
        mold to cast <material>gold</material>. Make a lot of vents. If you cast yellow
            <material>latten</material> with the prepared tutty you will not get any smoke. </block>


    <block position="left-top"> This metal is capricious to cast because of the smoke of the
        calamine. Do not leave it out of the fire, as some do with silver. Because when air or wind
        touch it, the mold gets cold at once. When you cast it, this metal always leaves burrs, like
        when casting glass. <profession>Foundry workers</profession> do not usually use this very
        yellow latten as much because of the calamine which is heated. They cast red
            <material>copper</material> and turn it yellow with fresh <material>calamine</material>,
        or with some prepared tutty. Before casting, clean it with <material>charcoal</material>
        with a quere made of <material>copper</material> or <material>iron</material>. Then cover it
        with a cloth soaked in <material>lard</material> blended with
        <material>saltpetre</material>, or <material>sal ammoniac</material>, in order to protect it from wind, which
        would cool it down. </block>
</entry>

<entry identifier="p137r_1">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading>Casting <material>red copper</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Pure cauldron <material>red copper</material>, or copper of any other small works, is good to cast. To make
        it runny, add some <material>sal ammoniac</material> to it, and when you are about to cast, add a little bit of
        fine <material>tin</material>. One must cast the <material>copper</material> very hot into the mold, so that it is burning and very
        red, like <material>gold</material>, <material>silver</material>, <material>latten</material>, and metal. You will know that it is hot enough when it is
        clear and shining like a newly polished steel mirror, or like melted silver. Protect it from
        wind so that it doesn't cool down too soon. Cover your cast with tow in order to prevent it
        from cooling down. <material>Red copper</material> is cleaner than <material>latten</material>, which smokes a lot, which prevents the
        metal from running. I have moulded it as a noyau very neatly, and as thin as a piece of
        paper. It must be very hot, white and shining like melted silver, or a mirror. I have
        moulded it as a noyau with the same sand mentioned above. </block>
    <block position="left-top"> It takes more time to melt <material>copper</material> and <material>latten</material> than any other metals,
        even <material>red copper</material>. It will run and will comes out well if you cast it very hot, and as thin as
        water. </block>
    <block position="left-top"> Remove your mold from the fire, and set it into embers, which should
        fill a <tool>pot</tool> or <tool>vessel</tool>. </block>
</entry>


<entry identifier="p137r_2">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading>
        <material>Huile tingente</material> to make metal runny </heading>
    <purpose type="making"/>
    <purpose type="advice"/>

    <block> Take some <material>mercury</material>, some real sublimate of
            <material>venice</material>, and not sublimate of <material>arsenic</material>,
            <material>aes ustum a poix</material>, <material>sal ammoniac</material>, <material>a
            poix</material>. Ground everything separately, then blend them together in a <tool>glass
            bottle</tool>, and put it on <material>warm ashes</material>. You will see that
        everything melts like wax, and will have bright colors. Leave to set, add a small quantity
        of this mixture on every metal, it will run marvelously. </block>

    <block position="left-middle">
        <profession>Foundry workers</profession> who make large casts to mold statues, clean the
        dirt from these molds with <material>calamine</material>, and a lot of <material>sal
            ammoniac</material> in order to make moulds clear and neat. When they want to cast they
        add a lot of tin. Dampness and cold could spoil their works, that is the reason why even a
        small source of water in the hole can damage the whole thing. </block>

</entry>

<entry identifier="p137r_3">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading> <tool>Clamps</tool> </heading>
    <purpose type="making"/>
    <activity type="tool making"/>
    <block> To make <tool>clamps</tool> use <tool>flat tongs</tool> made from wire, which is reheated and bent, and hammered
        on <tool>anvil</tool>. Since those <tool>clamps</tool> are thinner, they burn more easily, being used in reheated
        molds. So use new clamps. </block>
    <figure identifier="fig_p137r_1"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5aG5XMHdYTTYzbzA" position="left-bottom"/>
</entry>

<entry identifier="p137v_a1">
    <folio number="137v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f280.image"/>

    <heading>Wetting sand to mold flat medals</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    
    <block> Flat medals, made of <material>wax</material> or metal, must be oiled very lightly and then touched with a
        brush of <material>spirits</material>. So that the already moistened mold takes well the oiled thing without
        rejecting it, one warms the water well in order to wet the <material>sand</material>, because with cold water it
        would be rejected. It is necessary to <material>oil</material> medals, because they do not expand and in this way
        would break the mold. Animals, which expand, do not need oiling. The hot water much be of
        such a heat that you cannot keep your figure in it without it becoming too warm. Wet the
        thickest sand for flat and solid medals rather than [for] <animal>lizards</animal> and finer things. Once
        your <material>sand</material> has set, clean and scrape your mold on one side and the other, and on the bottom
        edge of the thrown side of the medal, make a notch so that it is easier to take out. Lower
        the mold, scraping what surrounds the medal, so that on all sides you can take it out easily
        without it damaging the mold. Then make some gashes around the first mold used to throw so
        that the second time that you throw in it, it will be identical to the first one, and in the
        same way, make a notch at the bottom of the mold, where the held of the item cast lies. Also
        make some [gashes] in the sides of the cast. This done, wet the back of the first mold in
        oiled water, and after the second casting moisten it with warm water if you have molded your
        medal in a <material>noyau</material> mold. Having done the first cast, and this one having set, cut around the
        edge of the medal with the point of a knife so that it comes out of the throw and is not
        buried in it. Then having made the second cast, and having opened your mold, take away the
        medal in one go, with two <tool>knife</tool> points, one on the side of the cast object and one on the
        side of the head, which is at the opposite end. </block>
    <block position="left-middle">Take care not to <material>oil</material> your medal too much because if the seeps out,
        it prevents the sand from serving its purpose and coming together and renders it wavy and
        lumpy. You must only touch the middle of the medal with the tip of your oil brush and then
        smear the oil everywhere. </block>

    <block position="left-bottom"> Make especially sure that the throw is as wide as you can on the
        medal and holds it together well. The gate of your cast must always be big and always
        narrowing as you go towards the medal. Also do not forget to notch the gate of your cast. </block>

    <folio number="138r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f281.image"/>
    <block> If you want to cast <material>gold</material>, <material>silver</material>, <material>copper</material> or brass, it is necessary that they be
        perfectly red, and fired on the inside when you cast, and perfectly reheated twice, if there
        is something inside to be burnt and cleaned. </block>
    <block> The molds of animals that you burn must be reheated in such a manner that the animal
        burns up. But if it has big bones, it is frustrating to take out and ☿ often breaks delicate
        things because of its heaviness. One does not put ☿in molds that can open. It is often molds
        for flowers that do not open because they are cast in one go. </block>
    <block> When you want to reheat your molds, fix <tool>cramp-irons</tool> on the joints, so that when they
        reheat they will not bend, contract or break. This is done once the cast is made. </block>
    <block> The scrapings of the mold can also be used instead of bricks after being reheated, and
        also the leftover bits of the mold that have already been used. You can also pat it over
        important things, like works in gold or silver. You can also reheat it and blend it with
        water diluted with <material>sal ammoniac</material>, like <material>spar</material> from <place>Germany</place>, and is excellent <material>sand</material> for box molds
        for all metals. </block>
    <block> The molds with things that need to be burnt out inside them, those ones will not open
        until the thing that is inside is burnt, like the molds for <animal>crayfish</animal>, <animal>crab</animal>, <animal>great-horned
            beetles</animal>. Do not open the molds in which you will burn something, not before the thing is
        burnt, it could be crayfishes, crabs, stag beetles, pictures, and pieces of <material>wax</material> and <material>black
            sulphur</material>, which do not come out of the mold [easily]. </block>
    <block> You must not mold on <material>brick</material> or <material>wood</material> because they absorb and attract water too early, and
        do not allow the sand to set. The best place for [the sand] is on a fresh layers of <material>clay</material>.
        And yet, I have experienced that <material>grey earth</material> dries out the mold too quickly. <material>Yellow [earth]</material>
        is better. </block>
    <block position="left-middle">For medals, and flat things, the sand must be quite thick and
        moistened so that it sets quickly. And when the sand is thusly thick, you can shake and move
        the table where you mold lies, so that [the movement] makes the <material>sand</material> go everywhere. But when
        the sand is clear, as for flowers and herbs, you cannot shake it, nor can you do it when
        there is something attached to wax or other things which are prone to come off, such as the
        legs of <animal>crayfish</animal> or other similar things. And if by chance your sand is too thick, you must
        quickly add some water. And having put the sand in the water, examine it until it is thick
        on the bottom and clear on top. The clearest is thrown in immediately and then bubbles and
        the thickest is thrown in at the end so that it strengthens the mold. </block>

</entry>

<entry identifier="p138v_1">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>
    <heading>
        <material>Talcum</material> mixed with the molds </heading>
    <purpose type="making"/>
    
    <block> I used the one from which I had extracted the <material>oil</material>. I crushed it
        very finely even more into a <material>steel</material> mortar with a <tool>pestle</tool>
        [which was] rough like a file. I crushed it very finely into a cottony, downy powder. I
        mixed it with the sand and soaked both matters together, and I casted it en
            <material>noyau</material>. It molded very clean and there is no doubt that it will
        withstand fire. </block>

</entry>

<entry identifier="p138v_2">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>

    <heading><material>Gold</material> casted very thinly</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> When <profession>goldsmiths</profession> have to solder something quickly but don't have enough time to forge it,
        they melt <material>gold</material> and then they pour it on a <tool>cloth</tool> or on anything else that withstands fire.
        Then they flatten it swiftly with a <tool>hammer</tool> or another similar tool, and it [the gold] is
        very tenuous and it even retains the impression of the cloth. </block>

    <block> Unalloyed pure <material>gold</material> can be cast into a medal but not into <plant>herbs</plant> and <animal>lizards</animal> or other
        very delicate things if it is not alloyed. </block>
    <block> A <plant>pansy</plant> which is oiled with <material>wheat oil</material> can be cast with alloyed <material>gold</material>. </block>
    <block> And other <plant>fruit leaves</plant>, but with branch[es] that are not large and especially the
        leaves, once cast, can be soldered. </block>
</entry>

<entry identifier="p138v_3">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>
    <heading>Imitation diamonds set into the work </heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> Spread a fine layer of imprinting <material>black wax</material> on the inside of the frame then coat it
        inside with <material>wheat oil</material>, then dust it with lamp smoke because this color should not be
        lustrous for fake stones. Having done this, set your stone with a piece of <material>wax</material> then, with a
        <tool>steel point</tool>, or a small <tool>finishing hammer</tool>, join the edge of the frame with the stone, so that
        light cannot get in but be careful not to hit the stone, which would break.</block>
</entry>
<entry identifier="p139r_1">
    <folio number="139r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f283.image"/>

    <heading>Casting with <material>lead</material> and <material>tin</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting animals"/>
   
    <!-- <related-block>  -->
    <block purpose="making">
        <!-- <activity type="casting">  --> The way I have done it <!-- casting --> for
                <animal>lizards</animal> and <animal>serpents</animal> is with two <unit>℥</unit> of
            pure <material>tin</material> for one <unit>lb</unit>. of unrefined
                <material>lead</material> that is impure.<!-- </activity> -->The mold is made out of the
        aforementioned <material>sand</material>, common for all metals, when it is reheated, leave
        it to cool until you can put your finger in it without causing a breach in the gate of the
        cast. As for the <material>lead</material>, it is melted in a <tool>crucible</tool> with a
        bellows' fire until both the <tool>crucible</tool> and the <material>lead</material> are
        red. When it gets to that state, cleanse it anew with <material>charcoal</material> or with
        a specially made <tool>scraper</tool> or with the pufts of the little bellows. This done,
        leave it to rest in it red state and you can even reheat it, then if you want, throw in a
        bit of <material>resin</material> to burn away the filth. However, some think it best not to
        put any in because it leaves filth. But when they are ready to cast, they cannot forget to
        also thrown in a bean-size quantity of <material>bismuth</material> for each pound of
            <material>lead</material>. And it must be as red as the melted metal when it enters the
        mold. If the mold is large, it is much better to put in in a <tool>press</tool> so that they
        join well and so that the <material>lead</material> does not come out of the mold. However,
        should this happen, and that for the first, second or third time your mold does not fill up,
        cast heartily because for as long as your metal is red it will mix and join with the other
        one and will come out very neatly like the main one. The same thing can be said for pure
            <material>tin</material> used for thin things. And that way for doing pure
            <material>tin</material> is one <unit>℥</unit> of new <material>lead</material> for one
            <unit>lb</unit>. of the former. Large molds must be put in a press held tightly between
        two <tool>layers of copper</tool>, and then bury the whole thing in
            <material>sand</material>, which is better than ashes, because being heavy, it will seal
        better. Otherwise large molds are prone to open because the metal is heavy. Some make square
        molds </block>

    <!-- apart from having marginalia as related blocks we also have related folios when the body of one entry moves to the next folio as below;
When we use <realted-block> across folios it disrupts the positionality of marginalia if they lose their position, especially at the top of the page, where would they be placed in the consolidated entry? I am assuming that we are trying to have a continous entry without pagebreaks

-->

    <folio number="139v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f284.image"/>
    <block>are made of earth or blades of <material>copper</material>, or <material>iron</material>,
        or wood covered with white iron, in order to bury more easily these aforementioned molds
        between the thin <tool>sheets of copper, estric or one of iron</tool>. </block>

    <!--in the above block I am not sure how to distinguish between material and tool-->

    <!-- </related-block> -->


    <block position="left-top" purpose="making"> When the metal is thick, you do not need to cast as
        hot as when it is thin. </block>
    <!--the marginalia above and below can be classified as making or advice; however making seems to be more applicable since the block is giving adice for making; this makes me wonder if purpose can be defined at the entry level; of course, there are time when purpose has to be defined at the block level-->
    <block position="top" purpose="making"> When you melt this often, it becomes sour and fragile
        because it has to be cast very hot and it makes it half-calicanated. Use new stuff. </block>


    <!--the following three blocks are related to each other, this can be verified both when we read them one following the other and when we look at the image of the folio -->

    <!-- <related-block> -->
    <block position="left-top">+ </block>
    <block position="left-top" purpose="making"> Note that If you want to cast with cuttlefish bone,
        they cannot be too warm because that would burn the cuttefish. For this effect, try
            <material>paper</material>. It it becomes brown, it is enough, and it is good for
        casting, but if it blackens the <material>paper</material>, then it is too hot.</block>
    <block position="left-bottom" purpose="making"> If you want to cast <material>paper</material>
        with writing on it, make a mixture with half <material>lead</material> and half
            <material>tin</material>. As soon as it is melted, throw it between two pieces of
            <material>cardboard</material> on a flat place that is level. And with a point or
            <material>gold</material> or <material>hard wood</material>, engrave on the left the
        writing that you want. And having poured the <material>lead</material> onto the
            <material>cardboard</material>, press onto it the other piece of
            <material>cardboard</material>.</block>
    <!-- </related-block>  -->



</entry>
<entry identifier="p139v_1">
    <folio number="139v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f284.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTjV5QVV3NndVSVk" title="Black Sulfured Wax, fol. 139v (Kang and Lores-Chavez)"/>
        </annotations>

        <heading>
            Casting wax to mold an animal that one has not got
        </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="wax casting"/>
        <block>
            Take some <material>white wax</material> which is much more
            appropriate for this kind of work than anything else, because it is much firmer and does
            not leave as much filth, as much as you need to cast the animal that you propose, and no
            more. And [take] a half quantity of ground <material>coal</material> and neatly sieved
            through a <tool>cloth</tool> or <tool>coal sleeve</tool>, using it to give some color to your <material>wax</material>,
            that would otherwise be transparent and you will not be able to see your lines as
            clearly. Put your <material>wax</material> on the coal fire to melt. And when it is well-melted and
            well-liquified, have, for a full <tool>eared-porringer</tool> of melted wax, as much
                <material>sulphur</material> as a large walnut. Pulverize it. Melt it over a slow
            fire and when it is melted, do not leave it on the fire because it will become too hard.
            But take it off and keep stirring it with a little stick and when it has finished
            bubbling and is as liquified as water, cast it into the wax that you will have
            previously removed from the fire. And mix and stir both of the them so that they join
            together. After stir in little by little while continuously mixing, the charcoal that
            has been repeatedly ground, and in this way it will be very well incorporated. This is
            how you will know that your wax has gone beyond its ideal heating point, it will release
            no more smoke, it will start to have lines appearing on the side and not in the middle,
            and those lines will be close to each other. If you cast too hot, you will not be able
            to separate your <material>wax</material> from your mold and it would stick to the cast. When it is at the
            right state, stir it with a little stick so that the pulverized
                <material>charcoal</material> is well mixed in and has not fallen to the bottom of
            the mixture. And in this way, throw it in your mold bit by bit and not in one go,
            because <material>wax</material> is not runny </block>

        <block position="left-top" purpose="advice"> This <material>black sulphured wax</material>
            is for fashioning round figures that do not come out of the mold. And they need to be
            burned in the moule au <material>noyau</material> rather than be opened like the ones
            that have something jutting out or an intertwining of legs and arms. And this <material>wax</material>,
            thanks to the <material>sulphur</material>, will melt with little heat and leave without leaving any filth.
            If by some misfortune the crushed charcoal remains in ashes, when you open the mold and
            blow on it, it will come clean. </block>

    <block position="left-bottom" purpose="advice"> To make wax <animal>serpents</animal> or other things to
            affix to candles, it is necessary to cast them with <material>esbaucher wax</material>
            of all colors. </block>



    <folio number="140r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f285.image"/>


        <!-- in the block below there is a mention of preceeding recipes, how far back in terms of recipes does such a reference go; how do we reference these other recipes here? -->

        <block identifier="p139v_a1" purpose="making"> not like other things. And for this one, you
            can cast two or three times until your mold is full. Now, concerning this mold of
            pulverized <material>white plaster</material> &amp; reheated in the manner of the <material>sand</material>
            from the preceding recipes, you should have made it long ago because it is used many
            times. But, before using it, soak it for a good hour in cold water, &amp; at a minimum,
            at least as long in hot water that at first is so hot that you can't hold your finger in
            it. And note that it absorbs no more, but that it appears very wet overall without water
            seeping into it. In removing it closed from the hot water, cast your <material>wax</material> in such a state
            of heat as has been described. And neither the first nor the second casting will readily
            come out well, hardly, until the mold is soaked. Let it cool down before opening it so
            that the cast thing not break. You will know that the casting is good when the <material>wax</material>
            coming back out of the mold is thin and even. Remember to make several castings along
            the whole length of the mold so that in this way the wax runs better. Make the
                first<figure identifier="fig_p140r_1"
                url="https://drive.google.com/open?id=0B9-oNrvWdlO5NFdsdU4tVFgxOTg"/>casting twice
            as large as other molds. And if, in the first casting, your work fills with bubbles and
            in so doing does not come out neatly, it's all the same, because you have to face the
            fact that the three or four first do not readily come out well. Firstly, you will know
            whether there are a few barbs that keep it from stripping well. And you will remove them
            if, on their own, they do not remove themselves in the two or three first castings. And
            the more that you cast, the more you will do it neatly. And your mold will serve you
            more than one hundred times if it Is well governed. But it is good to soak it one night
            or one day before casting so that it be well soaked. The same must be done for fruits
            made from sugar. This <material>wax</material> is very soft &amp; friendly &amp; pliant, like <material>copper</material>. And if
            it is hard [this is] because of <material>sulfur</material>, which makes it melt more
            easily than than other [wax], so much that you can see evidence on a hot slate. And the
            <material>sulfur</material> that you put inside will be found the second time that you melt it, [as] cracks
            on the bottom. Having in this way passed through wax, it will not catch fire at all when
            put to a candle. And in this case, I believe that it will cast quite the medal
            [illegible]. One uses the same wax in place of varnish to [illegible]. </block>

        <!-- in the above block I used an image-tag -->

        <block position="left-middle" purpose="making"> When your animal is cast, cut away the froth
            &amp; superfluous things with a hot <tool>pen knife</tool>. And if you want, plait and wrap it around
            some stick or candle, put it in some hot water to soften and hold it in turning it
            around. </block>

        <block position="left-middle" purpose="making"> Lower the protrusions of the castings so
            that they be even &amp; that the wax has more <material>silver</material> so that it can
            run all in one go without turning through the windings of the <animal>snake</animal>. </block>



    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>

        <block purpose="making"> to engrave on <material>silver</material> &amp;
                <material>copper</material> with <material>aqua fortis</material>. With this [wax]
            too, one fills the cavity of a relief, &amp; then casts in this cavity, with moistened
                <material>sand</material>, which immediately takes the relief very neatly. And then
            you can cast its cavity on it in <material>copper</material>, <material>gold</material>, and <material>silver</material>, and make really singular
            seals. </block>

        <block position="left-top"> Seals </block>


</entry>
<entry identifier="p140v_1">

    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDflhIMDlEVnBRZU4xcnNFVTVQcURmNzdqUHJGTDNFdzk1MEdld2Jsenk0bDA" title="Sulfur and Additives"/>
    </annotations>

        <heading>To cast in <material>sulfur</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting with sulfur"/>
        <block purpose="making"> To cast neatly in <material>sulfur</material>, arrange the pith of
                <tool>bread</tool> under the <tool>brazier</tool>, as you know. Mold whatever
            you want into it &amp; let it dry &amp; you will have very neat work. </block>

        <block position="left-top" purpose="advice"> Try <material>sulfur</material> passed through
            melted <material>wax</material>, because it will no longer ignite &amp; and make
            eyelets. </block>

    
</entry>
<entry identifier="p140v_2">
    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>

    <heading>Molding and shrinking a large shape</heading>
    <purpose type="making"/>
    <activity type="handling large shapes"/>
    <block> Mold it with the pith of <material>bread</material> just out of the
        oven, or like that aforementioned, &amp; in drying out it will shrink &amp; consequently so
        will the medal that you will cast. By these means - lengthening out or enlarging the
        imprinted <material>bread</material> - you can vary the shape &amp; from one face make
        several different ones. The <material>bread</material> straight from the oven is best. And
        the one which has been heated twice contracts more. You can cast <material>sulfur</material>
        without letting the imprint on the bread dry, if you want to cast it as large as it is. But,
        if you want to let it shrink, let it dry to a greater or lesser extent. </block>

</entry>
<entry identifier="p141r_1">
    <folio number="141r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f287.image"/>

    <heading>Casting a crayfish</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting animals"/>
    
    <block purpose="making"> The <animal>crayfish</animal> is one of the most fantastical to cast,
        but also <!-- <activity type="reference"> -->provides an example for casting
            other difficult things<!-- </activity>  -->. You can distinguish males and female by the eggs that
        the females carry, and by the four little white back legs that males have in their tails
        after behind main eight legs. It is good to dry them out a bit so that the bumps come out
        more hard and beautiful, because none of what is made of shell shrinks. It is true that
        should you dry the little inside legs for too long, they become diminished and have no body.
        If they are too dry, the flesh separates from the scales. Be sure then to maintain the mean.
        They have certain hairs between the legs and at the end of the tail. And because all hair is
        difficult to cast, because it gets mixed up in the sand and does not release, you can burn
        it by putting a <tool>hot iron</tool> on the <animal>crayfish</animal> so that it the hair cannot be seen. As
        for animals that have hair or feathers, you must grease the hair with <material>wheat
            oil</material>, which is very dry and which will make the hair lay flat and straight. In
        this way, you will have form of your animal and you will have the hair. Should it the hair
        be wavy, it can be repaired. If your crayfish has eggs, which are delicate, and which will
        be difficult to take out of the mold without breaking, you would do better to make the first
        cast with the crayfish on its belly and eggs. In this way, you will open the mold with it
        the <animal>crayfish</animal> on its back, which will be hard and easy to manipulate. And the belly and the
        eggs will remain in the mold. And rather than opening your mold for the second time, you
        will have to burn it with them in it. This way, it will open easily, and what has been
        burned will come away cleanly. In this way, the second casting, which is done on the first
        one that has successfully taken hold, separates easily from the first, after having been
        refired. This is a singular secret for similar moldings. </block>

    <block position="left-top" purpose="making"> The casting is made by the very thin tail. </block>

    <block position="top" purpose="advice"> If some little thing is missing, you can reattach it or
        else fill it with <material>goldsmith's cement</material>. </block>

    <block position="left-top" purpose="advice"> Do not forget to rub with
            <material>spirits</material> before you mold. </block>

    <block position="left-top" purpose="making">
    <!--   <activity type="reference"> -->
        <animal>Stag beetles</animal>, <animal>crayfish</animal> and <animal>crabs</animal> are
        molded in the same way.
    <!--    </activity> -->
    </block>

    <block position="left-middle" purpose="advice"> If your <animal>crayfish</animal> has no eggs, mold the back on
        top and the belly on the bottom. You can give it some. </block>

    <block position="left-middle" purpose="advice"> It the <animal>crayfish</animal> can be molded hollow for the
        body, but not for the legs. And for a good result, take note that the <animal>crayfish</animal> is rather
        fantastical to mold hollow, this ought to be reserved for <animal>turtles</animal>. </block>

    <block position="left-bottom" purpose="making"> When you open your mold, you will find the
        <animal>crayfish</animal> has white bones, but they will not be powder. And without opening it, the mercury
        will not have affected the process. </block>

    <block position="bottom" purpose="making"> Apply very <material>light oil colors</material>. </block>

    <block position="bottom" purpose="making"> To paint it, boil it with <material>wine</material> and a bit of
            <material>salt</material> so that they become very red and use this as a model. Paint
        the back with <color>vermillion</color> mixed with <material>laquer</material>, and the
        sides and the underside of the belly and the legs with <color>vermillion</color> and
            <color>yellow ochre</color> and <color>white</color>. </block>



    <folio number="141v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f288.image"/>

    <block purpose="making"> Let your crayfish dry a little in the sun, by itself. If it has spawns,
        they will shrink while drying, and be all the more beautiful for it. Make your paste out of
        yellow <material>potter's earth</material>, just like for the other representations. Lay
        your <animal>crayfish</animal> on it, the back side down, and the other parts which are more tricky to mold
        -- legs, belly, eggs - side up. Drive in the back side in the <material>clay</material> paste up to the legs,
        which is about the half part of the crayfish's body. Fix the body with a pointy <material>iron thread</material>
        in the middle and, if you feel you need it, you can also drive another one at the edge of
        the tail. And in order that the big legs be lower than the head, which is lower because it
        is linked from below, add a little <material>clay</material> under the head. Then add a bit
        of <material>clay</material> under the <material>jacket</material> in order to raise it. Hide the feelers under
        the clay and under the crusher claws, then arrange it as you like. Stretch out the walking
        legs to the joints, and for the first cast, bend the second part of the walking legs. Fix
        the joints of the legs with <material>wax</material> and a warm <material>wire</material> so they will not move. If you want to mould
        something fancier, fix the end of one walking legs on the body or on a crusher claw , using
        the same <material>wax</material>. If the female has spawns, bent half the tail over the
        spawns, and keep the shape by fixing the tail with a <material>wire</material>. Be sure that you will be able to
        clean this part. Finally rub your <animal>crayfish</animal> with <material>spirits</material>, and cast your <material>sand</material>. Once the sand
        is hardened, uncover the back side, the head, the eyes, and the small legs close to the
        crusher claws, and the walking legs all along. One must uncover these parts as much as
        possible. Then bend and cover the spawns again. The other animals </block>

    <block position="left-top" purpose="making"> Fix what may raise the two padded edges on each
        side of the mouth with melted <material>wax</material> under them. </block>

    
        <figure identifier="fig_p141v_1" position="left-middle"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5R0NIbHoyNTNQRlk"/>
    
    <!-- ![fig_p141v_1] (https://drive.google.com/open?id=0B9-oNrvWdlO5R0NIbHoyNTNQRlk)
-->

    <block position="left-middle" purpose="making"> Uncover as many parts as possible, but be sure
        the channels you make are well stripped. </block>

    <block position="left-middle" purpose="making"> Incline your mould to the thickest side of the
        animal. </block>

    <block position="left-bottom" purpose="making"> To paint the <animal>crayfish</animal>, one paints the middle of
        the back with <color>vermilion</color>, mixed with a bit of <material>lacquer</material>.
        The sides, the belly, and below the legs with a mixture made of <color>vermilion</color>,
            <material>ceruse</material>, and a bit of <color>yellow ochre</color>. As with all
        things, always keep the real one in front of you in order to copy it as realistically as
        possible. </block>
    <block position="left-bottom" purpose="making"> Lay the feelers on the crusher claws, or solder
        this part with a wire made of bleached brass. </block>
    <block position="bottom" purpose="making"> When you arrange the legs, be sure that they do not
        get over the belly, and that they are well set against the belly otherwise [illegible] </block>



    <folio number="142r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f289.image"/>

    <block purpose="making"> are not so uncovered. But since <animal>crayfish</animal> are troublesome to burn &amp;
        clean, you have to uncover them as much as you can, even the little legs just until the
        tips, because they are troublesome &amp; if, in order to not alter them, you have to take
        them out, you could break something of the mold. Having uncovered it with the point of a
            <tool>knife</tool>, like an <tool>engraving stick</tool> or another fitting thing, clean
        off the <material>sand</material> at the joints &amp; elsewhere with your little brush
        really very scrupulously. And if something is loosed from the <animal>crayfish</animal>,
        attach it with <material>wax</material>, as is discussed. And also attach the horns this
        way. And also do the casting the length of the extremes of the little legs with <material>wax</material>. And
        refill the holes that have been made with the needles of <material>iron wire</material> with
        it. And everything being quite clean &amp; having uncovered more than half of it, <material>oil</material> your
        mold after having soaked the back side in water, &amp; do not forget to <material>oil</material> all the fine
        parts that are between the legs and the little beaks; then rub the <animal>crayfish</animal> with <material>spirits</material>.
        And do your second casting after having made the first mold even, so that the cramp-irons
        join better. Your mold must be larger on the side with the impression than on the back. Do
        not open your mold after the second casting, so that it not become clayed &amp; reheated
        &amp; that which is inside not be burned. Do not forget to mix <material>crocum</material> throughout your sand
        when you mold the <animal>crayfish</animal>, because you must really reheat it &amp; the
        <material>crocum</material> withstands this marvelously. To mold a <animal>crab</animal> &amp;
        to mold a <animal>crayfish</animal> are exactly the same. When you have uncovered
        your <animal>crayfish</animal> on one side do not delay at all before doing the second casting, because
        <animal>crayfish</animal> dry out. It is not enough to uncover the <animal>crayfish</animal> such that you see the whole half
        the half you uncover, but take heed that your mold, even when you are uncovering, be good
        and stripped, because if the <animal>crayfish</animal> gets well burnt, you will not be able to open your
        mold without breaking it. </block>

    <block position="top" purpose="making"> Restore it with a <tool>pen knife</tool>, little <tool>chisels</tool>, or
            <tool>engraving sticks</tool>. </block>

    <block position="left-top" purpose="making"> As you see here, but a wax casting all around &amp;
        at the end of the tail, where you will do the principal casting, two or three more. 
    </block>
    <figure
        identifier="fig_p142r_1"
        position="left-top"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5Qkh2MDhvUkFnUW8"/>


    <!--
![fig_p142r_1] (https://drive.google.com/open?id=0B9-oNrvWdlO5Qkh2MDhvUkFnUW8)
-->

    <block position="left-middle" purpose="making"> Make the casting with <material>candle
            wax</material> shaped in a thread like a large packthread, the whole length from the end
        of the claws to the extremity of the tail. If there is also some claw end or other part that
        is extended past the rank of the others or is raised up higher or turned up all alone, make
        a wax casting for it from its end just barely not joined to the body or to one of the large
        claws or to some other place where lots of metal will be wedged in. </block>

    <block position="left-bottom" purpose="making"> Having uncovered it, attach &amp; secure the two
        little bearded horns of the crayfish, and anything else that is not secured, with wax. </block>



</entry>
<entry identifier="p142v_1">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  
  <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfkJmS2RybjBpTmpsVFhDQVo1RVZKMjRGY0d6QlNTYVhqS1VsYi13a0FkLUU" title="Too Thin Things"/>
  </annotations>
  
  <heading>Molding grasshoppers and things too thin</heading>
  <purpose type="making"/>
  <activity type="casting"/>
  <activity type="casting animals"/>
<activity type="casting things too thin"/>   
  <!-- <related-block>  -->
    <block purpose="making"> If you have to mold a piece of written-on paper that
          is too thin, after you have done the first cast and it has set, give
      a little thickness to the reverse of your paper with <material>melted butter</material>, which
      is the most appropriate means there is, &amp; for strengthening the wings of either a
      <animal>butterfly</animal> or a <animal>grasshopper</animal>, or any delicate part of an animal to which you need to
      give thickness. But take heed to apply this melted <material>butter</material> under the wing or
      in whichever place it will not be seen. For giving thickness to a <plant>pansy</plant> or other
      flowers, <material>butter</material> is not good, but rather <material>wheat oil</material>, which is
      soon dry &amp; holds firm. <material>Wax</material> would not be appropriate here for it is
      too hot once melted, and it makes the thing to which it is applied contract. But butter is
      amiable and handleable. </block>

  <block position="left-top" purpose="advice">If you write on <material>paper</material> or on common <material>carton</material> and your
      letters are made with <material>gum</material>, the moisture of the <tool>clay plate</tool>
      (?) or the wet (?) <material>sand</material> for a <material>noyau</material> will moisten
      your letters and undo them. Write therefore with <material>cinnabar</material> mixed with <material>oil</material>,
    on oiled &amp; stamped (?) <material>paper</material>. </block>
  <!-- </related-block>  -->

  <block position="left-middle" purpose="advice"> + Reheat your molds with
      <material>charcoal</material> firstly lit in the forge, so that the fire is not too hot and
    does not break the molds. And do not fire as strongly where the mold is thin as where it is
    thick. </block>

</entry>
<entry identifier="p142v_2">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  
    <heading>Molds</heading>
    <!--this entry seems to be about advice on handling molds-->
  <purpose type="making"/>
  <activity type="maintenance"/>
  
    <block purpose="advice">Make some notches in them the molds that enter more into the inside of
      the mold than the outside because in this way, they have more strength. Take care to keep from
      reheating them suddenly in a burning hot fire, because this will make them break. </block>

    <block position="right-middle" purpose="advice"> Do not keep them molds in a humid place, nor an
      enclosed place if they are not well dry, because they will mold. The same with dried animals. </block>

    <block position="left-middle" purpose="advice"> It is not at all necessary to reheat the molds
      two times when the animal can pull away without burning, as do <animal>toads</animal>, which can very well be
      molded hollow like all thick animals. However, it is always good to redden the mold once. </block>
  
</entry>
<entry identifier="p142v_3">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  <heading> Lute for luting your molds </heading>
  <purpose type="making"/>
  <activity type="luting"/>
  <block purpose="making">I have not found a <material>lute</material> that is made more quickly than this one, nor a
    better one. Take some of the <material>lean earth that artillery founders and bell founders use</material>
      to make their trusseaulx and molds, which is lean and sandy. Soak it moderately
      like a very thick <material>mortar</material>. Mix into it about one half of <material>horse manure</material> and
    then beat it well. Afterwards mix in one third of <material>cloth waste</material> or <material>cloth
      shavings</material> and beat it again quite strongly. You can reheat your mold as soon as the
    <material>lute</material> is ready. </block>
</entry>

<entry identifier="p143r_1">

    <folio number="143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>

    <heading>Moulding turtles and tortoises</heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> The <animal>turtle</animal> the one that lives in water is more beautiful to mold because it has prettier
        scales and straight legs. And the <animal>tortoises</animal> have crooked ones. They eat a lot. To get ready
        to kill them, open their mouth and pass a long <tool>penknife</tool> through all the intestines. And then
        make it swallow some <material>vinegar</material> mixed with <material>spirits</material> or <material>urine</material>, as one does for <animal>snakes</animal>. It is
        necessary to mould them in several pieces, and even the back sometimes because the sides of
        certain ones are narrower than others and in this instance do not release from the cast. To
        make them die, you must not boil them, because they come apart, even the shell, in the hot
        water. They the shells come out better when hollowed because their great thickness spoils
        the mold. <animal>Turtles</animal> are more lively. The <animal>tortoises</animal> are leaner, slower, and more sleepy. If you
        scratch <animal>turtles</animal> on their shells, no matter how sleepy they are, they move; <animal>tortoises</animal> do not. </block>

    <block position="left-top"> They <animal>turtles</animal>/<animal>tortoises</animal> die rather quickly in <material>vinegar</material> mixed with a little <material>spirits</material>
        or <material>urine</material>, as with all other animals. </block>

    <block position="left-top"> They <animal>turtles</animal>/<animal>tortoises</animal> keep their eyes closed in the winter, and appear as dead,
        having been numbed by the cold. They hide in the earth or under balls of grain or warm
        manure, and survive only on the dampness of the earth. </block>

    <block position="left-middle"> You must not mold them too soon after they die because they are still stiff.
        But on the day after, you will be able to manipulate them and bend their legs as you wish. </block>

</entry>


<entry identifier="p143r_2">
    <folio number="p143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>
    <heading>
        <profession>Moulders</profession> from Foix</heading>
    <purpose type="observation"/>
    <activity type="making sand"/>
    <block> Those who mould from across the way make their <material>sand</material> from
            <material>crocum ferri</material> and <material>calcinated slate</material>, but
            <material>slate</material> always retains its bumpiness and swells because it is a
        fatty. In the <material>noyau</material>, it is not good; in <material>sand</material>, it
        can be put to use. They the <profession>moulders</profession> from <place>Foix</place> sieve
        their sand, grind it on porphyry, and soak it in water, and they keep the finest bits which
        are on the top, then they reheat it. </block>


</entry>

<entry identifier="p143r_3">
    <folio number="143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>
    <heading>Toad</heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> Having been molded, you can take it out it without burning it, because it releases
        easilyfrom the mold. Choose the biggest and the lumpiest <animal>toads</animal>. Because they contain a lot
        of metal, it is best to mold them hollow, since they turn out better. You could make your
        cast in one great piece, but it would be troublesome to cut. It is best to do it in three or
        4 parts, which will be thicker close to the animal, and include the most amount of edge that
        is close to the cast/mold. Make as well some casting conduits all the way from the end of
        the cast,</block>

    <figure identifier="fig_p143r_1" position="left-bottom"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5cnJFVXFaRURaY3c"/>

    <block position="left-bottom"> Let the mold cool rather than opening it, even for thick things. </block>

    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>

    <block> from one leg to another, so that the spread out limbs are in connection with one another
        due to the aforesaid casting conduits, which you will start in the waxless round parts that
        you have put at the edge of the legs to attract the metal. In this way, because you are
        casting in <material>wax</material>, there is no danger chipping any part of the molded animal. It's quicker to
        make the wax casting conduits thus, because in this way you can cast the second mold after
        the first, rather than wait to do them the conduits after the mold has been recooked,
        because then, if possible, you will need to have everything ready. You need to heat well,
        and even redden the molds where there are wax conduits so that they melt and leave nothing
        inside. </block>

</entry>

<entry identifier="p143v_1">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading>Openwork carcanets </heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> You can mold them "en <material>noyau</material>" like <animal>crayfish</animal>, first
        with one side being made higher with <material>clay</material>, which is hollow, and then
        you open it from the other side and make the second casting. You can just as well cast them
        "en chassis", provided that they release well. If they do not, you can do a rough cast in
            <material>wax</material>, or you can fill up the cavities which do not release well with
            <material>wax</material> or <material>clay</material>. </block>

</entry>

<entry identifier="p143v_2">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading><material>Iron filings</material></heading>
    <purpose type="making"/>
    <activity type="maintenance"/>
    <block> Because usually filings are mixed with impurities, it is good to heat them over fire to
        burn the filth and then wash them in clear water. In this way, the dirt will rise to the top
        of the water, which you will throw out, and the good <material>filings</material> will go at the bottom. </block>
</entry>

<entry identifier="p143v_3">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading><plant>Carnations</plant></heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Because those that you usually cast are generally quite big, they are heavy. And so for
        these, you make them with <material>silver leaf</material> or <material>slivers</material>. </block>
</entry>
<entry identifier="p157v_1">
<folio
number="157v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f320.image"/>

<heading>Ashes in the moulds</heading>

<block><purpose type="advice">You must let the mold cool down rather than blow into it to try to get the ashes out.  Because when the mold is hot, the ashes stick to it, and when it cold, they separate from it more easily, and will exit by blowing with le vent a vapeur.</purpose></block>
</entry><entry identifier="p157v_3">
<folio
number="157v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f320.image"/>

<heading>Po{ur} f{air}e h{…} vin f{…}rs [?]</heading>

<block><foreign language="Latin">Prenez un chausson du pied droid t qui ait este porte et le faictes

tremper en eau et de leau q{u}i en sortira la f{air}e boyre au mesme

ou autre et v{er}rez merveilles</foreign></block>
</entry><entry identifier="p158r_a1">
<folio
number="158r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f321.item.zoom"/>

<heading>Mercury in molds, for cleaning</heading>

<block><purpose type="making">Take heed that your mold be quite cold when you blow in order to get the ashes out. And afterwards put in <material>☿</material> in order to finish the cleaning. Because if the mold is hot, the <material>☿</material> will go inside; seek out the conduits in escaping, will leave its own odor, which will aggravate the tin or other metal that you will cast, such that it will break in touching the mold at all. The heat of the mold also retains some little grains of <material>☿</material> that will make lumps; stick to the sides of the molded leaves and attach to them; make them frangible. The <material>☿</material> cleans ashes well. Likewise flat things where there are not delicate traces that it could break with its weight. And therefore, if you can cast neatly without putting it in, don't use it at all. But if you have need of it, mix your <material>crocum sand</material> so that it withstands fire well. And after having put in the <material>☿</material>, evacuate it, bouncing the end of the mold from below while moving it. Afterwards reheat your mold gently so that the <material>☿</material> is gone from everywhere. In this way I cast a branch of periwinkle leaves; flowers very neatly. Having put a branch of melted [illeg] in the flower, on the back of the <material>flower</material> [illeg].</purpose></block>

<block position="left-bottom"><purpose type="advice">Reheat your <material>mold</material> until it is good and red before casting, so that the <material>☿</material> evaporates well.</purpose></block>

</entry><entry identifier="p158v_1">
    <folio number="158v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDSU1RN3ExeW5WclU" title="Color for Green"/>
    </annotations>
    
    <heading>Colors for green leafs</heading>

    <block>
        <purpose type="making">One usually paints them with <material><foreign>oil</foreign> colors</material>, because
            distemper colors do not stay on. For <material>marigold flowers</material>, lightly
            ground <material>minium</material> for some of them; for more yellowish ones, mix in a
            bit of <material>massicot</material>. For green, the <material>vert-de-gris</material>
            is dark and too somber. If it is a yellowish-green, you can mix with the
                <material>vert-de-gris</material> a bit of yellow ochre and scudegrum. If the green
            is dark, mix in some coals made from peach pits, which makes a greenish-black, in the
            same way than the bone of an ox foot bone makes a bluish-black. And in such a manner, by
            judgement and discretion, put the color on the natural flower or leaf to see whether it
            is similar to the original. But paint it on very lightly so as not to cover the features
            of the work.</purpose>
    </block>
</entry>
<entry identifier="p158v_2">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>Large molds</heading>

<block><purpose type="advice">Because of the heaviness of the metal, it is necessary to put them in a press so that they do not open.</purpose></block>
</entry><entry identifier="p158v_3">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>Candle smoke</heading>

<block>It allows the piece to be taken out more easily, and even if it is slightly thick, it does not stick because it has no substance. I have perfumed my <material>core molds</material> this way for <material>tin</material> and <material>lead</material>, and I have casted in a <material>cold mold</material>, but drying it well beforehand, and the piece came out quite cleanly. It is true that lead mixed with half the quantity of tin, because the medal was very thick, was very hot.</block>
</entry>








<entry identifier="p158v_4">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>casts</heading>

<block><purpose type="advice">If the <material>medal</material> is very thick, do not pour a cast that is as thick; the cast just needs to be half as thick as the <material>medal</material>. But if it is thin, make a cast that is of the same thickness. Do not forget to make vents in the cast or the whole matter will fill with bubbles.</purpose></block>

<block position="left-bottom">Never forget to oil the cast with wax when you cast herbs or flowers, otherwise it will break and cannot be taken out.</block></entry><entry identifier="p159r_a1">
<folio
number="159r"

url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Portraits in Wax</heading>

<block>If you do not mix your wax with any <material>color dye</material>, and if you paint some <material>colors</material> on the <material>wax</material>, these <material>colors</material> would fade if you cast it en noyau. But the representation is not damaged, rub it very lightly with <tool>spirits</tool> diluted with hot <tool>water</tool>. If your representations are varnished, repeat the molding process two or three times in order to remove this varnish which sticks to the mold. When the <material>varnish</material> is removed, your mold is very clean. If your representation is set on <material>wood</material>, it is necessary to pour very hot <material>melted wax</material> on the <material>wood</material>, otherwise the mold sticks to the wood. It is much better to mix your white wax with <material>white lead</material> than <material>ceruse</material>, because <material>white lead</material> is whiter and more firm.</block>
</entry><entry identifier="p159r_a2">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Chasing tool</heading>

    <block><purpose type="advice">If a <material>chasing tool</material> has passed through any part of the representation, it is necessary to rework the whole thing and follow it all again. Otherwise it would look like an additional piece.</purpose></block>
</entry><entry identifier="p159r_a3">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Fish glue</heading>

<block>Beat it very finely and thinly on a <tool>well-cleaned anvil</tool>, then dilute your <material>glue</material> with <material>spirits</material>, put the mixture on <tool>hot ashes</tool>, and on a <tool>low fire</tool>, it will melt very soon. If the <material>glue</material> is not strong and thick enough, add <material>spirits</material> in greater quantity. <purpose type="advice">Do not melt it in a fatty pot, but in a new pot if possible. It melts on fire and dries very quickly on fire.</purpose> When your <material>glue</material> sets on the work, heat it away from fire, it will stick very strongly. One reworks <material>flowers</material> and delicate things made from <material>silver</material>, <material>gold</material>, <material>tin</material> and other <material>metal</material> with this glue which will not spoil your work.</block>
</entry><entry identifier="p159r_a4">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Tin and lead</heading>

<block><purpose type="making">They must be beaten out very finely and <material>tin</material> will not get brittle or break, <material>lead</material> is a bit fatter. But that is why it is necessary to reheat it under hot ashes, and to beat several <material>leaves</material> together.</purpose></block>
</entry>
<entry identifier="p159v_a1">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Cleaning files</heading>

    <block><purpose type="advice">Sometimes they get fat from the grease of lead, which is naturally fat, or also filings corrode them. And you will be able to clean them with hot charcoal or a wire brush made from brass.</purpose></block>
</entry><entry identifier="p159v_a2">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Carnation</heading>

<block>Mold a carnation like a <material>rose</material>, <material>marigold</material>, and all other <material>flowers</material> as discussed, that is to say cast the <material>flowers</material> in one mold, and the <material>leaves</material> in two parts in order to solder them onto the <material>flower</material>, this is the better way. But you could <material>mold</material> the flower and the leaves together in one single closed mold. <purpose type="advice">I tried one which came out well from the mold. But the sand must be very thin, and you must blow very strongly.</purpose></block>

<figure identifier="fig_p159v_1"
position="left-middle"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5LXNkdWdBLXZ1RVk"/>
</entry><entry identifier="p159v_a3">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Molds</heading>

<block>Try to make one side as thick as the other, that way the two parts will be equally reheated. You can open this kind of mold in order to clean it, when you mold some animals, like crayfish, which burn. When your mold is reheated, do not wait too long before casting again, because it gets damp and loses its strength.</block>
</entry><entry identifier="p159v_a4">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Unmixed plaster</heading>

<block><purpose type="advice">If you reheat <material>plaster</material> as a stone it would crumble into water, but if you grind it before reheating it, it will not crumble into water, on the contrary it will harden in water, if it is good plaster like the one from Paris or from Spain which is as hard as a stone, and which is found through poor and dry earths, and which looks like white salt. German people use this plaster to make statues for their fountains, even if the statues are varnished they will not be damaged with water. On the contrary harden this <material>plaster</material> with water. When this sand is unmixed it sets much sooner. <tool>Oil</tool> very lightly your <material>shapes of metal</material> or of other materials otherwise you will not be able to strip <material>plaster</material> from the <material>mold</material>. And dip your <material>mold</material> into hot water in order to open it, if it does not open in hot water, it could open into boiling water.</purpose></block></entry><entry identifier="p160r_1">
<folio
number="160r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f325.item.r=.zoom"/>

<heading>Presses for large moulds</heading>

figure identifier="fig_p160r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZDNJT25PWjlUbGM"/>


<figure identifier="fig_p160r_2"
position="right-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5MEUzMjhxUVl1ZTA"/>

<block>It is made of two sheets of <material>iron</material>, fasten with four small <material>iron pillars</material>, in such a way that the upper sheet is able to move and run freely along the pillars, while the lower one is fixed. A <material>St André cross</material>, made of <material>iron</material>, stops at the end of the pillars; there is a screw in the middle of the cross, which squeezes the sheets against the molds placed between them.</block>

<block>For <material>small molds</material>, we make a <material>frame</material>; having put the mold between two metal sheets, we squeeze it in the frame with  for  small moulds, put the mould between two iron sheets, and squeeze it  with <tool>wedges</tool>.</block>

<block><tool>Big wooden presses</tool>, with a <tool>screw</tool>, apart from being heavy to move to the furnace for casting, make it difficult to see when they squeeze too much, and they often break the molds.</block>

<block>The <tool>screw</tool> is fixed to these <tool>nuts</tool> which are nailed down the upper plate, <purpose type="advice">this way it raises and presses the mould.</purpose></block>
</entry><entry identifier="p160v_a1">
<folio
number="160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Moulding a foot or a hand</heading>

<block><purpose type="casting">Mix <material>resin</material> to the <material>wax</material>. Once well blended, soften the <material>mixture</material> in <material>hot water</material> or <material>urine</material>. Then press <material>[the foot or the hand]</material> in the <material>mixture</material> in order to get an impress, then pour <material>plaster</material>; the <material>cast</material> will which will be clean and come off easily.</purpose></block>
</entry><entry identifier="p160v_a2">
    <folio number="p160v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

    <heading>Fine work made of gold or silver</heading>

    <block>You can <activity type="molding">mold <material>flies</material> by <tool>hand</tool>,
            without casting; the <material>wings</material> and the <material>feet</material> can be
            soldered, which you could not do with fine works of <material>lead or tin</material>,
            because they would melt. You can enamel the work made of gold.</activity></block>
</entry>
<entry identifier="p160v_a3">
<folio
number="p160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching crayfishes</heading>

<block><activity type="catching">On the end of a <tool>stick</tool>, attach <unit>pieces</unit> of <material>liver</material> or <material>lung</material>, from <material>beef or mutton</material>. Then hang a <tool>basket</tool> to the <tool>stick</tool> with a <tool>little string</tool>. Put the <tool>basket</tool> into water where crayfishes eat; they will soon aggregate on the flesh. Pull very gently your stick out of the water; the crayfishes which will try to return to the water will fall into the basket.</activity></block>
</entry><entry identifier="p160v_a4">
<folio
number="p160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching passerines</heading>

<block><purpose type="advice">If they sleep in the farmyard, like they commonly do, close to the house, let the closest window open, and put a lighted candle close to the window. The candle itself must be hidden, only its glimmer must be seen through the room and through the window; all the passerines will then lock themselves into the room. But the night must be very dark, without any moonlight.</purpose></block>
</entry><entry identifier="p160v_a5">
<folio
number="160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching birds</heading>

<block>During winter, when <material>birds</material> have molted, skin them and fill them with cloth and stuffing, or dry them well in an oven. Then arrange your <material>birds</material> on <material>trees</material>, have some [look like they are] singing, [look like they have assembled] and are numerous.</block>

<block>the <tool>oven</tool> must not be too hot. <purpose type="advice">This [method] is good in the summer, because flies would set into the eyes and make works before they [birds] could dry. You can work on the birds more easily in the winter, because they dry by themselves.</purpose></block>
</entry><entry identifier="p161r_1">
<folio
number="161r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f327.item.r="/>

<heading>Preparing sand for box molds</heading>

<block position="left-top"><activity type="molding">After your <material>sand</material> [which is made] of gip de lateribus and alumen jameni is moulded as a core, gather the left-over pieces of your mold, and break them up on a <tool>long table</tool> with a big metal block until they are very well crushed. And for an even better result, sieve them neatly. Place them in the <tool>oven pots of tile-makers</tool>, in a <tool>bread oven</tool>, [firing them] several times, when it is well heated so that they become very red. When cooled down, rebreak them if you need to and sieve them. After, put them in a vaisse, a semal or a vessel that is appropriate and clean. And then wet it with clear water. And crush it and mix it with a big stick until it is very well-moistened and rinsed, and the dirty parts rise to the surface of the water. Keep stirring in this way the dulled gip, that one prepares to gilt burnished gold over five or six days, until it is in no way lumpy. And each time your stir it, leave it to rest and cull the clear water that will be on the top by tipping the pot, or with a porringer, or with a sponge. And put in some new clean water and in this way wash and stir until it is refined and purged of all filth. Then leave to drain a little bit and to dry and make of it some balls, soaked in <material>sal ammoniac</material>. Having been thus dried, put them to be recooked in very high heat in a <tool>reverberatory furnace</tool> for a <unit>good amount of time</unit>, where they will become very red. Having been recooked in this way, crush them and try to mold something in a <tool>box mold</tool>, having moistened your crushed powder with <material>water of sal ammoniac</material>. And reheat and redden you box mold, and if your sand comes away, then you must crush it again and moisten it again with water of sal ammoniac. Remold it in two balls and recook it and redden it and continue this for as many times as necessary until it does not come away from the box mold when the box mold is reddened. <purpose type="advice">The main thing is for it to be well recooked, because otherwise the sal ammoniac will not calcinate well and will make the sand coarse. And for this reason, you should not put in too much sal ammoniac.</purpose></activity></block>
</entry><entry identifier="p161v_a1">
<folio
number="161v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f328.item.r="/>

<heading>Crocum ferri</heading>

<block>It can be made quickly if you put very filings that are very neat and have been washed in an <tool>iron drum</tool> that is only <unit>two fingers high</unit>, and cover it, and redden in a <tool>reverberation furnace</tool>, having washed it in <material>good vinegar</material> for a whole day. And it will be very well burnt and clean, mixed and crushed on a <tool>marble slab</tool>. Having been well crushed and when well mixed, the <material>vinegar</material> will corrode it easily and will redden it quickly and bind it. Wet it with the strongest one you can find and burn it after. And after three or four wettings and burnings it will be ready. This one will be the color of columbine and is considered firmer for casting than the one that is redder and more beautiful in color, done with rusty filings and has more color in it. <purpose type="advice">Some burn the filings many times on a shovel of red iron, watering each time with vinegar.</purpose></block>
</entry><entry_group identifier="p162r_a1">
<folio
number="162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>For La Boutique</heading>

<block>According to <name type="person">Herodotus</name> <name type="people">the Portuguese</name> did not invent [deep sea] navigation as they put about. At the beginning of the first book entitled <name type="book">Clio</name>, he says that the <name type="people">Phoenicians</name> used to come navigating straight across from the <name type="place">Red Sea</name> to the <name type="place">Greek coast</name>, mainly to <name type="place">Argos</name>, where they would bring merchandise from <name type="place">Egypt</name> and <name type="place">Assyria</name>, which they usually sold out within 6 days.</block>

<block>According to <name type="person">Herodotus</name> <name type="people">the Portuguese</name> did not invent [deep sea] navigation as they put about. At the beginning of the first book entitled <name type="book">Clio</name>, he says that the <name type="people">Phoenicians</name> used to come navigating straight across from the <name type="place">Red Sea</name> to the <name type="place">Greek coast</name>, mainly to <name type="place">Argos</name>, where they would bring merchandise from <name type="place">Egypt</name> and <name type="place">Assyria</name>, which they usually sold out within 6 days.</block>

<heading position="left-top">Navigation, commerce</heading>

<block><name type="person">Herodotus,</name> <name type="book">page 1 of Clio</name>, says that the <name type="people">Greeks</name> traveled in a long ship to the <name type="place">coast of Colchis</name> and to the <name type="place">River Phasis</name>, where they carried off <name type="person">Medea</name>.</block>

<heading position="left-top">Galleys.</heading>

<block><name type="person">Herodotus</name>, <name type="book">page 3</name>, says that <name type="person">Gyges</name> offered to the <name type="place">temple of Delphi</name><q><foreign language="latin">"pateras aureas sex pondo 30 talentorum".</foreign></q></block>

<heading position="left-bottom">Gold vases</heading>

<block><name type="person">Halyattes, the father of Cresus</name>, <q><foreign language="latin">"pateram ex ferro compactilem apud Delphos dedicavit spectatu dignam inter omnia quae sunt Delphis donaria, opus Glauci Chii qui solus omnium compactionem ferri excogitavit."</foreign></q> Compactile ferrum means made by assembling separate parts.</block>

<heading position="left-bottom">Iron vase assembled and soldered</heading>

<block>As small peddlers lay open small wares in order to buy more precious ones to make more and more profits, I also, from a desire to learn, am laying open the little that is in my boutique in order to have through receive through a common commerce des lettres much rarer secrets from my benevolent readers.</block>
</entry_group><entry identifier="p162r_a2">
<folio
number="p162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>Aes ustum</heading>

<block>When <material>it [Aes ustum]</material> is finely ground it <activity type="molding">moulds</activity> very cleanly. It has a certain fatness that makes it bind better than filings, <purpose type="observation">I believe that it may not be ill suited for casting.</purpose></block>
</entry><entry identifier="p162r_a3">
<folio
number="162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>Rotten wood</heading>

<block><activity type="casting"><material>Wood</material> that is white, being <unit>light as a sponge</unit>, <purpose type="advice">if burnt in a close fire, may be used for casting lead in a box and molds very cleanly, but these things [such material] do not withstand [open?] fire.</purpose></activity></block>
</entry><entry identifier="p162v_1">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Peach trees</heading>

<block><purpose type="advice">Because they cast and blossom from the outset, and so are caught by the frost. We expose their roots during winter so that the cold slows them down, and they blossom later, which benefits their flowers.</purpose></block>
</entry><entry identifier="p162v_2">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Olive trees</heading>

<block><purpose type="observation">In <name type="place">Spain</name> they expose their roots during winter and in spring they earth they up again.</purpose></block>
</entry><entry identifier="p162v_3">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Foot of bittern</heading>

<block><activity type="molding">To mold it it is better to extend its fingers and nails on something flat and let them dry this way for a few days, because in drying the scales will be rougher and the nerves and and tendons will be more apparent, and so the molded foot will be more artistic.</activity></block>
</entry><entry identifier="p162v_4">
<folio
number="162v_4"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Molds of things which have not been pelted</heading>

<block><material>Animals</material> who have not been pelted can only be molded in a double mold, which can only be opened after they have been refired and after the <material>enclosed animal</material> is completely burnt. <material>Animals with bones or scales</material> which are not reducible to powder thus remain in calcined pieces which will never removed from the cast, however much bellowing or whatever amount of <material>quicksilver</material> is put in, or by using a <tool>feather pipe</tool> while molding to make a gate. This is why you mold in two halves: so that once the mold is opened after having been refired, the thing you've burnt can be cleaned out. <purpose type="advice">But I advise letting it cool so that in taking off the clamps (being hot) nothing cracks while it is still fragile. While it is hot the crust and cinders which it leaves and which stick to the mold can be more easily removed when it is cold. Also note that on the side of the lower mold when you reheat the animal, which in boiling leaves a crust, in this case, always mark on the mold where the back of the animal is so that in reheating it is to the top and above and will by this method stay cleaner.</purpose></block>
</entry><entry identifier="p163r_1">
<folio
number="163r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f331.image"/>

<heading>Perfume-makers</heading>

<block>They readily make their perfumes with <material>half amber</material> and <material>half musk</material>, and a <material>little civet</material>, because the scent of <material>amber</material> is stronger than the scent of <material>musk</material>.</block>

<block><purpose type="observation">To save using amber, <name type="corporate">perfume-makers</name> readily add add a <unit>small quantity</unit> of <material>musk</material> to the white layers, in order to get a stronger scent. But to remove or hide the blackness of musk, they add a bit of <material>starch from England</material>, which is perfectly white.</purpose></block>

<block>To give off a scent of white amber, in the same way that the <name type="corporate">Portuguese</name> do, take a <material>chunk of amber</material> that you have broken up into pieces. Having put in a small <tool>silver porringer</tool> a <unit>spoon</unit> of <material>flower oil</material>, should you not have some, <material>linseed oil</material>. That is to say, use the type of <tool>silver spoon</tool> one might use at the table. Pour into this your <material>ambergris</material>, then place it on a low fire, it will melt quickly if your <material>amber</material> is of good quality, and there will be no lumps. Having melted it all, put in a small bit of civet, and melt it all and blend it well together. Then take your gloves which you have cleaned and dried properly, and lightly dip the <tool>edge of your finger</tool> around the edge of the oil, with patience slowly spread the oil along the glove, and rub the glove between your <tool>hands</tool> and trace along the fingers and its stitches, one after the other. Leave it to dry. Then repeat the previous procedure until you have used up all of the <material>amber</material>.</block>
</entry><entry identifier="p163r_2">
<folio
number="163r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f331.image"/>

<heading>Spirits</heading>

<block><purpose type="observation"><material>Spirits</material> are excellent for making molds clean, in such a way that where you do not apply some, <material>common sand</material> will attack the figure. But it needs to be passed three times. And because it does not take well on oiled things, I believe it may be best to put some into the <material>water</material> with which you have moistened your <material>sand</material>.</purpose></block>
</entry><entry identifier="p163v_1">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Crayfish</heading>

<block>The <material>hairy little horns</material> that the <material>crayfish</material> has under its snout tend to come out lumpy and unclear because, after they are burnt, it is difficult to remove and clean away their ash, which, staying in the mold, prevents the metal from running well. And for this reason, one makes a small gate of <material>wax thread</material> at the tips of them, in order both to hold them up and to blow away the cumbersome ashes from inside.</block>

<block position="left-top"><purpose type="advice">Do not spare any <material>pins</material>, placing them not only in the middle of the body, but also on the big legs, and two or three on the tail, according to the positioning that you want to give it.</purpose></block>
</entry><entry identifier="p163v_2">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Crocum</heading>

<block><purpose type="observation">That which has become rusty by itself, having been doused with <material>water</material>, <material>salt</material>, and either <material>vinegar or urine</material>, and then well-dried and reddened by heating, is deep red when crushed on porphyry and is of the color of bol de levant, almost like minium. But that which is doused with <material>urine</material> and dried acquires a deeper color and almost like crushed aes ustum or like vermillion. But the first one, finely crushed, acquires a bright red color like cinnabar when placed in spirits. And the one and the other, when prepared as said above, finely ground and made very hot, produce a red smoke like an acid vapor if, being thus hot and fine, one throws vinegar, urine or spirits on top. The <material>urine</material> makes a lot of color and the <material>spirits</material> as well.</purpose></block>

<figure identifier="fig_p163v_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5anJvd0FQQ3BkRFE"/>
</entry><entry identifier="p163v_3">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Repairing</heading>

<block><purpose type="advice">It is much better to only lightly repair your work with a <tool>burin called an "onglet"</tool> or the one called <tool>"chaple"</tool> or with a <tool>small file</tool>. Above all, avoid touching your work, but touch only the burr or lumpy parts that will have occurred during the casting. While reworking, moisten and rub your work with a <tool>small bristle brush</tool>.</purpose></block>
</entry><entry identifier="p164r_1">
<folio
number="p164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Casting</heading>

<block><purpose type="advice">When you make a cast of delicate animals, like <material>snakes</material>, start by casting the belly side, or the under-tail, for this side has straighter lines which are easier to rework than the back side, which is more veined and is more marked.</purpose></block>
</entry><entry identifier="p164r_2">
<folio
number="164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Repairing burrs</heading>

<block>Remove burrs very carefully with the point of a <tool>chaple or a burin</tool>, then scrape the burrs with the side of a <tool>burin</tool>, or carefully with a <tool>small file</tool>, and rub with <tool>willow coals</tool> and small brushes. Continue, also, with the lines not interrupted by burrs.</block>
</entry><entry identifier="p164r_3">
<folio
number="164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Leaded silver</heading>

<block>A lot of <material>silver</material> is wasted because of the lead which is mixed with it, as occurs in cupellation, and makes it leap in small bits onto the edges of the crucible and onto the charcoal which covers it and is also gross. And by this means, it is good to melt <material>silver coins</material>, like reals and others, and make them into ingots prior to casting lizards or animals, for it comes out better. I cleanly molded a small, <material>silver viper</material>, like in the first recipe above. And at the end of the line of <material>4 reals (of 20 S of Spain)</material>, and <material>one coin of 20 S from France</material>.</block>
</entry><entry identifier="p164v_1">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Molds</heading>

<block>For <material>molds</material> wherein something must be burned (away), and do not open before being reheated: do not cast before refiring/reheating. <purpose type="advice">For large molds that produce large and wide casts, it is necessary to score it with strong notches so that the pitch of the metal does not run as forcefully. These will not make many burrs if they are pressed.</purpose> Prior to doing so, place between the <material>mold</material>and the press <material>pieces of thick felt for mittens</material>, which will fill the cavities and protect the mold from cracking. The clamps should be placed prior to heating or drying.</block>

<block position="top-left"><purpose type="advice">When the ground from which you are making your <tool>earthen base</tool> to lay out your animal is too soft, the <tool>pins</tool> you place come out easily when you cast the sand and so the mold is spoilt and the design is defeated. Therefore when you know that your slab is too tender and soft, spread some <tool>hot cinders</tool> over it and blow with the bellows.</purpose></block>
</entry>


 <entry identifier="p164v_2">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Sable</heading>

<block>If you don't add enough <material>alum de plume</material> or <material>crocus</material> your mold will easily crack when heated. But if your <material>sand</material> is mixed as it ought to be, the mold will sustain itself. You'll know it's of good quality when, while still hot after casting, it immoderately soaks up the water when dipped and breaks easily, because the <material>alum</material> and the <material>crocus</material> render it spongy. To the contrary, <material>bad sand</material>, which is composed of <material>plaster</material> and <material>brick</material> and is not well mixed with alum, breaks easily in fire and hardens in water. If possible, cast all at once.</block>
</entry><entry identifier="p164v_3">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Molds</heading>

<block>When you cast <material>lead</material>, your <material>molds</material> must be very dry, even if the <material>molds</material> are large. The outside of the molds must be reddened, and it is necessary to keep them in continuous <tool>heat</tool> until they do not smoke anymore inside. Do not reheat your <material>molds</material> several times, but continue when you have begun and do not let them cool in the cold because they will crack. Let them cool near the fire. When your molds are still as warm as above, remark, you can put your finger into the casting gate without burning your skin. If your <material>mold</material> is large, it takes more time to cure and to dry, and you must also cast warmer.</block>
</entry><entry identifier="p165r_1">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>To repair</heading>

<block>If in your cast, there appear some little hole, fix it with <tool>black or gray filling <material>gum wax</material></tool>.</block>
</entry><entry identifier="p165r_2">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Lacquer</heading>

<block><purpose type="observation">If, having been ground, you let it dry without keeping it in <material>water</material>, it will dry out and it will be quite difficult to crush it as before.</purpose></block>
</entry><entry identifier="p165r_3">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Stretching a canvas portrait</heading>

<block>If it is crumpled or folded from when it was rolled up, moisten the back side with a <tool>wet sponge</tool>. Then stretch it very evenly without damaging it.</block>
</entry><entry identifier="p165r_4">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Plaster for molding</heading>

<block position="left-middle">When it is long to set and dry, it means that it is too fat and moist, which is what makes it shrink away from the fire and crack. [This is] where burrs come from. The one that comes from lean earth is better. You must not store your moulds made of <material>fat plaster</material> for a long time, because they resemble fat earth, which when drying, cracks. The best is to reheat them soon after they have been made and cast. Moulds made of <material>good plaster</material> can be stored a long time.</block>

<block><purpose type="advice">It is necessary to oil it well, because it is more difficult to separate the two halves of these moulds than when it is mixed.</purpose></block>
</entry><entry identifier="p165r_5">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Dragon's blood</heading>

<block>You can imitate dragon's blood with <material>lacquer</material>, which surpasses it in beauty, if [when] diluted in <material>oil</material>, you use it to ice <material>gold or silver</material>. <purpose type="advice">Diluted with varnish, it fades.</purpose></block>
</entry><entry identifier="p165r_6">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Repairing snakes and lizards</heading>

<block>You could make some marks according to the form of their scales, making some bigger ones and some smaller ones, according to the shape of the neck, the body and the tail. If there is something broken, you can attach it with small <material>iron or steel nails</material>, and glue it with some <material>mouth glue</material>, then cover the whole thing with gray or black <material>wax</material>. But it is necessary to let the <material>glue</material> dry for one day without touching it.</block>
</entry><entry identifier="p165v_1">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Positioning animals</heading>

<block>Not only with <material>iron pins</material>, but also with <material>melted wax</material>, are animals secured to the <tool>plate of earth</tool>. Wash them first in clear water, after they have died in the mixture of <material>vinegar</material> and <material>urine</material>. And with a <tool>sponge </tool>clean off their mouth, eyes and head of the froth coming out, because the <material>sand</material> would never set well there and would become lumpy.</block>

<block position="left-top">If you want to keep their mouths open, insert a little bit of <material>harpsichord string</material>, which will not take up much space.</block>
</entry><entry identifier="p165v_2">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Keeping animals</heading>

<block>Having molded them once, if you want to keep them for molding again, put them back into the mixture of <material>urine</material>, <material>vinegar</material> and <material>spirits</material> where you killed the others, and they will keep for a long time without decaying. <purpose type="advice">If you have a cut on your hand, take care that this mixture does not touch it.</purpose></block>
</entry><entry identifier="p165v_3">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Molds</heading>

<block>After molding them do not keep them for long, but use them as soon as you can, because when kept for a long time, they are prone to spoiling.</block>

<block>When your <material>molds</material> are reheated, the thing comes out better.</block>
</entry><entry identifier="p165v_4">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Lute</heading>

<block>When reheating, you might as well use common <material>lute</material>, But when you want to cast, strip it from the <material>mold</material> and, using a <tool>brush</tool>, quickly apply a layer of plaster <material>lute</material> that has been used for molds, because it will be dry as soon as it settles, and cast. This <material>lute</material> should be mainly placed on the joints.</block>
</entry><entry identifier="p165v_a5">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Silver</heading>

<block><purpose type="observation">When it quivers after melting, that is a sign that it is very hot. And since it commonly contains much lead, it is good to throw in some <material>lime mortar</material> because that attracts and gathers in the lead.</purpose></block>
</entry><entry identifier="p165v_a6">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Fly wings</heading>

<block>So that they come out best, place <material>wax sprues</material> from the gate up to the tips of the wings. Also make sure there is enough <material>wax</material> under the belly, because that is what makes the cast succeed.</block>
<figure identifier="fig_p165v_1"
position="left-middle"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5UmhqY1RkWFRhYzg"/>
</entry><entry identifier="p165v_a7">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Attaching a fly wing or something similar</heading>

<block>They can be attached with <tool><material>fish glue</material> mixed with <material>spirits</material></tool> over slow heat, heating also the work. Then that is covered with <material>wax "à ébaucher"</material>, that should be grey.</block>
</entry><entry identifier="p166r_a1">
<folio
number="166r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f337.item.r="/>

<heading>For the Workshop</heading>

<block><purpose type="observation">If anything has been omitted: the <name type="corporate">harvester</name> is not blamed for leaving some corn ears.</purpose></block>

<block><purpose type="observation">If some <name type="corporate">craftsmen</name> complain that their craft secrets are being discovered, as the goddesses of Eleusis complained to N… the Pythagorean that their mysteries were disclosed, excuse yourself in the words of the ancient Hebrews quoted by Josephus.</purpose></block>

<block><purpose type="observation">As a hen will carefully search the rubbish thrown out of a house for a crumb or a seed to distribute to her chicks, so will the orphans receive whatever has been discovered in those arts that are considered vile and despicable.</purpose></block>

<block><purpose type="observation">Tablet of Cebes: idle. But The Workshop represents all things active.</purpose></block>

<block><purpose type="observation">If the jealous will disapprove picking up these things and taking them from others, reply that since "Nullum est jam dictum quod non dictum aut factum sit prius" and it is commonly believed that all arts were invented within a thousand years, do not imagine you could invent anything new but rather rediscover the long-buried, unknown and forgotten <name type="book">books of Numa</name> in order to reveal them to those who are ignorant of them; and that, just as the day before teaches the day after, you also needed to learn from those before you in order to teach those after you. The <name type="corporate">Latins</name> learnt from the <name type="corporate">Greeks</name>, as Cicero did from <name type="person">Plato</name> and <name type="person">Virgil</name> from <name type="person">Homer</name> (Aulus Gellius). <name type="person">Valerius Maximus</name> only reawakened various authors who had written previously, and Livy's 23rd book [revived] the 2nd or 3rd book of Polybius. Among the Egyptians, <name type="person">Serapis</name> was deemed the inventor of agriculture, but among the Sicilians, it was <name type="person">Ceres.</name> <name type="person">Pythagoras</name> and others from Tyana learnt during their travels those disciplines which, back in their countries, they claimed to have invented. Does one not call a <name type="corporate">weaver</name> the maker of his precious cloth or fabric, even though he did not himself dye and twine [the yarn] nor wind and prepare the reels and balls of thread? Is a <name type="corporate">mason</name> not the builder of the house, for picking up ready-made stones? "Apollo a Chirone medicari didicit &amp;tamen deus medicinae habitus." "Homerus Orphei poema imitatus est, nam cum Orpheus sic prius exorsus esset, 'Iram cane dea Cereris frugiferentis', ita reddit Homerus, 'Iram cane dea Pelidae Achillis'". In Justino martire, Circa princip.</purpose></block>
</entry><entry identifier="p166v_1">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>[art and learning]</heading>

<block><purpose type="observation">In addition to <name type="corporate">Greek</name> examples, there is a <name type="book">psalm of David</name> mentioned by <name type="personal">Saint Athanasius</name> in the <name type="book">Synopsis</name>. It begins "Parvus eram" and in the second verse the royal prophet says, "Manus meae fecerunt organum et digiti mei aptarunt psalterium."</purpose></block>
</entry><entry identifier="p166v_2">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Keeping chestnuts</heading>

<block><purpose type="advice">They must be left in their burs until you want to eat them. And in their burs, store them in a humid place, or in the drain of some roof.</purpose></block>
</entry><entry identifier="p166v_3">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Scented candle from Le Mans</heading>

<block>They melt in with<material>wax</material> and <material>candles</material> <material>rosin</material> that is called in <name type="place">France</name> [rosin] from <name type="place">Burgundy</name>, which is white and not as rough or dry as the other <material>rosin</material>. They also perfume the <material>wick</material> and the end of the wick.</block>
</entry><entry identifier="p166v_4">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Softening gold</heading>

<block>Dissolve some <material>caput mortuum</material> in distilled <material>vinegar</material>. Filter and congeal in <material>salt</material> and <material>cement</material> the <material>☉</material> with this, and it will soften wonderfully.</block>
</entry><entry identifier="p166v_5">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Improving the color of gold</heading>

<block>Put some <material>aqua fortis</material> made with <material>vitriol</material> on <tool>hot embers</tool>. Cover the bottle, that is, the vent, with a tile. Then uncover it and a thick smoke will come out in which you put the <material>gold</material> and it will take on an excellent color.</block>
</entry><entry identifier="p167r_1">
<folio
number="167r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f339.image"/>

<heading>Mortars</heading>

<figure identifier="fig_p167r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5QTU2dDJtWHU5Nmc"/>

<block><material>Mortars</material> are made of the best alloy of <material>"métal"</material> and the finest possible <material>rosette</material> so that they do not burst, that is to say one part "métal" and two [parts] fine rosette or <material>old caudron</material>, which is even better. Some of them are of <unit>fifteen or seventeen lb.</unit> and are loaded with <unit>two and a half lb.</unit> of <material>grain powder</material>, and they are put on common windows and doors. Others are of a weight of <unit>25 to 27 lb.</unit> and are loaded with <unit>eight lb.</unit> of <material>powder</material>. And in such a way, they are made according to the stress they have to resist. On the outside, they are all the same shape, but in the inside, they are made like a crucible</block>

figure identifier="fig_p167r_2"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5OUZCVWpfdmlzbWc"/>

<block>narrower on the inside of the bottom and getting wider towards the mouth. And this is to reinforce the bottom, given the quantity of <material>powder</material> they hold, and so that they do not burst. Those of <unit>4 s. lb.</unit> are eight lines thick at the bottom, and get thinner in the inside towards the opening, which is of 4 lines. They have <unit>xiii "poulsses"</unit> long and <unit>seven in diameter</unit> at the mouth and opening.</block>

<folio
number="167v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f340.image"/>

<block>The ones weighing about <unit>27 lb.</unit> are <unit>ix "pousses" long</unit> and the mouth is <unit>6 [pousses]</unit> in diameter. At their bottom, they are <unit>6 "lignes"</unit> thick, and <unit>3</unit>for the mouth. The ones weighing <unit>17 lb</unit> are <unit>8 "poulsses"</unit> long and the mouth is <unit>five</unit>. They are all covered together, all the <material>forks</material>, <material>rods</material>, and tools which one uses, with a big <tool>canvas</tool> or big <tool>cloth</tool> so that they do not make any noise. It is good that they sit loaded for a while. After the <material>powder</material> has been put in, it is grinded very hard and then tightly pressed paper is put in, then a cake of well pressed <material>wax</material> and, on the wax, another slab of <material>cork</material> that fits in very snugly and that you have to force in. In this way, the powder remains well packed and gives much greater force, and if you wish, you can put on the cork slab one of <material>wood</material> pierced in the middle, if the mortar has a pierced bottom, which is believed to be the easiest and which makes a greater hole because it cannot recoil. And for these that have a pierced bottom, one must have a good gimlet to first make the hole so that the rod, which is made by the point of the gimlet, has before and without noise attached the mortar. And for these, one must cover the button, which is quite sharply filed, with waxed canvas, or add <material>wax</material> to it so that it completely plugs the hole in the bottom. But because the doors are sometimes iron and the <material>iron rods</material> cannot pierce it, an iron fork made like pincers and another iron stick made with three claws, like you see painted, are use. And in this way, the mortar stays in place well and is immediately steadied. The iron rods must come out of the mortar from every point made by the gimlet, namely by <unit>three or 4 finger lengths</unit>, which all enter in the door. When the mortars are placed, the touch-hole is filled with good powder and inserted in it is a feather shaft filled with tightly pressed powder and moistened with <material>vinegar</material>, or if needed, the powder is firmly pressed with the palms of the hands and, having wet it with some saliva, you shape it like a cocoon or</block>

<folio number="168r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f341.image"/>

<figure identifier="fig_p168r_1"
position="left-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5RUdzVWVNM3l6QVU"/>

<block>rod that we put into the touch-hole, and then, with a <material>rope</material> wrapped around the end of a <material>baston</material>, we ignite it and promptly retreat to take cover. The small mortars of <unit>16 or 17 lb.</unit> are attached promptly with a short, hooked rod made like a wimble, and if it is of a good alloy, we can ignite it by hand. It is done in this way for mortars of <unit>27 lb.</unit>, but then we only put <unit>three lb.</unit> of powder. The door really needs to be strong so as not to be blown off for <unit>seventeenth lb.</unit> mortars. Some people use little bells worn by oxen or mules as an door for the mortars. Others load two canons of <material>guns</material> and, with a <material>gimlet</material> and a string, tie them with the opening against the door. If the mortars are good and do not explode, they only recoil and cannot harm if one is next to them.</block>

<list>
<item>A is a <material>small rod</material>, hooked like the hinge of a door and made as a <material>biron</material> on one end in order to quickly attach a small mortar with handles of fifteen or xvii lb. for a common door or window.</item>

<item>B is a <material>small mortar</material> with handles.</item>

<item>C is a <material>common mortar</material> of <unit>27 or 30 lb</unit>. pierced at the bottom, where a large iron rod passes, button-like on one end made like a biron on the tip so as to quickly hang the mortar against a door that will not be covered with iron plates.</item>

<item>D These are slabs of <material>wax</material>, <material>cork</material> and <material>wood</material> for loading the mortar and well packing the powder.</item>

<item>E <tool>iron fork</tool> made in the form of pincers as tall as a man, used to quickly set the mortar without a rod. It must be of soft iron so that the sides fold easily, if needed, and to accommodate the height or width of the door.</item>

<item>F is another <tool>iron fork</tool> of the same height that supports the fork made as pincers and also sustains the mortar, and with its low claw prevents the pincers from recoiling.</item>

<folio
number="168v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f342.image"/>

<item>G <material>mortar with handles</material> placed with its rod.</item>

<item>H knife-like <tool>saws</tool> to cut, if needed, a <tool>portcullis</tool>.</item>

<item>J the <tool>big iron rods</tool> that cross and tie the mortar.</item>

<item>K are like <tool>iron rods</tool>, all round and covered with cloths, like all the rest, so as to make the big iron rods, pierced close to the button, turn.</item>

<item>L <tool>axes</tool> that one must always carry to chop and to break, in the fortuitous case that the mortar has left anything entirely.</item>

<item>M a large wood <tool>mallet</tool> for knocking down what was begun and weakened by the axes and "birons".</item>

<item>N are big <tool>wheelwright augers</tool> and <tool>birons</tool> for easily cutting a door or window by making large holes close to one another.</item>

<item>O <material>crutches</material> as tall as a man that must be carried to put under a portcullis immediately after the canon has been shot and to prevent the portcullis from falling.</item>

<item>P are small <tool>iron pincers</tool> for putting any low mortar against the bolt of a door.</item>
</list>
</entry><entry identifier="p169r">
<folio
number="169r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f343.item"/>

<heading>[List of making procedures]</heading>

<list>

<item>Molding a tortoise</item>

<item>Furry animals</item>

<item>Birds</item>

<item>Leaf of vine - put</item>

<item>Of the strawberry</item>

<item>Piece molding</item>

<item>Molding a vase in a chassis</item>

<item>Molding capilli veneris</item>

<item>Molds that need to be supported by nets</item>

<item>Molding a bouquet</item>

<item>Rose carnations</item>

<item>Hollow molding</item>

<item>Hollow gilded silver</item>

<item>Molding wort plant put</item>

<item>+ Crayfish put and seen</item>

<item>Grasshoppers</item>

<item>Barbots</item>

<item>Butterflies</item>

<item>Flies</item>

<item>Bats</item>

<item>Enameling thin gold</item>

<item>Molding in sugar</item>

<item>Molding fish</item>

<item>Molding in sulfur put</item>

<item>Cardboard</item>

<item>+ Wax put</item>

<item>Roughing out</item>

<item>Stamped medals full of lead</item>

<item>Molding large carved wooden pieces</item>

<item>Molding and making casts of metal animals</item>

<item>+ Wheat oil put and seen</item>

<item>Stag beetle</item>

<item>Foot of a bittern molded</item>

<item>Thickness of a medal</item>

<item>Very hard wax</item>

<item>Molding the engraving on a ring</item>

<item>Molding pieces of carcanets</item>

<item>Things that do not release from the mold … </item>

<item>Fountains</item>

<item>Grottoes</item>

<item>Sundry mosses applied</item>

<item>Molding in three chassis</item>

<item>Tempering iron in order to engrave it</item>

<item>Etching on silver and iron</item>

<item>Stamping</item>

<item>White enamel, softening it with black calcinated river pebbles</item>
</list>
</entry>
<entry identifier="p169v_2">
<folio number="169v"
 url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f344.image"/>
<heading>Reducing a round form into a hollow one</heading>

<block><purpose type="making">You must firstly mold it with <material>plaster</material> as has been said before, and in the <material>plaster</material> throw in some <material>wax</material> from which will come a relief that you will repair very neatly, and will shape at your pleasure.  Then you will <activity type="molding">mold</activity> this <material>wax relief</material> once more in <material>plaster</material>, or even better with your <material>tempered sand</material>, #, as if for a <material type="foreign_word">noyau</material>.  And in the latter throw in some lead and from this you will have a very neat relief, and if it is not, <activity type="repair">repair</activity> it on <material>cement</material> or a similar material, and beware that it should always release well.  And this one will always serve you as a model for making as many hollow molds as you would like.  In this way, place <material>half of your lead figure which you have oiled</material>, and moisten it with spirits as we have seen above, on your <material>clay base</material>, then <activity type="molding">mold</activity> this half with a <material>white plaster</material>.  Having taken hold, and having smoothed and flattened the <material>plaster</material>, take your <material type="mixture">black wax mixed with sulphur</material> as we have seen before, because it leaves nothing in the mold and melts quicker.  Dip it in <material>hot urine</material>, and once it is softened enough, make an imprint with it on your <material>half figure in lead</material>.  And you will have a very neat hollow mold.  Then adapt your wax hollow mold into a square shape, as it pleases you, as long as you have sufficient thickness, and make sure it is well even on all sides, and then mold this hollow wax; and having it imprinted on one side, and having it flat and even on the other, in the same way that you would mold a flat medal in wax or metal in a <material>noyau</material>.  And the <material type="foreign_word">noyau</material> mold will give you, whether in <material>silver</material> or any other metal you wish, a figure similar to the wax one, which is to say, flat and even on one side, and hollow on the other.  And having cleaned this hollow, and having put it in the <material>bleach</material>, if it is made of <material>silver</material>, you can put into it some sugar work</purpose></block>

<block position="left-top"><purpose type="making">Having made a hole in your <material>clay base</material> and having placed there your <material>half figure</material> in <material>wax</material>, oil it a bit so that it comes out more easily.</purpose></block>

<block position="left-middle"><purpose type="advice">Transparent <material>wax</material> is not good as opposed to one that has body, for making good imprints.</purpose></block>

<figure
number="fig_p169v_3"
position="left-bottom"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5MGtBY2MyYTNKTUE"/>


<block position="left-bottom"><purpose type="making">Because you have molded one of your halves with <material>plaster</material> and <material>wax</material>, you can do the same thing to the other half.</purpose></block>

<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>
 <block><material>perfume</material> and similar things. But be sure that the <material>black wax</material> with which you cast is hard, so it will come off rapidly when dry so you can see if it has been stamped correctly. It can be made harder by adding more <material>melted sulphur</material> in the <material>melted wax</material>, and a bit of <material>resin.</material></block>
</entry>


<entry identifier="p170r_1">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Common medals</heading>

<block><material>Relief awls</material> are made of <material>untempered steel</material>, and then it is tempered. With it we beat on a <tool>matrice</tool>, not red hot on the fire as some people think, but on some <tool>steeled iron</tool>, reheated and adoulcy, that is then tempered.</block>
</entry>









<entry identifier="p170r_2">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Casting</heading>

<block>Do not cast all at once because in doing so, the <material>metal</material> overflows and gets cold instead of going to the bottom [of the mold]. Rather, cast it bit by bit, and gently.</block>
</entry><entry identifier="p170r_3">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Iron clamps</heading>

<block>When you put them for the second time, make sure that the <material>mold</material> does not wobble.</block>
</entry><entry identifier="p170r_4">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Molds</heading>

<block>Those with <material>noyau</material>, when reheated, should be placed on half lit <material>charcoal</material>, without being in contact with the air; like the <material>frame molds</material>, they need to dry in the open, and uncovered.</block>
</entry><entry identifier="p170r_5">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Thick tin pieces</heading>

<block><activity type="casting">They should not be casted with <material>lead</material> or red <material>tin</material>, like thin and fragile things. It is enough if they are well melted and hot. <material>Fragile things</material> need to be red hot and made of red tin.</activity></block>
</entry><entry identifier="p170r_6">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>How to clean closed molds</heading>

<block>You have to leave them cool down rather than blow inside to clean them, because they hold the ashes when they are hot. Once cooled, they are easier to clean. Have a find <material>brass wire</material> or <material>steel wool</material> to thoroughly clean the <material>guene</material> because it is through it that you cast. Blow into it and siphon, bringing it to you. Give it volume before casting the <material>tail</material> with <material>wax</material>, then cut it.</block>

<figure identifier="fig_p170r_2"
position="left-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5amQ1YVRWWnFGWUE"/>

<figure identifier="fig_p170r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5S3FNaEt0QmN1alU"/>

<block>make a tail by soldering a <material>latten wire</material>. The grains of a flower are quite little, so they can be removed with the chaple, but the leafs need to be peeled off correctly, then the <material>paint</material> will cover everything.</block>
</entry><entry identifier="p170v_1">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>

<heading>[dues and payments of the heirs of late Sr. Ouvryer]</heading>

<block>In the year fifteen hundred seventy-eight, the second of July, the heirs of the <name type="person">late Sr. Ouvryer</name> received (two hundred and five ecus), the rent of Saint-Frajou, amounting to twelve hundred and thirty livres.</block>

<block>They have also received, as part of the revenue of the year fifteen hundred seventy nine, three hundred forty three and one third ecus.</block>

<block>And for the first year, they remain [to be paid] eighty livres and fifteen sous, | and for the second settlement, they have not yet received anything.</block>
</entry><entry identifier="p170v_2">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>

<heading>Against plague</heading>

<block><purpose type="advice">Against pestilential fever or poison or plague, take an ecu's weight of your <material>opiate</material> soaked in <material>scabious</material> or <material>bugloss extract</material>, or heavily diluted <material>wine</material>, if you are already ill. After taking it, you must make yourself sweat.</purpose></block>
</entry><entry identifier="p170v_3">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>


<heading>To preserve oneself</heading>


<block><foreign language="latin">Acetum paratum ex ruta baccis juniperi simul tusis Eoaceto extinguantur lateres igniti. Et vapor excipiatur ore naribus.</foreign>  <material type="mixture">Rue vinegar</material> together with <material>crushed juniper berries</material>. Pour the <material>vinegar</material> over <tool>red hot bricks</tool> and inhale the vapor through the mouth and nostrils. <purpose type="advice">This is to preserve oneself when going into noxious air: a garment can be perfumed with this vapor in order to remove infection from a room, house, etc. And if you find yourself in a place where you do not have this preparation, carry <material type="mixture">rue and berries crushed together</material>, then, if need be, boil them in <material>vinegar</material> and use as described.</purpose></block>

<list>
<foreign language="latin">
<item>Ottonis episcopi | Frisigensis | Ab orbe condito</item>

<item>Abbatis | Urspergensis | Chronicon</item>

<item>Hieronymus | Mercurialis, | Variarum</item>

<item>Rerum Scoticarum Historia, Georgio Bucanano authore</item>

<item>Rembertus Dodonæus, Mechliniensis medicus, | De stirpium historia</item>

<item>De L'Orme, De l'invention de bien bastir, and other works</item>

<item>Telesius, De coloribus, Vascosan</item>

<item>Marbodius, De lapillis prætiosis</item>
</foreign>
</list>
</entry><entry identifier="p001r_a1">
  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

  <heading>[List of artisans with their locations]</heading>

  <list>
    <item><name type="personal">Nicolas Coste</name>, in the <place>Rue de la Heaumerie</place>, at
      the sign of <place>St Claude</place>/Mirrors</item>

    <item><name type="personal">Master Jehan Cousin</name>, who resides in the <place>Faubourg St
        Germain</place>, knows about the master</item>

    <item><name type="personal">Master Jehan Garnier</name>, in the <place>Rue des Escrivains by St
        Jacques de la Boucherie</place>, <profession>currier</profession>. Try <plant>woad</plant>
      flowers</item>

  </list>
</entry>
<entry identifier="p001r_a2">

  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

  <heading>[Diverse thoughts]</heading>

  <block>The harvester that leaves some ears is not blamed.</block>

  <block>Sacra Eleusinae deae propalare nefas.</block>

  <block>Trumpets, see the book of funerals</block>

</entry>
<entry identifier="p001r_a3">

    <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>

    <heading>[List of authors]</heading>

    <list>
        <item>Wolfangus Lazius</item>

        <item>Petrus Appianus mathematicus Ingolstadiensis, Comment. urb. rom.</item>

        <item>Hieronimo Ruscelli</item>

        <item>Hermolaus Barbarus</item>

        <item>Angelius Bargaeus, De aucupio et venatione</item>

        <item>Nicolaus Damascenus</item>

        <item>Caes{ariensis}, De rebus Persarum</item>

        <item>Isidorus</item>

        <item>Orosius</item>

        <item>Eupolemus, historicus gentilis qui de rebus Davidis &amp; Salomonis scripsit</item>

        <item>Cathalogue des villes</item>

        <item>Calendrier des bergiers</item>

        <item>Grammaire italiene</item>

        <item>Arithmetique de Savonne</item>

        <item>Instruction pour le faict des finances</item>

        <item>Questions aenigmatiques</item>

        <item>Des praeceptes d'agriculture</item>

        <item>+ Le secret des finances à Lyon</item>

        <item>Synesius</item>

        <item>Olaus Magnus</item>

        <item>+ Master Bernard Palissy, inventor of rustic figurines to the king and the queen
            mother</item>

        <item>Aquatilium animalium historiae, Hypolito Salviano Typhernate authore, Romae
            1554</item>

        <item>Les Annales de Normandie</item>

        <item>Alexander Aphrodisaeus</item>

        <item>Polydorus Vergilius</item>

        <item>Appianus</item>

        <item>Athenaeus</item>

        <item>Pausanias</item>

        <item>Statius Thebaidos</item>

        <item>Servius, In Aeneidem</item>

        <item>Macrobius</item>

        <item>Aulus Gellius</item>

        <item>Alexander ab Alexandria</item>

        <item>Festus</item>

        <item>Nonius</item>

        <item>Magius, Miscellanea</item>

        <item>Pollux, Onomasticon</item>

        <item>Hyginus</item>

        <item>Berosus</item>

        <item>Suetonius</item>

        <item>Valerius Maximus</item>

        <item>Cornelius Tacitus</item>

        <item>Xenophon</item>

        <item>Seneca</item>

        <item>Dionisius Halicarnassensis</item>

        <item>Sabellicus</item>

        <item>cum permultisaliis Julius Capitollinus</item>

        <item>Budaeus</item>

        <item>Spartianus</item>

        <item>Blondus</item>

        <item>Volaterranus</item>

        <item>Herodotus</item>

        <item>Paulus Manutius</item>

        <item>Strabo</item>

        <item>Julius Firmicus</item>

        <item>Quintus Curtius</item>

        <item>Dio</item>

        <item>Cornelius Nepos</item>

        <item>Flavius Vopiscus</item>
    </list>

</entry>

<entry identifier="p001r_a4">
  <folio number="001r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f7.image"/>
  
  <heading>[Pen trial]</heading> Monsieur </entry>
<entry identifier="p001v_a1">

  <folio number="001v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f8.image"/>

  <heading>For easing the belly</heading>

  <activity type="making"/>
  <purpose type="medicine"/>

  <block>
    <material>Prunes of Saint Antonin</material>, and if you like you can put
        <material_format><material>leaves of malva</material> and
      <material>viola</material></material_format>, adding some <material>sugar</material> and, if
    you like, some <material>cinnamon</material> for the stomach. </block>

  <block> Or in a <material>chicken broth</material>, add some <material>marshmallow
    root</material>. When fresh it is more mollifying. </block>

  <block> Stirring together <material_format>cirop de <material>guindoles
      doulces</material></material_format> with <material>water</material> and taking some of this
    in the morning eases the belly. </block>

</entry>
<entry identifier="p002r_a1">

  <folio number="002r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f9.image"/>


  <heading>Books to recover</heading>

  <list>
    <item>The chronicles of Sigebert</item>

    <item>Rufinus</item>

    <item>Irenaeus, In [Haereses]</item>

    <item>Paulus Aemilius</item>

    <item>Paulus Jovius</item>

    <item>Polydorus</item>

    <item>Bergomensis</item>

    <item>Philippe de Commines</item>
  </list>

</entry>
<entry identifier="p002r_a2">

  <folio number="p002r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f9.image"/>
  <heading>Against pain</heading>
  <activity type="making"/>
  <purpose type="medicine"/>

  <block>
    <material>Turpentine oil</material>, <material>oil of Jacob</material> and <material>salt from
      cabbage ashes</material>. </block>

</entry>
<entry identifier="p002v_a1">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>

  <heading>[Book title]</heading>

  <block>
    <foreign language="italian">Practica, cioè nova inventione di contegiare, stampata in Brescia
      per Vincenzo Sabio</foreign>
  </block>

</entry>
<entry identifier="p002v_a2">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>
  <annotations>
    <annotation
      url="https://drive.google.com/open?id=0B33U03wERu0ecjZlckFDRE9YQXc"
      title="Imitation Gemstones, Ruby Emerald, fol. 100r-v (Kremnitzer, Shah)"/>
  </annotations>

  <heading><material>Emeralds</material> of <name>Brissac</name></heading>

  <activity type="imitation gem"/>
  <purpose type="making"/>

  <block>I took <material>minium</material>, 26 <unit>℥</unit>, <material>crystal</material> […] and
    ground on <material_format>marble</material_format> 12 <unit>℥</unit>,
      <material>verdigris</material> 3 <unit>|ʒ|</unit>. Incorporated all together. Put in a
      <tool>crucible</tool> covered by another well luted <tool>crucible with a hole on top</tool>.
    Melting: 7 <time>hours</time> without blowing. The mass came out a fine green.</block>

  <block>I took <material>minium</material>, 12 <unit>℥</unit>, <material>crystal</material>, 6
      <unit>℥</unit>, <material>verdigris</material>, 2 <unit>grains</unit>. Melting: moderate, vi
      <time>hours</time>, baked 24 <time>hours</time>. The mass came out green, yellow and
    red.</block>
</entry>
<entry identifier="p002v_a3">

  <folio number="002v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f10.image"/>
  <annotations>
    <annotation
      url="https://drive.google.com/open?id=0B33U03wERu0ecjZlckFDRE9YQXc"
      title="Imitation Gemstones, Ruby Emerald, fol. 100r-v (Kremnitzer, Shah)"/>
  </annotations>
  
  <heading>
    <material>Sapphire</material>
  </heading>
  <block>
    <activity type="imitation gem"/>
    <purpose type="Making"/>
    <material_format>Pebbles</material_format> or <material>crystal</material>, 8 <unit>℥</unit>;
      <material>minium</material>, 16 <unit>℥</unit>; <material>smith's salt</material>, 4
      <unit>℥</unit>; <material>sparkling coryal</material>, 4 <unit>grains</unit>. Melting: 6
      <time>hours</time>. </block>

</entry>
<entry identifier="p003r_a1">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>
    <annotations>
        <annotation
            url="https://drive.google.com/open?id=0BwJi-u8sfkVDUWd6WXF6RzExYnc"
            title="Imitation Coral, fol. 3r (Chessa)"/>
    </annotations>
    

<heading>Imitation <material>coral</material></heading>

<block>
<activity type="imitation coral"/>
<purpose type="making"/>
+

One must first make the <material_format>branches from <material>wood</material></material_format> or take a <material_format>fantastical <plant>thorn</plant> branch</material_format>, then melt a <unit>pound</unit> of the <material_format>best possible clear <material>pine resin</material></material_format> and add one <unit>ounce</unit> of <material_format>finely ground <material>vermilion</material></material_format> together with <material>walnut oil</material>, and if you add a little <material>Venice lake</material> the color will be all the more vivid, and stir all together into the <material>resin</material>, molten over a <tool>charcoal fire</tool>, not over an open flame, lest it catch fire. Then dip in your <material>branches</material> with a swirling motion. And should there remain any filaments, turn the branch over the heat of the <material>charcoal</material>.</block>


<purpose type="observation">
    
<block position="left-top"><material>Colophony</material> is nothing other than <material>resin</material> that has been cooked again. To do it well, you take a <material_format><material>lead</material>ed pot</material_format> and melt the <material>resin</material>, boiling it over the <tool>brazier</tool> for a good <time>hour</time> until it appears not thick but clear and liquid like <material>water</material> and it easily runs as a thread off the end of a <tool>stick</tool>, which you use to crush and test it. Then pour it through a <material>coarse canvas</material> or <material>tammy cloth</material> so that it falls into the <material_format>strongest <material>vinegar</material> you can find</material_format>, because the <material>vinegar</material> makes it strong and makes it less brittle. Repeat this two or three times and it will be fine and well purified. To imitate your <material>coral</material>, you can mix a <unit>fourth part</unit> of <material>mastic</material> with your <material_format>purified <material>resin</material></material_format> to make it more solid and finer, and if you should use just one <unit>drop</unit> of <material>mastic</material>, it would be all the better, but it would take too long.</block>

<block position="top-middle"><material>Coral</material> made of <material>red enamel</material> withstands filing and polishing.</block>

<block position="right-top">It is made like <material>cement</material>, which is stronger when mixed with <material>crushed glass</material> rather than with <material>brick</material>. In the same way, together with the <material>vermilion</material>, one mixes in <material_format><material>opaque red enamel</material>, finely ground</material_format>. It is the same way with all <material>enamel colors</material>.
</block>

<block position="left-middle"><material>Sulfur</material> and <material>vermilion</material> have the same effect.</block>
</purpose>   

</entry>
<entry identifier="p003r_a2">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>

 <heading><material>Varnish</material> for paintings</heading>
  

<activity type="varnish for paintings"/>
<purpose type="making"/>
 <block>
Take a <unit>pound</unit> of <material>Venice turpentine</material> and heat it in a <tool>pot</tool> until it simmers, put in half a <unit>pound</unit> of the <material_format><material>whitest turpentine oil</material> you can find</material_format> and stir all together well on a <tool>charcoal fire</tool> and take it off immediately after, and it is done. But if you find it too thick, add more <material>oil</material>, whereas if it is too clear, you can thicken it by putting a little <material>turpentine</material>. And so you will give it whatever consistency you want. It could be made without <tool>fire</tool>, but it is more desiccative when heated. It is appropriate for panel paintings and other painted things, without distorting the colors or yellowing, and dries both in the shade and under the sun, overnight, and during the summer as well as in the winter. It is usually sold 15 sols a <unit>pound</unit>.</block>
<block position="left-bottom">You need a little more <material>turpentine</material> than <material>turpentine oil</material> to thicken the <material>varnish</material>, which you need to apply with your finger in order to spread it thinner and less thick because when it is thick, it turns yellow and gathers [together]. <material>Varnish</material> is not used to make paintings shine, because it just takes the light out of them.</block>

<block position="middle-bottom">But it is used to enhance colors which have soaked in and to keep them from dust. <material>Mastic varnish</material>es does not resist rain, whereas <material>oil [varnish]</material> and <material>rosin varnish</material> do.</block>

</entry>
<entry identifier="p003r_a3">

<folio number="003r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f11.image"/>

 <heading>Thick <material>varnish</material> for floorboards</heading>
    

<activity type="varnish for floorboards"/>
<purpose type="making"/>

    <block>There is a type of <material>varnish</material> that takes a long time to dry and is still damp up to two <time>months</time> after it has been applied to the floorboards. But the following <material>varnish</material> does not remain damp like previous ones, which were made of <material>linseed oil from Aux</material> boiled with <material>garlic</material> to extinguish them and rid them of <material>fat</material>, and also with <material>wheat</material>. And this old one yellowed over time and made the blue color of paintings greenish. This one is made like former <material>varnishes</material> except that one puts in <material>common thick turpentine</material>.</block>

</entry>
<entry identifier="p003v_a1">
    <folio number="003v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f12.image"/>

    <heading>To varnish</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="observation">
            <material>Turpentine varnish</material> does not need any <material>glue</material>
            since it is fat and viscous and does not penetrate the <material>wood</material> as
                    <material_format><material>spike lavender</material> varnish</material_format>
            and <material_format><material>sandarac</material> varnish</material_format> would.
                    <material_format><material>Spike lavender</material> varnish</material_format>
            does not require any <material>glue</material> on <material>iron</material> and similar
            materials which cannot be permeated, but on <material>wood</material> and on
                <material>colors</material> which do not contain <material>gum</material> or
                    <material><foreign language="french">colle de détrempe</foreign></material>, it
            is necessary to lay one coat of the said <material>glue <foreign language="french">colle
                    de retailles</foreign></material> and allow to dry, then varnish. </purpose>
    </block>
</entry>
<entry identifier="p004r_1">
    <folio number="004r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f13.image"/>
    <heading>
        <material_format><material>Lavender spike oil</material> varnish</material_format>
    </heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> One must heat <material>lavender spike oil</material> and, as it
            begins to simmer, put in <material_format>powdered <material>sandarac
                gum</material></material_format> so that it soon melts. And stir continuously over a
                <tool>charcoal fire</tool> until the <material>sandarac</material> is well melted,
            which you will know by taking a little of the said varnish on a <tool>plate</tool> and,
            if it is fat enough when you handle it with a <tool>finger</tool>, it is ready. And for
                <unit>one pound</unit> of <material>lavender spike oil</material>, you should put
                <unit>five ounces</unit> of <material_format>ground
                <material>sandarac</material></material_format>.</purpose>
        <purpose type="observation"> Some only put in <unit>four ounces</unit> but this is not as
            good, nor as fat. The former dries promptly. To avoid the trouble of polishing their
                <material>ebony</material>, <profession>framemakers</profession> varnish it with
            this. So do <profession>guitarmakers</profession>. This varnish is not as fitting for
            paintings as <material_format>fine <material>turpentine</material>
                varnish</material_format>, though it is good for the paintings' moldings. When
                    <material_format><material>linseed</material> varnish</material_format> was in
            use, one would not commonly varnish the landscape of a painting because it would turn
            the landscape yellow. But with <material_format><material>turpentine</material>
                varnish</material_format> one varnishes everywhere. Instead of
                <material>sandarac</material>, you can add to it <material_format>pulverized
                    <material>mastic</material></material_format>
            <unit>drop</unit> by <unit>drop</unit> or otherwise, and it will dry more
            quickly.</purpose>
        <purpose type="advice"> If you want to varnish <material>plaster</material> or a wall, first
            put on your <material><foreign language="french">colle de retaille</foreign></material>,
            very hot, because if cold it would not penetrate the wall at all. And when you would
            have put your varnish on, it would come off.</purpose>
    </block>
    <block position="left-top">
        <purpose type="observation">
            <material_format><material>Aspic oil</material> varnish</material_format> is not as apt
            for colors as that of <material>turpentine</material>, because <material>aspic
                oil</material> eats the colors, since it is too penetrating.</purpose>
    </block>
</entry>
<entry identifier="p004r_2">
    <folio number="004r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f13.image"/>


    <heading>To remove varnish from an old panel painting that has yellowed and varnish it
        again</heading>

    <block>
        <activity type="varnish"/>
        <activity type="cleaning"/>
        <purpose type="application">Take some <material_format>white
                <material>soap</material></material_format> and <material>ashes</material> strained
            through a <tool>sieve</tool>, and soak all together in <material>water</material>. And
            with a <tool>sponge</tool>, take some of the said <material>ashes</material> and
                <material>soap</material> and rub the painting with it. And when you see that the
            old varnish has been taken off, throw a <unit>bucket</unit> of
                <material>water</material> at the painting to clean it, then leave it for a
                <time>quarter of an hour</time> in the <tool>sun</tool> to dry and revive the
            colors. Once your painting is dried, you can apply your
                    <material_format><material>turpentine</material>
            varnish</material_format>.</purpose>
    </block>
    <block position="left-bottom">
        <purpose type="advice">Make sure the colors do not come off.</purpose>
    </block>
</entry>
<entry identifier="p004v_a1">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDR09tZUQyanRod3c"
            title="Pain, Ostie, Rostie: Bread in Early Modern Europe, fols. 4v, 37r, 79v (Le Pouésard)"
        />
    </annotations>

    <heading>Black varnish for sword guards, metal bands for chests, etc.</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> Take <material>linseed oil</material> or, for a cheaper option,
                <material>walnut oil</material>, and rid it of fat with
                    <material_format><material>garlic</material> cloves</material_format> and
                <material>hog's fennel</material> (some also add
                    <material_format><material>bread</material> crusts</material_format>), which you
            will boil in it for <time>a good quarter of an hour</time>. Then add to <unit>one
                pound</unit> of the <material>oil</material> boiled in this way a piece of
                <material>black pitch</material>
            <unit>the size of a walnut</unit> and <unit>a double handful</unit> of
                <material>wheat</material>, without removing the <material>garlic</material> and
                <material>onions</material>, and allow to boil together for <time>a good quarter of
                an hour</time>. Once the <material>pitch</material> is well melted and the
                <material>oil</material> takes on body, you can remove it from the
            <tool>fire</tool>.</purpose>
        <purpose type="application">Then, to varnish, place your
            <material>iron</material><!--technically, iron is what the varnish is applied to, not a material in a recipe per se-->
            over a <tool>warm charcoal fire</tool> and apply with a <tool>feather</tool> or a
                <tool>brush</tool>. When you see that it no longer smokes, it is done and your
            varnish is dry.</purpose>
    </block>
    <block position="left-top">
        <purpose type="advice">For an excellent black varnish, add <unit>two or three</unit>
            <material>paternoster beads</material> to the rest.</purpose>
    </block>
    <block position="left-top">
        <purpose type="observation">Some consider <material>walnut oil</material> to be
            better.</purpose>
    </block>
    <block position="left-top">
        <purpose type="advice">If there is a quantity of varnish, it needs to boil for <time>at
                least half a day</time>, because the more it boils, the better it is. Should the
            varnish boil over, it is dangerous for it to catch fire and it is difficult to
            extinguish. So do this in a courtyard or other open space.</purpose>
    </block>
    <block position="left-middle">
        <purpose type="advice">In <unit>five or six lbs.</unit> of <material>oil</material>, one
            must put <unit>one lb.</unit> of <material>galipot</material>, which costs <currency>4
                sols</currency>, and some <material_format>peeled <material>garlic</material>
                cloves</material_format>. This varnish is not black in and of itself, but turns
            black when exposed to <tool>fire</tool>.</purpose>
    </block>
    <block position="left-middle">See below, around the 3rd part of this book, after
            <material>sands</material>, in the chapter on furbishers.
        <!--Is there such a "chapter"?-->
    </block>
</entry>
<entry identifier="p004v_a2">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>
    <heading>Black varnish without fire, without disassembling harnesses or removing metal bands
        from chests.</heading>
    <block>
        <activity type="varnish"/>
        <purpose type="making"> Take <material_format><material>spike lavender oil</material>
                varnish</material_format> and mix it with <material>charcoal black</material> or
                <material>lampblack</material> and, without fire, it will mix in by
            itself.</purpose>
        <purpose type="application">Apply the varnish with a <tool>brush</tool> and it will soon be
            dry.</purpose>
        <purpose type="observation"><material_format><material>Turpentine</material>
                varnish</material_format> would work quite well but it does not dry as
            quickly.</purpose>
    </block>
</entry>
<entry identifier="p004v_a3">
    <folio number="004v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f14.image"/>

    <heading><profession>Iron engravers</profession>' varnish</heading>

    <block>
        <activity type="varnish"/>
        <activity type="engraving"/>
        <purpose type="making">Take <material>linseed oil</material> or <material>walnut
                oil</material> and instead of <material>black pitch</material> you will add some
                    <material_format><material>pine</material> resin</material_format> and you must
            cook it like black varnish on <tool>fire</tool>.</purpose>
        <purpose type="application">And to apply it, heat your
            <material>iron</material><!--technically, the iron is not a material in a recipe but a thing to be etched-->
            and apply just one layer of varnish, and when it no longer smokes, it is dry. Then
            engrave with a <tool>steel point</tool> whatever you want. Then take some
                <material>salt</material> and <material>verdigris</material> and soak it with
                <unit>as much of one as of the other</unit> in <material_format>very strong
                    <material>vinegar</material></material_format>, and leave it for <time>XX4
                hours</time> before using it, and the whole will be soaked. Then spread this liqueur
            or sauce on the engraved object with a <tool>sponge</tool></purpose>
    </block>
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>
    <block>
        <purpose type="application"> or <tool>linen cloth</tool> and leave it thus for <time>xx4
                hours</time> and it will be engraved.</purpose>
        <purpose type="advice">But if you should want to engrave it quickly, varnish all your work
            and boil it in the aforementioned liquor, and this will engrave it quickly.</purpose>
    </block>
</entry>
<entry identifier="p005r_a1">
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>

    <heading><material>Steel</material> mirrors</heading>

    <block>
        <activity type="casting"/>
        <activity type="polishing"/>
        <purpose type="observation">+ They are called <material>steel</material> mirrors because in
            the past they were usually made of <material>steel</material> polished with
                    <material_format><material>emery</material> paste</material_format>. But more
            easily, various kinds are made of <material><foreign language="french">cuivre
                    franc</foreign></material>, which is <material>rosette</material> and
                <material>tin</material>, because these can be cast in a <tool>mold</tool> and made
            round, hollow, convex or in whatever various shapes you want to represent.</purpose>
    </block>
    <block>
        <purpose type="making">So take <unit>half</unit>
            <material>rosette copper</material> and <unit>half</unit>
            <material_format>soft <material>tin</material></material_format>, i.e. fine and yet
            unused. Place them in a <tool>crucible</tool>, and first melt the
                <material>copper</material>. Once it has been well melted, add the
                <material>tin</material> and mix them together and cast that in a <tool>white stone
                mold with no hole</tool>, and grease the <tool>mold</tool>, which should be
            moderately warm, with <material>oil</material>. Then, once your mirror has been molded,
            you can polish it in this manner.</purpose>
    </block>
    <block>
        <purpose type="making">Set one mirror in <tool><material>plaster</material></tool> to hold
            it firmly, then put the other one over it with <material_format>fine
                    <material>sand</material></material_format> between them, and rub one against
            the other, whether they are hollowed or flat, and thus you will polish both at once. If
            you want to polish them on both sides, you only have to switch them, which means putting
            the one that was polishing in the <tool><material>plaster</material></tool> and [using]
            the one which was in the <tool><material>plaster</material></tool> to polish. Once they
            have been polished with you can soften them with <material>tripoli of
                    <place>Venice</place></material> that should not be sandy, and then with
                <material>paste</material>. You use <material>water</material> with
                    <material><foreign language="french">arene</foreign></material> to polish, but
            polishing with <material>tripoli</material> and <material>paste</material> is done dry.
            Once the mirror has been polished, you can set it.</purpose>
    </block>
</entry>
<entry identifier="p005r_a2">
    <folio number="005r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f15.image"/>

    <heading>Concave mirrors</heading>

    <block>
        <activity type="practical optics"/>
        <purpose type="observation"/>A concave mirror shaped in the aforesaid form produces an
        endless number of illusions which seem like magic. If one wants to see oneself from behind,
        you have to place the concave mirror on the ground on its foot, at a slant, and then look at
        it one step further. But if you look at it from a closer position, it shows you the right
        way up but with the face quite large and the hairs of your beard as thick as </block>

    <folio number="005v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f16.image"/>

    <block>
        <activity type="practical optics"/>
        <purpose type="observation"/>a string and will reflect a nipple as large as a plate, and
        women can see the secret places they do not want to show to surgeons. It projects the
        reflection outwards, and if you touch with your finger the eye of the reflection, another
        finger will come against yours.
        <!--is there a block break here? PDF suggests as much; folio not really-->You will be able
        to provide light at night for someone quite far away, if you set the concave mirror behind a
        candle placed on a window sill. You will be able to read and write quite far from the candle
        if you set it behind the candle and turn the concave face towards you. If you put the mirror
        at the far end of a table with a candle on it, it will reflect two lights on the table for
        you.
        <!--is there anything worth encoding in the following observation? materials? tools?-->To
        see what is happening in a street, shut the window, or the more you can shut the better,
        make a hole in the bottom pane, the size of your little finger, perfectly round all the way
        through. Then apply a sheet of paper onto the window and let the middle of the sheet be over
        the hole. Pierce the sheet in the same place as the hole and of the same size. Then turn the
        concave face of the mirror towards the hole, and anyone passing by in the street will be
        reflected on the sheet of paper. Do the same with the pierced door of a closed room. You can
        make wavy mirrors and triangular ones, such as are described by <name type="personal"
            >Ptolemy</name> and <name type="personal">Archimedes</name>. The concave sort can also
        set fire to <material>straw</material> or light a candle from afar, using the
            <tool>sun</tool>. By reverberating fire too, it can provide warmth. </block>
</entry>
<entry identifier="p005v_a1">
    <folio number="005v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f16.image"/>

    <heading>For bronzing in yellow and white</heading>

    <block>
        <activity type="embellishing"/>
        <purpose type="making">Take <material_format>mirror
                <material>tin</material></material_format> and melt it. On <unit>half a pound</unit>
            of this, put <unit>half an ounce</unit> of <material>quicksilver</material>, and remove
            it immediately from the <tool>fire</tool> and grind it until it is <unit>like
                ashes</unit>. Wash it thoroughly in <material_format>clean
                    <material>water</material></material_format>, then grind it on a
                        <tool><material_format><material>marble</material>
                slab</material_format></tool> and soak it with <material>water</material> of
                    <material><foreign language="french">colle de
            retailles</foreign></material>.</purpose>
        <purpose type="application">Then apply that on your <material>wood</material>en candlesticks
            and any other works you like, and burnish with a <tool>tooth</tool>. You can grind
                <material>pin filings</material> and apply them with the said <material><foreign
                    language="french">colle de retailles</foreign></material>.</purpose>
    </block>
</entry>
<entry identifier="p006r_1">
    <folio number="006r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f17.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDWm03YUhIbEltRHM"
            title="Rouge Clair, fol. 40v (Chang, Shi)"/>
    </annotations>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE"
            title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
    </annotations>

    <heading>To lay down and set <material_format>burnished
            <material>gold</material></material_format> and give it a red or green or blue
        hue</heading>

    <block>
        <activity type="embellishing"/>
        <activity type="gilding"/>
        <purpose type="observation"><material>Ceruse</material> and
                    <material_format><material>lead</material> white</material_format> is not
            appropriate for polished white nor for burnishing because it is fat, but it is quite
            good for <material_format>matte <material>gold</material></material_format>, which is
            made with <material>oil</material> by mixing it with <material>yellow ochre</material>
            and <material>mine</material> and tempering the whole with <material>oil</material>, and
            this <material_format>matte <material>gold</material></material_format> so applied lasts
            in the rain, like gilded leadwork and similar things.</purpose>
        <purpose type="application">Therefore, for <material_format>burnished
                    <material>gold</material></material_format> take <material_format>good
                    <material>chalk</material>, quite white, well ground</material_format> and
            soaked with <material>distemper glue</material> and do <unit>four</unit> coats of it,
            one after the other, on the <material>wood</material>. And when the last one is dry, rub
            it with <tool><plant>prêle</plant></tool>, which is a kind of grass otherwise named
                    <tool><plant>horsetail</plant></tool>, to render it well polished. Afterwards,
            take <material_format>fine <material><place>Armenian</place>
                bole</material></material_format> and <material>sanguine</material>, <unit>as much
                of one as of the other</unit>, a bit of <material><animal>lamb</animal>
                tallow</material>
            <unit>the size of a bean or a pea</unit> depending on the quantity of
                <material>bole</material>, and <unit>a little</unit>
            <material><plant>willow</plant> charcoal</material>, or <unit>as much as</unit> the
                <material>tallow</material>, and <unit>half a walnut shell</unit> filled with
                <material_format>half-burned <material>saffron</material></material_format>; some
            put in <unit>a little</unit>
            <material>candi sugar</material>. Grind everything together with
                <material>water</material> and apply it without <material>gum</material> or
                <material>glue</material>, and let it dry. And rub the place that you would like to
            gild with a piece of <tool>white cloth</tool> to better unify it, and when the rubbed
            place is a little shiny it is a sign that the <material>gold</material> will behave
            well. After rubbing, wash the place that you want to gild with <tool>a clean
                brush</tool> soaked with <material_format>clear
                <material>water</material></material_format> and apply the <material>gold</material>
            at once, which you will burnish when dry. And if you want to set <material><foreign
                    language="french">rouge clair</foreign></material> and glaze with it, grind
                    <material><place>Venice</place> lake</material> on the
                    <tool><material>marble</material></tool> with <material>walnut oil</material> or
                <material>linseed oil</material>. After grinding, mix in
                    <material_format><material>turpentine</material> varnish</material_format> or
                    <material_format><material>spike lavender</material> varnish</material_format>
            and apply on <material>gold</material> with the <tool>brush</tool>.
                <material>Brazilwood</material> and <material><foreign language="french">laque
                    ronde</foreign></material> fade. For green, temper
                <material>verdigris</material> with <material>walnut oil</material> or
                <material>linseed oil</material> and grind it, then mix in some
                    <material_format><material>turpentine</material> varnish</material_format>; not
                    <material_format><material>aspic</material> varnish</material_format>, which is
            not suitable for <material>verdigris</material>. If you want to glaze with
                <material>azure</material> it must be set on <material_format>burnished
                    <material>silver</material></material_format>. Take <material>azure
                enamel</material>, and without grinding temper it with
                    <material_format><material>turpentine</material> varnish</material_format> and
            apply it.</purpose>
    </block>
</entry>
<entry identifier="p006v_a1">
  <folio number="006v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f18.image"/>
  <annotations>
    <annotation
      url="https://docs.google.com/document/d/1hEo2AgxgnVOB8ArPqFRgTwDb_2t7wAood6JVk7J5nzM/edit?usp=sharing"
      title="&quot;For Cages&quot; and Glassmaking in Ms. Fr. 640: fol.6v"/>
  </annotations>


  <heading> For cages </heading>

  <block>
    <activity type="embellishing"/>
    <activity type="glasswork"/>
    <purpose type="application">You can embellish them with thin
          <material_format><material>enamel</material> canes</material_format> of various colors by
      covering the <material>yellow latten</material> or <material_format><material>iron</material>
        wire</material_format> with said
      canes.<!--should I mark up "said canes" as a "material"? That opens the door to marking up pronouns too. My instinct is no, unless a prospective user was actually interested in pronouns and substitutions--></purpose>
    <purpose type="advice">These you will break neatly into the length that you want if you make a
      small notch with a <tool>cutting file</tool> at the point where you want to break them, and
      they will not break anywhere else. You can bend them with a <tool><material>wooden</material>
        model</tool> over a <tool>brazier</tool> or by the <tool>heat</tool> of a
      <tool>lamp</tool>.</purpose>
    <purpose type="observation">A <material_format>cane</material_format> can be stretched out as
      long as you want in a small <tool>furnace</tool> made like a reverberatory
      oven<!--is this also worth marking up as a tool?--> but with openings on both sides. And once
      the large <material_format>cane</material_format> is red, they seize the hot end of it with
      small <tool><tool>pincers</tool> that have long beaks</tool>, with one end of the beak inside
      the end of the <material_format>cane</material_format>, so that it may be stretched without
      becoming blocked. The other end of the <material_format>cane</material_format> is held with
      the <tool>hand</tool>, as it is not hot. Once the <material_format>cane</material_format> is
      stretched enough, the one who is working seated with his <tool>stove</tool>, <unit>the size of
        a carnation pot</unit>, placed in front of him, breaks it off and carries on. This is for
      making <material_format>cane</material_format> for capes, which may be cut, as already
      mentioned, with a <tool>file</tool>. <profession>Glass-button makers</profession> also use the
      said <tool>stove</tool>.</purpose>
  </block>

  <figure identifier="fig_p006v_1" position="middle-middle"
    url="https://drive.google.com/open?id=0B9-oNrvWdlO5eVFRYjVCTmczcmM"/>

  <block position="left-middle">
    <purpose type="description">Under the door is a grill that supports the burning
        <material>charcoal</material>. The <material>ash</material> is emptied by turning the
        <tool>stove</tool> upside down.</purpose>
  </block>
</entry>
<entry identifier="p006v_a2">
  <folio number="006v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f18.image"/>


  <heading> For stamped ornaments used for embellishing and inserting into or covering the edges of
    mirrors, the tops of chests, or the friezes of bed valances </heading>

  <block>
    <purpose type="making"/>
    <activity type="etching"/>
    <activity type="metalwork"/>
    <activity type="stamping"/>
    <sub_recipe type="engraving">Etch with <material><foreign language="latin">aqua
        fortis</foreign></material> on <material>iron</material> or <material>copper</material>
      whatever you have pounced and drawn there, next make it neat with a <tool>burin</tool> or
        <tool>chisel</tool>.</sub_recipe> Then pour <material_format>soft
      <material>tin</material></material_format>, yet unused, onto <material_format>polished
        <material>marble</material></material_format> and flatten it, making it quite thin, with a
        <tool><material>wooden</material> board</tool>. Or else pour it on a <tool>table</tool> as
    is done with <material>lead</material>, or put it through a <tool>roll-press</tool>. Next lay
    your <material_format><material>tin</material> plate</material_format> over the <ref
      type="sub_recipe"
    >engraving</ref><!--I know this isn't the right syntax, but I'm trying to get this word to reference back to the sub_recipe I defined at the beginning of this block, since that's what the word "engraving" here refers to-->,
    and over the <material_format><material>tin</material> plate</material_format> put a piece of
      <material>felt</material> and strike it with a <tool>hammer</tool>. Then gild it in the
    following manner.<!--how can I associate this entry with the following entry?-->
  </block>
</entry>
<entry identifier="p007r_a1">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> To gild with gold color and tinsel </heading>

  <block>
    <activity type="embellishing"/>
    <purpose type="making">Once you have colored or made your <ref identifier="p006v_a2">stamped
        ornament in tin</ref> (as previously described), or in <material>iron</material> or
        <material>copper</material>, you must not put <material>glue</material> as on
        <material>wood</material>, but just have some <ref type="sub_recipe">fatty oil</ref>,
        <sub_recipe>which is made in seven or eight days in the <tool>sun</tool> from
          <material>walnut oil</material> and <material>white lead</material>, stirring often, or
        cooked on <tool>fire</tool> if one should be in hurry</sub_recipe>. Then, with <ref
        type="sub_recipe"> the oil thus made fatty</ref>, grind a little <material>white
        lead</material>, <material>massicot</material> and <material>black graphite</material>, at
      discretion, <unit>as much of one as of the other</unit>.</purpose>
    <purpose type="observation"><material>Minium</material> will color the
      <material>gold</material>.</purpose>
    <purpose type="application">Then apply an even layer of that onto your <ref
        identifier="p006v_a2">stamp</ref>, taking care you do not fill the hollows. And once it is
      almost dry, apply the <material_format><material>gold</material> leaf</material_format> on it
      using <tool><material>cotton</material></tool>. Such <material>gold</material> will withstand
      rain on houses or elsewhere. And if you have made your <material>gilt</material> with
        <material>tinsel</material>, color it with <material_format><material>smoke</material> from
        a partridge or from yellow or red <material>cloth</material></material_format>, and it will
      look as fine as pure <material>gold</material>. You can cover trunks, mirrors, bed valances
      and posts in colored <material>velvet</material> or <material>satin</material> and then apply
      the gilded stamped ornament on them with strong <material>glue</material>.</purpose>
  </block>
</entry>
<entry identifier="p007r_a2">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> To color stamped ornaments for trunks </heading>

  <block>
    <purpose type="making"/>
    <purpose type="application"/>
    <activity type="embellishment"/>
    <activity type="stamping"/> The stamped ornament made from <material_format>sheets of
        <material>copper</material> or <material>latten</material></material_format> are made with
        <material_format><material>wood</material> from a service tree engraved and
      cut</material_format>, should you want to spend less. Next, the stamped piece is colored with
    the aforesaid <material>lacquer</material> colours of lacquer, verdet, blue enamel, and soaked
    in <material>turpentine varnish</material>. But wherever you want to make it azure, apply some
        <material><foreign language="french">fer blanc</foreign></material>, which is more
    appropriate for an azure background. </block>
</entry>
<entry identifier="p007r_a3">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> Doublets </heading>

  <block>
    <purpose type="observation"/> Good <material>dragon's blood</material> soaked in
      <material>spirits</material> produces its own <material>mastic</material> or
      <material>glue</material>. So do <material><foreign language="french">vert de
      vessie</foreign></material> and <material>saffron</material>. </block>
</entry>
<entry identifier="p007r_a4">
  <folio number="007r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f19.image"/>


  <heading> Fish glue or usblac and mouth glue </heading>

  <block>
    <purpose type="making"/> It is made from <material><animal>codfish</animal> skin</material> that
    has been boiled rather than salted. <profession>Joiners</profession> use it on their
    masterpieces and <profession>guitar makers</profession> use it for their more delicate works. It
    needs to be strongly whipped, then soaked gently in <material_format>barely boiling
        <material>water</material></material_format>. </block>

  <block>
    <purpose type="description">Mouth glue is made of
          <material_format><material>parchment</material> scraps</material_format> and used to glue
      paper or similar things without fire,</purpose>
    <purpose type="application">by wetting it with one's <tool>mouth</tool>.</purpose>
  </block>

  <block position="left-bottom">
    <purpose type="making"> It is whipped and left to soak in <material>white wine</material> for
      one night, then melted over a low <tool>heat</tool>. Others soak it in
        <material>spirits</material>.</purpose>
  </block>
</entry>
<entry identifier="p007v_1">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>To give the color of all kind of metals and woods and other things</heading>

    <block>
        <activity type="imitation"/>
        <purpose type="making"/>
        <purpose type="application"/> Take <material>touchstone</material> and <material>pumice
            stone</material>
        <unit>as much of one as of the other</unit> and grind them together, mix that with a
                <material><foreign language="french">colle de retailles</foreign></material>
        stronger than that used for painting, and apply a layer of it on whatever you like. Once
        dry, rub this layer on any metal whatsoever, then burnish it. </block>
</entry>
<entry identifier="p007v_2">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>Against windy colic</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"/>Take <unit>a dozen</unit>
        <material_format>dried common <material>walnuts</material></material_format> and throw them
        one after another onto <tool>a good brazier</tool> where they may catch fire, and take them
        out with <tool>tongs</tool>, and let them burn and flame well in the air, and extinguish
        them in <unit>a glass</unit> of <material_format>good
            <material>wine</material></material_format>. Then let the <material>wine</material> cool
        and filter it, then pour <unit>half</unit> of it, since <unit>six</unit> extinguished nuts
        make <unit>one dose</unit>. An excellent cure against suffocation of the matrix. </block>
</entry>
<entry identifier="p007v_3">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>To relieve the pain of g{out}</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"> Take <unit>half a pound</unit> of <material_format>finely powdered
                golden and yellow <material>marcasite</material></material_format>, <unit>half an
                ounce</unit> of <material>storax</material>, <unit>4 lb.</unit> of
                <material>urine</material>, incorporate well together, little by little, in a
                <tool>mortar</tool>, then boil all together quite strongly. But the <tool>pot</tool>
            needs to be well <tool>cover</tool>ed so the smoke does not escape. Then distill the
                <material_format>imbibed <material>urine</material></material_format>, separated by
            inclination, in an <tool>alembic</tool>, well luted and covered with a
                    <tool><material>copper</material> head</tool>.</purpose>
        <purpose type="application">And soak a <tool>cloth</tool> with the <material>said
                water</material><!-->this refers to the medicine, not water in any material sense-->
            and apply it lukewarm on the pain.</purpose>
    </block>
</entry>
<entry identifier="p007v_4">
    <folio number="007v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f20.image"/>

    <heading>Against gonorrhea</heading>

    <block>
        <activity type="medicine"/>
        <purpose type="making"> Cook <unit>.i. lb.</unit> of <material_format>old smiths'
                    <material>water</material></material_format>, <unit>.i. ℥</unit> of
                        <material_format><material><place>Armenian</place> bole</material> reduced
                in the finest powder</material_format>, and <unit>.iii. ʒ</unit> of
                <material_format>common <material>honey</material></material_format>, until the
                <material>honey</material> stops foaming. Once cooled, strain with great
            pressure</purpose>
        <purpose type="application">and use the results of filtration by injection.</purpose>
    </block>
</entry>
<entry identifier="p008r_1">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading><material>Gold</material> lettering on <material>paper</material></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="making"> Write with <material>fig tree milk</material> then let it dry a
            little, afterwards apply the <material_format><material>gold</material> in
                leaf</material_format> and, once quite dry, rub with <tool>linen</tool> and only the
            lettering will hold.</purpose>
    </block>
</entry>
<entry identifier="p008r_2">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>To explode grenades and give force to fireworks</heading>

    <block>
        <activity type="explosives"/>
        <activity type="military"/>
        <purpose type="making">Put into the <material><!--gunpowder-->powder</material>
            <unit>one sixth as much</unit> of <material>quicksilver</material></purpose>
    </block>
</entry>
<entry identifier="p008r_3">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>Tempering bullets to pierce bullet-proof armor</heading>

    <block>
        <activity type="military"/>
        <purpose type="making">Heat the <material_format><material>lead</material>
                bullet</material_format> as much as you can without melting it, and once it is hot
            dip it into <material_format>the strongest
                <material>vinegar</material></material_format> that you can. And do this four or
            five times. Afterwards, mince some <material>lard</material> very finely and some
                <material>linen</material> also very delicately, mix all this together and use it as
            wadding, making it go into the arquebus or pistol with a little strength and very
            tightly. And before shooting, if possible, the bullet should be hot.</purpose>
    </block>
</entry>
<entry identifier="p008r_4">
    <folio number="008r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f21.image"/>

    <heading>To make a breach in a wall by night</heading>

    <block>
        <activity type="military"/>
        <purpose type="advice">Having made a hole in a wall as you know, put one mortar inside,
            charged with <material>powder</material>, almost flat, and another upright, then fill in
            the hole and fire.</purpose>
    </block>
</entry>
<entry identifier="p008v_1">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>To polish a ruby <foreign language="french"
        >balay</foreign><!-- unclear if this is French or something else--></heading>

    <block>
        <activity type="polishing"/>
        <purpose type="advice">Unlike others, you don't polish it with <material>tripoli</material>,
            but with <material_format><material>marcasite</material> powder</material_format> and
                <material>oil</material>.</purpose>
    </block>
</entry>
<entry identifier="p008v_2">
        <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

        <heading><material_format>Ground <material>gold</material></material_format> and
                        <material_format>ground
                <material>silver</material></material_format></heading>

        <block>
                <purpose type="making">You have to calcine your <material_format>pure
                                        <material>gold</material></material_format> with
                                <material>☿</material> and then let your amalgam dry well and the
                        said <material>mercury</material> fly off. Then crush it on
                                        <tool><material>marble</material></tool> with
                                <material_format>gummed
                        <material>water</material></material_format>. As for
                                <material>silver</material> you have to use it in its raw form and
                        corrode it with <material><foreign language="latin">aqua
                                fortis</foreign></material>, then take it out with a
                                        <tool><material>copper</material> blade</tool> and rinse it
                        well and then grind it with <material_format>gum
                                <material>water</material></material_format>.</purpose>
        </block>
</entry>
<entry identifier="p008v_3">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>Polishing stones</heading>

    <block>
        <activity type="polishing"/>
        <purpose type="observation">There are three <tool>wheel</tool>s for this purpose, one of
                <material>tin</material>, one of <material>lead</material>, and one of
                <material_format>pure <material>copper</material></material_format>. On the
                    <tool><material>copper</material> wheel</tool>, only
                <material>diamonds</material>, <material>rubies</material>,
                <material>sapphires</material> and <material>oriental jacinths</material> are
            usually polished. The <tool><material>tin</material></tool> wheel is for softer stones
            such as <material>emeralds</material>, <material>amethysts</material> and
            others.</purpose>
    </block>
</entry>
<entry identifier="p008v_4">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading><profession>Pewterers</profession>' mixture</heading>

    <block>
        <activity type="metalwork"/>
        <purpose type="observation">Because they often mix in with the <material_format>pure
                    <material>tin</material></material_format>
            <unit>half</unit> the quantity of <material>lead</material>, which renders the
                <material>tin</material> deaf. To correct this, they mix in some
                    <material_format><material>latten</material> filings</material_format> to make
            it resonant.</purpose>
    </block>
</entry>
<entry identifier="p008v_5">
    <folio number="008v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f22.image"/>

    <heading>Perfect amalgam</heading>

    <block>
        <activity type="metalwork"/>
        <purpose type="making">Take the <tool><material_format>finest
                    <material>sandstone</material></material_format></tool> you can find and make a
            cavity in the middle. And put in it <unit>an eighth part</unit> of
                <material>☿</material> and rub it and wear it down while adding some
                <material>water</material> with <material>☾</material> or <material>☼</material>
            until the material becomes paste-like and even harder. Then, if you want, corrode it
            with <material_format>good <material><foreign language="latin">aqua
                    fortis</foreign></material></material_format>, if it is <material>☾</material>
            or <material>♀</material>. Then melt it again, having taken it out as you know. The
                <material>☾</material> will have some color, and after being melted it will leave
            some flecks of <material>☼</material>, and the <material>♀</material> will be very fine
            and will have almost no covering.</purpose>
    </block>
</entry>
<entry identifier="p009r_1">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Plowman</profession>
    </heading>

    <block>
        <activity type="agriculture"/>
        <purpose type="observation">Since <material><plant>millet</plant></material> is naturally
            very dry, <profession>harvesters</profession> thresh it most often in the cool of
                <time>night</time> and in moonlight. Which could not be done with another, wetter,
            grain, because you must let the <tool>sunbeams</tool> pass over it, and one rarely
            threshes it before <time>midday</time>. Immediately after the
                    <material><plant>millet</plant></material> is harvested, the earth needs to be
            plowed because its roots eat and make lean the soil as much as if the
                    <material><plant>millet</plant></material> was still standing. The ground where
                    <material><plant>millet</plant></material> will have been sown becomes quite
            diminished in fertility, which you can tell next time it is sown. But more than any
            other the grain called <material><plant><foreign language="french"
                    >pomole</foreign></plant></material> in <place>Gasconyor</place> or
                        <material><plant><foreign language="french"
                >baillard</foreign></plant></material> in northern <place>France</place>, makes the
            earth shake, according to the common saying, seven years later. <plant>Broad
                beans</plant> improve and enrich the soil, provided that one lets the roots and
            stems rot in it.</purpose>
    </block>
</entry>
<entry identifier="p009r_2">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Painters</profession>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation">After laying down their colors, some smooth it with <tool>the
                back of a feather</tool> but the <tool>large brush</tool> is best.</purpose>
    </block>
</entry>
<entry identifier="p009r_3">
    <folio number="009r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f22.item"/>

    <heading>
        <profession>Merchants</profession>
    </heading>

    <block>
        <activity type="accounting"/>
        <purpose type="observation"/> They commonly have four books. The <foreign language="french"
            >tiro</foreign>, which is a formulary for apprentices, by which they can know how much
        every item of merchandise costs and for how much it should be sold. The second is the waste
        book, where they put down in rough what they sell <time>daily</time>. The third is the sales
        book, where they put down the clean copy and detailed account of what is contained in the
        waste book. The fourth is the ledger, which mentions the sale, the balanced account, the
        bill and the term of payment, and this book is accepted as evidence in court. </block>
</entry>
<entry identifier="p009v_1">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>

    <heading>
        <profession>Painters</profession>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/> They melt <material>orpiment</material> entirely in a
            <tool>glass bottle</tool> on <tool>very hot ashes</tool>, but it would be more
        appropriate to sublimate <material>orpiment</material> in a <tool>long-neck matrass</tool>
        as for making garnets<material/>. The <material>orpiment</material> thus turns red like red
            <material>enamel</material> and it has to be ground first in
            <material>distemper</material>, because once entirely melted it is very brittle and
        difficult to grind. Then, once dry, you can thin it with <material>oil</material> and it
        will make a deep and saturated yellow. But to prevent <material>orpiment</material> from
        fading in contact with other colours and make it compatible with these and to make it dry
        quickly, a most rare secret is to calcine <material_format>common
            <material>salt</material></material_format> and to grind it together with the
            <material>orpiment</material>. <material>Green verditer</material> is not used with
            <material>oil</material>. </block>
</entry>
<entry identifier="p009v_2">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>

    <heading>
        <profession>Merchant</profession>
    </heading>

    <block>
        <activity type="accounting"/>
        <purpose type="observation"/> The order that merchants are accustomed to keep in their
        books, which are the waste book, the sales book, and the ledger, also called the account
        book. </block>
</entry>
<entry identifier="p009v_3">
    <folio number="009v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f24.image"/>
    <heading>Waste book</heading>
    <block>
        <activity type="accounting"/>First, <name type="personal">François du Cros</name> owes from
        2 September 1581, for 1 <material><foreign language="french">canne de
            batiste</foreign></material> at <currency>8 livres</currency> per <material><foreign
                language="french">canne</foreign></material>, total -- <currency>8 livres
            tournois</currency>. </block>
    <block position="left-middle">
        <activity type="accounting"/>Moved to the sales book at r. 25/ <name type="personal"
            >François du Cros</name> owes from 2 September 1581, for 1 <material><foreign
                language="french">canne de batiste</foreign></material> at <currency>8
            livres</currency> per <material><foreign language="french">canne</foreign></material>,
        as shown by the waste book at r. 25 </block>
    <block position="left-middle">
        <activity type="accounting"/>Moved to the account book at r. 55/ <name type="personal"
            >François du Cros</name> owes from 2 September 1581, for the merchandise taken by
        himself, as specified in detail in the sales book, No. 7, at r. 55, the sum of <currency>8
            livres</currency>, of which the aforesaid <name type="personal">du Cros</name> has made
        a bill on the aforesaid day, to be payed on Saint Andrew's day next, total -- 8 [...] r.
    </block>
</entry>
<entry identifier="p010r_1">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDd2JGLVFjeHY4Z0U"
            title="Imitating Raw Nature, fol. 10r (Lores-Chavez and Kang)"/>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjE3TFN0b3YtVVk"
            title="Jasper Imitation on Horn"/>
    </annotations>

    <heading>Imitation <material>jasper</material></heading>

    <block>
        <activity type="imitating"/>
        <purpose type="advice"> Take <material>horn</material> as is used to make lanterns, quite
            thin, and underneath imitate your <material>jasper</material>,
                <material>cornaline</material>, and other stones. That will look more appropriate
            than doing it on <material>glass</material>, which is too shiny. And the
                <material>horn</material> gives a lustre and a fatty polish similar to
                <material>jasper</material>.</purpose>
    </block>


    <block>
        <activity type="imitating"/>
        <purpose type="observation"/>
        <purpose type="advice"/> You know how you can imitate <plant>roses</plant> with scrapings of
        the said <material>horn</material>. The colors for this <material>jasper</material> need to
        have as a base <material_format>clear <material>turpentine</material></material_format> or
                <material_format><material>spike lavender</material> varnish</material_format>. And
        matte, opaque colors are not appropriate, no matter how fine they are. You have to
            <material>oil</material> the unpainted underside with <material>spike lavender
            oil</material>. </block>

    <block position="middle-top">
        <purpose type="observation"/>
        <material_format>Thin <material>glass</material></material_format> looks very fine for this
        effect </block>

    <block position="left-top">
        <activity type="embellishing"/>
        <purpose type="application">You can inlay beds with it, and on the joints you can throw
                <material>talc</material> or <material_format><material>metal</material>
                filings</material_format> on the fresh <material>cement</material> of the said
            joints. You have to bond them with <material>gum amoniacum</material> soaked in
                <material>vinegar</material>.</purpose>
        <purpose type="making">To better imitate <material_format>marbled
                    <material>jasper</material></material_format>, apply <material_format>coarse
                    <material>wool</material> hair</material_format> dyed various colors and
            intermingled. After you have laid down all the colors, scrape oblique lines into them
            then lay down <material_format><material>gold</material> leaves</material_format> and
                    <material_format><material>silver</material> leaves</material_format>. If you
            lay down colors made of <material>turpentine</material> on the
            <material>horn</material>, give it a backing of
                    <material_format><material>silver</material> leaf</material_format>or of
                    <material_format><material>tin</material> leaf</material_format>. You can also
            file <material>horn</material> and mix it with strong <material>glue</material> and lay
            it down onto the joints of the <material>horn</material> piece and finish with a
                <tool>joiner's plane</tool>.</purpose>
    </block>
</entry>
<entry identifier="p010r_2">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDSU1RN3ExeW5WclU"
            title="Color for Green"/>
    </annotations>

    <heading>
        <material>Scudegrun</material>
    </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/> It is made in <place>Lyon</place> from the
            <material_format>juice of <material>weld</material></material_format> mixed with
            <material>chalk</material> or better yet with <material>ceruse</material>, which is
        appropriate for <material>tempera</material> and <material>oil</material>. </block>
</entry>
<entry identifier="p010r_3">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <block>
        <activity type="imitating"/>
        <purpose type="observation"/> These are imitated either with the <material_format>scrapings
            of <material>horn</material></material_format> used for lanterns, or with
            <material_format>very light, fine and dyed <material>parchment</material>
            scrapings</material_format>, used as you know. </block>
</entry>
<entry identifier="p010r_4">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <heading> Purple color </heading>

    <block>
        <activity type="painting"/>
        <purpose type="observation"/>
        <profession>Painters</profession> make it beautifully by first applying an undercoat of
            <material_format>ordinary <material>azur</material></material_format>, or better yet
        azure <material>enamel</material>, and then they glaze it with <material>lacquer</material>,
        which will be more appropriate for this if you mix in <material>alum</material>, which will
        give it a violet tint depending on the quantity that you mix in. </block>
</entry>
<entry identifier="p010r_5">
    <folio number="010r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f25.image"/>

    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfm81MDNTQVNkanRWVXlndmtjMHAwRVFuRDAxWWNiLU5hN0EwdFVfSmg3bEU"
            title="Powder for Hourglasses"/>
    </annotations>

    <heading>Powder for hourglasses</heading>

    <block>
        <purpose type="making"/> It must be made very fine and not subject to rust and with enough
        weight to flow. Taking i <unit>lb.</unit> of <material>lead</material>, melt it and skim and
        purify it from its filth, then pour into it four <unit>℥</unit> of <material_format>finely
            ground common <material>salt</material></material_format>, and take care that there are
        no stones or earth. And immediately after pouring it, stir continuously very well with an
            <tool>iron tool</tool> until the <material>lead</material> and <material>salt</material>
        are quite incorporated, and take it immediately off the <tool>fire</tool>, stirring
        continuously. And if it seems too coarse, grind it on a
                    <tool><material_format><material>marble</material> slab</material_format></tool>
        and pass it through a <tool>fine sieve</tool>, then wash it as many as times as necessary
        until the <material>water</material> runs clear, throwing out the fine powder that will
        float on it, renewing the <material>water</material> as many times as necessary until it is
        completely cleared. </block>
</entry>
<entry identifier="p010v_1">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDVXNZMHMyMnpQX2M"
            title="Oil on Taffeta"/>
    </annotations>

    <heading>For painting in <material>oil</material> on <material>taffeta</material> without the
            <material>oil</material> running</heading>

    <block>
        <activity type="painting"/>
        <purpose type="making">One needs to make a layer of <material><foreign language="french"
                    >batture</foreign></material>, which is made of <material><foreign
                    language="french">colle forte</foreign></material> soaked for <time>24
                hours</time> in <material>water</material> then gently boiled so it is not too
            strong. Then stir in a little <material>honey</material> to soften it, and bring it all
            to a boil.</purpose>
        <purpose type="observation">And on top of this layer, which will soon be dry, you will be
            able to paint in <material>oil</material>, which will soften the layer even more, and
            which will also serve to make an underlayer for <material>gold</material>.
                <material>Alum water</material> also keeps <material>oil</material> from
            running.</purpose>
    </block>
</entry>
<entry identifier="p010v_2">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDaHRZY1RlRVlvUHc"
            title="Gilding on Paper and Parchment, fol. 10v, 29v (Goldenberg)"/>
    </annotations>

    <heading>Underlayer for <material_format><material>gold</material> leaf</material_format> on
            <material>parchment</material> or <material>paper</material></heading>

    <block>
        <activity type="painting"/>
        <activity type="gilding"/>
        <purpose type="advice"/>
        <purpose type="application"/>Make <material_format>very clear starch
                <material>glue</material></material_format>, showing little body. And apply six or
        five layers, and when the last is almost dry, apply your <material>gold</material> to it.
    </block>
</entry>
<entry identifier="p010v_3">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <heading>For cleaning <material_format><material>gold</material> leaf</material_format> applied
        to <material>iron</material></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="advice"/> Rub your weapons or other gilt objects with <material_format>dry
                <material>horse dung</material></material_format>. </block>
</entry>
<entry identifier="p010v_4">
    <folio number="010v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f26.image"/>

    <heading>For whitening <material>ceruse</material></heading>

    <block>
        <purpose type="observation"/>
        <purpose type="making"/>Hard-boil some <material>eggs</material>, cut them in half and take
        the <material>yolks</material> out, and between the two halves of the
            <material>white</material> put a bit of <material>ceruse</material>, and tie the two
        halves together with <tool><material>thread</material></tool>. Then boil in
            <material_format>clear <material>water</material></material_format>, and it will become
        black, and thus the <material>ceruse</material> will be purified. Some reheat it over
            <tool>fire</tool> and it becomes very white. </block>
</entry>
<entry identifier="p011r_1">
    <folio number="011r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f26.item"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjVoVURubFJMRlk"
            title="Azure Enamels, fol. 11r, 59r, 61v, 93v (Chang, Clemens)"/>
    </annotations>

    <heading>Painting enamel azure in oil</heading>

    <block>
        <activity type="painting"/>
        <purpose type="making"/> This is a secret that is hardly known to common painters. Some take
        the most delicate they can &amp; crush it with <material>ceruse</material>, which binds it,
        and next prick with an <tool>awl</tool> in several places the area they want to paint with
                <material><foreign language="french">azur d’esmail</foreign></material>, such that
        the <material>oil</material> enters &amp; leaks in, &amp; does not cause the
            <material>azure</material>, which in itself is heavy, to run. Others lay the panel flat
        &amp; apply the <material>azure</material> on it, which is also done <foreign
            language="french">à destrempe</foreign>. The main thing is to crush it well on
                <tool><material>marble</material></tool>, and before that, to have washed it
        thoroughly. Some grind it with thoroughly with an <material>egg yolk</material> &amp; then
        wash it in five or six lots of <material>water</material> and lay it on not with a
                <tool><foreign language="french">painceau</foreign></tool>, which would be too soft,
        but with a <tool><foreign language="french">broisse</foreign></tool> highly softened &amp;
        bent, &amp; laying it on thickly as if one were applying it with a <tool>trowel</tool>;
        settling down it evens out and flattens. I have experienced that crushing <material><foreign
                language="french">azur d’esmail</foreign></material> with <material>egg
            yolk</material> &amp; then washing it in several lots of <material>water</material> is
        good, although it loses a little of its vividness in the crushing of it. I have also washed
        it in several lots of <material>water</material> &amp;, when it had settled a little, I
        removed the <material>water</material>, still q blue, with a <tool>sponge</tool> and
        squeezed it into another vessel thus where it settled, &amp; from the residue I had the
            <material>ash</material>, <material><plant>flower</plant></material> and subtlest part
        of the <material>azure</material> without crushing it, which is the best, for in the
        crushing of it, it loses some of its color. Those who make it in <place>Germany</place>
        compose it like <material>enamel</material>, in large pieces which they <tool>pestle</tool>,
        &amp; pass through several <tool>sieves</tool> &amp; wash. </block>
    <block><purpose type="making"/> To make <material>azures</material> beautiful, they wash or soak
        them in a <material_format>rock <material>water</material></material_format>, as they call
        it; it is a <material>water</material> distilled from mines where <material>azure</material>
        or <material><foreign language="french">vert d'azur</foreign></material> is found, which
        distills naturally through the mountain's veins or is distilled with an <tool>alembic</tool>
        par from <material_format>>mineral <material>stones</material></material_format> of
            <material>azure</material> or <material>copper</material>. </block>
    <block><purpose type="making"/>
        <material_format><material>Azure</material> ashes</material_format> are only good for
        landscapes because they die in <material>oil</material>. Only true
            <material>azure</material> lasts. <material><foreign language="french">Azur
                d’esmail</foreign></material> cannot be worked if it is too coarse. Try it,
        therefore, on the fingernail or the <tool><material>oil</material> palette</tool>. If it
        happens to be sandy, do not crush it except with the <material>egg yolk</material> or,
        better yet, wash it in <material_format>clear <material>water</material></material_format>
        &amp; with a sponge remove the <material_format>colored
            <material>water</material></material_format> after it starts to go to the bottom, and in
        this manner you will extract the quite delicate <material><plant>flower</plant></material>,
        which will be easy to work with. </block>
</entry>
<entry identifier="p011v_1">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Applying the color of Damascene
            <material_format><material>steel</material></material_format> on knives</heading>

    <block>
        <activity type="embellishing"/>
        <purpose type="application"/> Rub the <material>steel</material> with
            <material_format>common <material><foreign language="latin">aquis
                fortis</foreign></material></material_format> mixed with <material>earth</material>.
        After, rub everything with <material>ashes</material> or <material>sand</material>. Do with
        the <material>gold</material> and <material>silver</material> as you would do on a
            <material>touchstone</material>.</block>
</entry>
<entry identifier="p011v_2">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Getting rid of <color>red</color> eyes or <color>black</color> eyes</heading>

    <block>
        <activity type="cosmetic"/>
        <purpose type="application"/> Make two small <unit>licks</unit> of <material_format>raw
                    <material><animal>mutton</animal> flesh</material></material_format>, and with a
            <tool>blindfold</tool>, apply it at night on your eyes.</block>
</entry>
<entry identifier="p011v_3">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Applying <material_format>unpolished
        <material>gold</material></material_format></heading>

    <block>
        <activity type="gilding"/>
        <purpose type="application"/> There is nothing better than the
                <material_format><color>black</color>
            <material>varnish</material> of sword-makers</material_format> to use as a base layer
        because it dries quickly and makes the <material>gold</material> appear very
        beautiful.</block>
</entry>
<entry identifier="p011v_4">
    <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

    <heading>Making <tool><material>diamond</material> points</tool> for engraving</heading>

    <block>
        <activity type="engraving"/>
        <purpose type="making"/> These are for sketching what you want to draw on
            <material>stones</material> and for engraving. When these points are too dull and cannot
        engrave, it is necessary to rub <material>diamond</material> against
            <material>diamond</material>; one can rub them with <material_format><material>pumice
                stone</material> powder</material_format>. It is necessary to strip what you want to
        engrave on a <tool><material>lead</material> wheel</tool> or with a
            <material>stone</material> or with <material>glass</material>, because the polishing is
        like <material>varnish</material> or <material>glass</material> and stops the
            <material>diamond</material> or <material>sapphire</material> from engraving well. This
        is why it does not engrave easily on <material>horn</material>, which is polished and fat.
        But when the polish has been taken off, it is easy to engrave.</block>
</entry>
<entry identifier="p011v_5">
        <folio number="011v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f28.image"/>

        <heading>Polishing a <tool><material>copper</material> wheel</tool></heading>

        <block>
                <activity type="polishing"/>
                <purpose type="advice"/> Instead of polishing your <material>stone</material>, it is
                necessary to remove the <material>grease</material> by rubbing
                                <tool><material_format>the flesh side of a piece of
                                        <material>leather</material></material_format></tool> on the
                wheel, all while spinning the wheel if you have not worked on it in a long
                time.</block>
</entry>
<entry identifier="p012r_1">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDflhIMDlEVnBRZU4xcnNFVTVQcURmNzdqUHJGTDNFdzk1MEdld2Jsenk0bDA"
            title="Sulfur and Additives"/>
    </annotations>

    <heading>For molding from <material>sulfur</material></heading>

    <block>
        <activity type="casting"/>
        <purpose type="observation"/>
        <material>Sulfur</material> is made beautiful by mixing in <material>soot
                <color>black</color></material> or <material_format>powdered
                <material>sanguine</material></material_format>, which makes it harder and stronger.
        After letting it melt entirely until it becomes liquid and similar to
            <material>oil</material>, then mixing it with <material>verdigris</material>, you can
        use it for casting a <animal>lizard</animal> or something else in
            <material>plaster</material>, very cleanly.</block>

    <block position="left-top">
        <activity type="casting"/>
        <purpose type="advice"/>You must not cast it until it has cooled down and lost all its
        bubbles and eyes, and its surface has fallen and become flat as <material>water</material>.
            <material>Soot black</material> gives it a fine luster and makes it neater. Use
                <material_format><color>yellow</color>
            <material>sulfur</material> of the best kind</material_format>, as the
                <material_format><color>grey</color>ish natural
            <material>sulfur</material></material_format> is no good. Don't cast it in the wind and
        cold for it would fill with bubbles. </block>
</entry>
<entry identifier="p012r_2">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Cimolee</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation"/>
        <material>Cimolee</material> or <material><profession>fullers</profession>’ clay</material>
            (<profession>fullers</profession> meaning those who finish <material>cloth</material>)
        is an excellent material for molding hollow or in relief. If you want to reheat it, it
        should first be warm and you should reheat gently from a distance, and little by little,
        otherwise it will crack. To reheat the figure put it in a <tool>pot</tool> in an
            <tool>oven</tool>, or in a <tool>closed oven</tool>. It comes out very smooth, clean and
        fine. With <material>cimolee</material> you can make a <tool>hollow mold</tool> of an
            <animal>animal</animal> and cast it in <material>lead</material>.</block>

    <block position="left-middle">
        <activity type="mold making"/>
        <purpose type="advice"/>The work needs to have dried for <time>4 or 5 days</time> before you
        bake it. When you are molding and making a hollow in <material>cimolee</material>, don't
        press all at once, but gently, or else it would split. </block>
</entry>
<entry identifier="p012r_2">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Paper</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation"> The <color>whitest</color> and thinnest is the best. And when
            the <tool>hollow mold</tool> is quite clean, as when it is made of
                <material>sulfur</material> or <material_format>baked
                <material>cimolee</material></material_format>, the <material>paper</material> comes
            out very clean. You can apply a layer or two of
                <material><color>white</color></material>, with a border of
                <material>gold</material>, to imitate <material>alabaster</material>. And after
            applying the <material><color>white</color></material> you may burnish it with a
                <tool>tooth</tool>.</purpose>
        <purpose type="advice"> Yet in order for it to take burnish you should soak the
                <material>lead <color>white</color></material> with <material>egg white</material>
            and <material_format>peelings from the <material><plant>fig
                tree</plant></material></material_format>. Or better still, varnish your work with
                    <material><color>white</color> varnish</material>. Also while you are molding
            with <material>paper</material>, as it starts drying, burnish the back of it with the
                <tool>tooth</tool>.</purpose>
    </block>

</entry>
<entry identifier="p012r_4">
    <folio number="012r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f29.image"/>

    <heading>
        <material>Plaster</material>
    </heading>

    <block>
        <activity type="mold making"/>
        <activity type="casting"/>
        <purpose type="observation">
            <material_format>Mountain <material>plaster</material></material_format> is
                <color>grey</color>er, and that from the region of <place>Albi</place> is
                <color>white</color>r. It has to be heated over a <tool>closed fire</tool>, such as
            a <tool>reverberatory furnace</tool> or <tool><foreign language="french">fours de
                    barbiers</foreign></tool>. The more freshly heated, the better it is to work
            with.</purpose>
        <purpose type="advice">It should be finely crushed on
                <tool><material>marble</material></tool>. After preparing your <tool>hollow
                mold</tool> of <material>sulfur</material> or another [material] and
                <material>oil</material>ing it and surrounding it with a <tool>circle</tool>, soak
            your <material>plaster</material> in <material>water</material>, not too thick, and rub
            it well with your finger, and if it makes bubbles, throw on more <material_format>powder
                of the said <material>plaster</material></material_format> and crush it with your
            finger until +</purpose>
    </block>

    <block position="left-bottom">
        <activity type="casting"/>
        <purpose type="advice"/>+ it makes no more bubbles. Then once more throw and sprinkle
                <material_format><material>plaster</material> powder</material_format> on top and
        leave to set well, then scrape the <material>powder</material> off.</block>
</entry>
<entry identifier="p012v_1">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>

    <heading>Moulding <material>stucco</material> promptly</heading>

    <block><activity type="molding"/>
        <activity type="casting"/>
        <purpose type="making"/> Crush and pulverize finely <material>brick</material> or
            <material>Armenian bole</material> or <material>sanguine</material> and incorporate it
        with <material_format>melted <material>wax</material></material_format>, and thus melted,
        cast like the others on a <tool>relief medal</tool>, and so you will have a <tool>hollow
            mold</tool> where you will be able to cast <material_format>ground
                <material>paper</material></material_format> or
        <material>cimolee</material>.</block>

    <block position="left-top"><purpose type="observation"/><material_format>Finely sieved
                <material>brick</material></material_format> is better, since
            <material>bole</material> is too fat</block>
</entry>
<entry identifier="p012v_2">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>

    <heading>Cleaning <color>yellow</color>
        <material>pearls</material></heading>

    <block><purpose type="application"/>
        <activity type="polishing"/>Gently boil them in a <tool><profession>goldsmith</profession>'s
                <foreign language="french">bouteure</foreign></tool> then, with
            <material>tripoli</material> and a <tool>small piece of
            <material>leather</material></tool>, sprinkled on the flesh side with the powder of the
        said <material>tripoli</material>, rub and polish the <material>pearl</material>.</block>

</entry>
<entry identifier="p012v_3">
    <folio number="012v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f30.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="polishing"/>
    <activity type="engraving"/>
    <heading>To <color>white</color>n <material>enilanroc</material></heading>

    <block>Some believe the ceruse-color crust that is on top to be natural. Others say that it is a
        lost secret of ancient <profession>lapidaries</profession>. Others say that it is
            <material>enamel</material> that has been reheated. And, from this crust, one can form
        multiple ciphers, letters, circles and other bizarre motifs. As to the means, I proceeded
        thus: I once wanted to add a layer of <material>arsenic</material> ground on
            <material>marble</material>. However, I did the experiment without it, and I put the
        above mentioned thing, <material>enilanroc</material>, in a <tool>small
                <material>iron</material> casket</tool> on the <tool>fire</tool> of my
                <tool><profession>goldsmith</profession>'s forge</tool> with three or four
            <material_format>small half-burnt <material>coal</material>s</material_format> and blew
        on it only with my <tool>mouth</tool>. However, the thing caught fire and became all <color>white</color>,
        not only on its surface but also inside. And then I let it cool on its own near the <tool>fire</tool>,
        since otherwise, exposing it suddenly to cold air, it would have cracked. While it was all
        <color>white</color>, I passed it through my <tool><material>lead</material> wheel</tool> and I found it to be as hard as it was before. And
        after scraping off a little of the <color>white</color>, I found it to be of <color>a clear fleshy tone</color>. Finally,
        I polished it and observed that it took quite a beautiful polish luster and that it could
        compare with a quite beautiful <material>agate</material> for the purpose of engraving it with some beautiful
        face and applying it to a table of</block>

    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>

    <block> <material>agate</material> of various colors. But because this overall <color>white</color>ness did not correspond with the
        <color>white</color> crust on the surface that I was seeking, leaving the rest of the thing its <color>natural
            color</color>, I made a hole in a <tool><material>brick</material></tool>, precisely the same size as the object, and put it inside.
        Then I heated two <tool><profession>glassmaker</profession>'s soldering iron</tool>s until they became <color>red</color> hot and, when they were
        <color>red</color> hot, I applied them one after the other onto the surface of the object until I got the
        <color>white</color> crust I was looking for, on which I made the drawing that I wanted, revealing the <color>red</color>
        background, with a <tool>diamond point</tool>, and I polished it with <tool>hog bristles</tool> and <tool><material>tripoli</material></tool>. I don't
            know if it would be better to reheat it under <tool><material_format>hot <material>ashes</material></material_format></tool>, and if it would be good to encase
            it in <tool><material>alabaster</material></tool>, which is quite cold, as I did in the <tool><material>brick</material></tool>. 
    </block>
</entry>
<entry identifier="p013r_1">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading><color>Flesh color</color> with <material>arsenic</material></heading>

    <block><material_format>Sublimated <material>arsenic</material></material_format>, that is to
        say, the <color>white</color> kind sold as <material_format>stone</material_format>, when
            <material_format>powdered</material_format> on <tool><material>marble</material></tool>,
        mixed with <material>vermilion</material> or <material>lake</material> or
            <material>mine</material>, produces a beautiful <color>flesh color</color> that always
        shines. <material_format><color>Yellow</color>
            <material>arsenic</material></material_format> has a very beautiful color, the
            <color>white</color> one works well in <material>oil</material> and goes well with
        lake.</block>

</entry>
<entry identifier="p013r_2">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="dyeing"/>
    <heading>To dye</heading>

    <block>Mix <material>sal ammoniac</material> and <material>vitriol</material> and boil them
        together. Then mix in <material>lake</material> or <material>verdigris</material> and
            <material>azure</material> or similar colors, and dye. This will not come off unless the
        <animal>animal</animal> sheds. @Non bona.</block>

</entry>
<entry identifier="p013r_3">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>
    <purpose type="observation"/>
    <activity type="polishing"/>
    <heading>Polishing of <material>stones</material></heading>

    <block><material_format>Engraved <material>stones</material></material_format> are not polished
        on a <tool><material>copper</material> wheel</tool>, but with <tool>brushes</tool> and
                <tool><material>tripoli</material></tool>. Yet <material_format>faceted and flat
                <material>stones</material></material_format> are polished on the said
            <tool>wheel</tool>.</block>

</entry>
<entry identifier="p013r_4">
    <folio number="013r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image"/>

    <heading><tool>Fine sieves</tool> of <material_format>raw
            <material>silk</material></material_format></heading>

    <block>
        <activity type="weaving"/>
        <purpose type="observation">
            <material_format>Tammy</material_format> of <material_format>raw
                    <material>silk</material></material_format> is made on a <tool>weaver</tool>, to
            make <tool>very fine and delicate sieves</tool>.</purpose>
        <purpose type="advice">And for that effect, you must not choose <material_format>raw
                    <material>silk</material></material_format>
            <color>white</color>ned by <material_format><material>sulfur</material>
                smoke</material_format>: this covers the <material>silk</material> in a sticky vapor
            that would hold the <material>flour</material> and in the end would prevent it
            from</purpose>
    </block>

    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>

    <block>
        <purpose type="advice">passing through so well. But for this effect, choose
                <material_format>yellow and natural raw <material>silk</material></material_format>
            because it is stronger and rejects <material>flour</material> as
                <material>horsehair</material> does.</purpose>
    </block>

</entry>
<entry identifier="p013v_1">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading>To recognize <material_format>good <material>azur</material> dust</material_format> for
            <material>oil</material></heading>

    <block>The one that piles up in small clods and is lumpy is the best because it is finer. Also
        the one that is also <color>very pale in color</color>, because <material>oil</material>
        darkens it. Certain <profession>sophists</profession> mix them together, but you will find
        this out if you pour some onto <material_format>a piece of
            <material>paper</material></material_format> and lay it flat and spread it with your
            <tool>finger</tool> since, if it is mixed, it will be found varied and so to say with
        light and darker stripes, but if it is whole it will be even and of one color.</block>

</entry>
<entry identifier="p013v_2">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="cleaning"/>
    <heading><color>White</color>ning <material>pearls</material></heading>

    <block>When they have been applied in embroidery on some garment, they are greasy and may be
        cleaned in <material_format>soapy <material>water</material></material_format>.</block>

</entry>
<entry identifier="p013v_3">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>

    <heading>
        <material>Toadstone</material>
    </heading>

    <block>
        <activity type="painting">That which comes from the head of the <animal>toad</animal> and
            has the shape of the <animal>toad</animal>, painted naturally as you have seen, is the
            most excellent.</activity>
        <activity type="medicine">It is said that if <material_format>powder made from
                it</material_format> is put on a <tool>brazier</tool> in someone's room at night,
            they will be unable to move, speak, or stop <profession>thieves</profession>.</activity>
    </block>

</entry>
<entry identifier="p013v_4">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="animals"/>

    <heading>
        <animal>Snakes</animal>
    </heading>

    <block>It is said that if one calls a <animal>snake</animal> in Greek, saying <foreign
            language="greek">ΟΦΗ ΟΦΗ</foreign>, it will flee. Similarly, that if one calls a
            <animal>swine</animal> in Greek, <foreign language="greek">ïon</foreign>, it will
        come.</block>

</entry>
<entry identifier="p013v_1">
    <folio number="013v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f32.image"/>
    <purpose type="observation"/>
    <activity type="candle making"/>
    <heading>Candles</heading>

    <block><profession>Candlemakers</profession> never make good candles when the autan wind blows
        because they always melt, however good is the <material>tallow</material> they use in
        them.</block>

</entry>
<entry identifier="p014r_1">
    <folio number="0114r" url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f31.item"/>
    <purpose type="observation"/>
    <activity type="construction"/>
    <heading>For <material_format><material>earth</material> walls</material_format> and rustic
        construction</heading>

    <block><animal>Swallows</animal> have taught us this craft by building their nests out of
            <material>mud</material> mingled with wisps and bits of
            <material><plant>hay</plant></material> or <material><plant>straw</plant></material> to
        make it bond. Therefore, in places where <material>stones</material> and
            <material>bricks</material> are lacking, one can use <material>earth</material> to make
        walls thin and thick. The best for this is <material_format>light
            <material>earth</material></material_format>, which does not form clumps when plowed, or
        better, that which in some way mingled with <material>arene</material>, because it can be
        most easily beaten and tamped down. It is true that it needs to be dampened and cut into
        clumps with a <tool>ditch-spade</tool>, and put and placed in this <tool>form</tool>. This
        one lasts more and does not require that much effort, and dryness doesn't make it split or
        crack. However, since such kinds of <material>earth</material> are not found everywhere,
        those who live on good and fertile land, after drawing the width and length of their
        foundations with a <tool>rope</tool>, drive in <tool>long poles and rafters</tool> along the
        edges on each side to support <tool>boards</tool> between which they throw the
            <material>earth</material>, making each layer about <unit>one foot</unit> thick,
        interspersed with <material_format>S.S.S-shaped branches of
                <material><plant>heather</plant></material></material_format> or similar things,
        then they tamp it down and beat it with <tool>beaters of three different forms</tool>. One
        is called the <tool>mall</tool>, which has a triangular form like A, and this is used
        firstly to tamp down the <material>earth</material>. Then one uses another made of
            <tool>pointed <material>woodblocks</material> fitted onto a thick stick</tool>, and this
        one is used to properly press the <material>earth</material> at the wall’s ends and edges
        where they adhere to the <tool>boards</tool>, and is called [blank]. The other one is called
        the <tool>bat</tool> and is used to flatten and beat the <material>earth</material> for the
        last time, as shown in C. Then one makes another layer of <material>earth</material> and
                <material><plant>heather</plant></material> and beats as has been said, and
        continues thus until completing the wall, which is covered with
                <material><plant>heather</plant></material> and then with
        <material>earth</material>. Some intersperse the said wall with rows of
            <material>bricks</material>. They also make walls with a sloped foot, adding width to
        the foundations according to how high they want to build the wall. When it is old it
            <color>white</color>ns, showing that it has <material>saltpeter</material> in it. Which
        is why, when they fall down, <profession>gunpowder</profession> makers profit from
        them.</block>

    <figure identifier="fig_p014r_1" position="left-bottom"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5b2lVN19SU1Z6UkU"/>

</entry>
<entry identifier="p015r_a1">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDV0hwRWRzOFVad3c"
            title="Damasked Cloth"/>
    </annotations>
    <purpose type="making"/>
    <activity type="dyeing"/>
    <heading>Damask Cloth</heading>

    <block>You can make damask cloth of two different colours and imitate embroidery without adding
        anything else to it, as follows. Once it is is dyed <color>yellow</color>, pounce onto it
        such a pattern as will please you. Then you will sew some <tool>string or a bigger
            cord</tool> loosely onto the pattern and throw it into a dye of
            <material>woad</material> or <material>pastel</material> and it will become
            <color>green</color>, except that which is beneath the <tool>string</tool>, which will
        remain <color>yellow</color> because the <color>green</color> dye will not have penetrated
        there. And you can do the same with other colours and, instead of <tool>string or
            cord</tool>, add some <tool>pieces of poor quality cloth cut in <name type="group"
                >Moorish</name> shapes</tool> on top of the first colour. In that manner, you will
        have cheap embroidery.</block>

</entry>
<entry identifier="p015r_a2">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <activity type="casting"/>
    <heading>Casting <material>metal</material>s</heading>

    <block>Candlesticks and small works are cast in a <tool>frame</tool> with
            <material>sand</material>. Having stamped the work, sprinkle it with
            <material>flour</material> in order to make the <material>copper</material> or
            <material>latten</material> run better. When the <material>sand</material> has been in
        use for one month, it is necessary to take some new <material>sand</material> because that
        which has been used, being reheated +, dries &amp; loses its binding power. Yet it is used
        mixed with the new <material>sand</material>, because it makes the work less porous. Large
        works such as artillery, bells and similar things are cast in <material>earth</material>,
        and <material>copper</material> cast in <material>earth</material> makes less crust and is
            <color>white</color>r than when cast in <material>sand</material>. The
            <material>earth</material> is <material_format>sandy
            <material>clay</material></material_format> mixed with <material><animal>horse</animal>
            dung</material> and <material_format><material>cloth</material> waste</material_format>.
        The <material>earth</material> that has been used for casting, which is
        <color>black</color>, baked and as if burnt, is mixed with <material_format>artificial
                <material>sand</material></material_format>, and is very good. For softening and
        making the <material>copper</material> run, once it is melted, one throws in some
            <material>lead</material>, which does not form an alloy but is found on the surface of
        the cast.</block>

    <block position="left-middle">+ by <tool>the heat of <material_format>molten
                    <material>metal</material></material_format></tool></block>

</entry>
<entry identifier="p015r_a3">
    <folio number="015r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f35.image"/>
    <purpose type="observation"/>
    <activity type="casting"/>
    <heading>Casting <material>gold</material> and <material>silver</material></heading>

    <block>The <material>sand</material> must be made from something very dry and arid and reheated
        well because, if it were humid, like <material_format><profession>founder</profession>'s
                <material>sand</material></material_format>, the <material>gold</material> and
            <material>silver</material> would leap out of the <tool>mold</tool> and sustain damage.
        It is also necessary for the <material>earth</material> to absorb the
            <material>metal</material> because <material_format>cast
            <material>gold</material></material_format> or <material_format>cast
                <material>silver</material></material_format> becomes very porous. That is why it
        must be beaten out again, otherwise it is brittle, as seen in spoon handles.</block>

</entry>
<entry identifier="p015v_1">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="writing"/>
    <activity type="embellishing"/>
    <heading>Tablets</heading>

    <block>Some are made from <material>boxwood</material> and inlaid with
            <material>ebony</material>, <material>sandalwood</material>, <material>ivory</material>,
        or from <material>gold</material> and <material>silver</material> like damascening. After
        that one writes with <tool><material>silver</material>point</tool> and then erases by
        rubbing them with a <tool><material><animal>cuttlefish</animal>
        bone</material></tool>.</block>

</entry>
<entry identifier="p015v_2">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="optics"/>
    <heading>Making letters easier to read</heading>

    <block>One cuts the largest pieces of <material>beryl</material> or <material>crystal</material>
        round on one side and flat on the other, then one fits it with a little handle and puts the
        flat side on the letter</block>

</entry>
<entry identifier="p015v_3">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="making"/>
    <activity type="stamping"/>
    <heading>Stamping</heading>

    <block>If you have a <material_format><material>bronze</material> medal</material_format> and
        you want to make it very light, make a <material>lead</material> cavity, then spread upon it
        a <material_format>thin plate of <material>gold</material></material_format>, or
            <material_format>sheets of <material>lead</material></material_format> or
            <material_format>reheated <material>silver</material></material_format>, place your
                <material_format><material>bronze</material> medal</material_format> on top and
        hammer it with a <tool><material>wood</material> mallet</tool>.</block>

</entry>
<entry identifier="p015v_4">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="preparing materials"/>
    <heading>Softening <material>>horn</material></heading>

    <block>Those who mount <foreign language="french">acou</foreign>
        <foreign language="latin">Agnus Dei</foreign>s and make circles from
            <material>horn</material> for certain little boxes soften the said circles by soaking
        them in <material_format>hot <material>water</material></material_format> and then shape
        them on a <tool>round or oval-shaped triblet</tool>.</block>

</entry>
<entry identifier="p015v_1">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <activity type="medicinal"/>
    <heading>Ears</heading>

    <block>When a defluxion occurs in the ear, be very careful not to put anything in it, and
        following the proverb, ears and eyes should only be touched with your elbow. However, to an
        affected ear, it is good to apply <material_format>musky
            <material>cotton</material></material_format>, that is to say,
            <material>cotton</material> kept in <material>musk</material>, which comforts quite
        well.</block>

</entry>
<entry identifier="p015v_6">
    <folio number="015v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f36.item"/>
    <purpose type="observation"/>
    <activity type="medicinal"/>
    <heading>Toothache</heading>

    <block>Some put <material_format>a clove of <material>garlic</material></material_format> in the
        ear on the side of the aching tooth, and after two or three hours they feel better. Others
        put in their nostril, on the same side as the tooth that hurts, some
                <material_format><color>green</color> skin scraped from the stem of
                        <material><plant><foreign language="french"
                >bisaube</foreign></plant></material></material_format>, namely that which is under
        the <color>grey</color> one that looks like a <plant>vine</plant>.</block>

</entry>

<entry identifier="p038v_1">
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type="making"/>
    <annotations>
        <annotation title="Black color for dyeing"
            url="https://docs.google.com/document/d/1ZNqXbJINti7teByIul9FVs52sOlzdV0NpW42-heVn3I/edit"
        />
    </annotations>

    <heading>Black color for dyeing</heading>

    <block purpose="making">Take <material>lye</material> made from <material>quicklime</material>
        and <material>white lead</material>, mix and leave to soak and you will have a dark brown
        dye, and reiterating the same you will make black. Try other colours with the lye made of
        <material>lime</material>.</block>
</entry>

<entry identifier="p038v_2">

    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='advice'/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZU5YM1N3RjJKdEU" title="Dragon’s Blood, fol. 29v, 38v (Reich)"/>
        </annotations>

    <heading>Against nose bleeding and for dyeing</heading>

    <block>Pound some of the kind of <material>vinete</material> or <material>lapathum acutum</material> that is red-veined, which is called
        <material>dragon's blood</material>, and apply it on the bleeding person's forehead. This herb is a strong dye &amp;
        makes beautiful violet.</block>
</entry>


<entry identifier="p038v_3">
   
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='advice'/>
    <purpose type='observation'/>
    <heading>Beautiful artichokes</heading>
    
    <block>You need to trim them every year so that only one stem is left, and water them a lot.
        Also plant some more every year, because the second year they will bear very beautiful fruits.</block>
</entry>


<entry identifier="p038v_4">
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Planting trees</heading>
    <block>It is said that rarely a tree planted on Saint Paul's day will fail to take. To cover the
        young shoots, <material>oxen manure</material> is very appropriate, for it doesn't come
        apart in the rain like earth.</block>
</entry>


<entry identifier="p038v_5">
    
    <folio number="038v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f82.image"/>
    <purpose type='observation'/>
    <heading>Merchants</heading>
    
    <block> Those who retail velvet and other materials do not keep double-entry books because they
        sell in small quantities and recording these details would be too much effort. They only
        have their sales book and account books. But those who sell in bulk and those who traffic in
        woad have a double-entry book.</block>
</entry>


<entry identifier="p039r_1">
    <folio number="039r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f83.image"/>
    <purpose type="observation"/>
    <heading>Goldsmith</heading>
    <block> They bind <material>silver filings</material> with <material>saltpeter</material> which
        refines it &amp; does not make it brittle. But <material>gold filings</material> are bound
        with <material>borax</material> or, to save the borax, with <material>lead</material>, which
        refines the gold &amp; softens it, for the saltpeter would make it brittle, which it does
        not do to silver. This is why, in order to save, goldsmiths use it to bind it in order to
        save borax, which costs viii sols per ounce &amp; saltpeter costs x sols per lb. When
        goldsmiths have thus bound their silver filings with salpeter, a red enamel vitrifies at the
        bottom of the crucible. I do not know if the <material>copper</material> mixed in with the
        silver is the cause for this. Try for enamel.</block>
</entry>


<entry identifier="p039r_2">
    <folio number="039r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f83.image"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    <heading>Dyers’ woad</heading>
    <block> It is grown in <place>Lauragais</place> where the deep soil is so fertile that every
        year wheat was grown there, it would lie flat for being too vigorous. This is why dyers’
        woad and wheat are grown there alternately. For cultivating dyers’ woad, the soil is
        ploughed with <tool>iron shovels</tool>, as gardeners do. Next, it is harrowed with
            <tool>rakes</tool>, &amp; broken up finely as for sowing some kitchen herbs. It is
        commonly sown on Saint Anthony's day in January. Eight harvests are made. The first ones are
        better. The best dyers’ woad of Lauragais is the one from <place>Carmail</place> &amp; the
        one from <place>Auragne</place>. And sometimes the dyers’ woad is good in one field &amp; in
        the one close by it will hardly have worth. The goodness of the dyers’ woad can be
        recognized when put in the mouth it gives the taste of vinegar, or when crumbling &amp;
        breaking it, it has some mold-like veins which are as it were golden or silver. It is
        assayed in the <tool>dyers' vat</tool>, and to fill a vat with it, six bales of it are
        needed. There several flocks of <material>wool</material> are dyed, and if it dyes fifteen
        times, it is said to be worth 15 florins, if it gives xx dyings, xx florins. The good kind
        dyes up to 30 times &amp; commonly up to xxv or 26.</block>
</entry>


<entry identifier="p039v_a1">

    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type='application'/>
    <purpose type='observation'/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
        </annotations>

    <heading>Enamel</heading>

    <block> <material>Enamel</material> takes more readily on <material>copper</material> than on <material>silver</material>. It is true that the cut needs to be
        well hollowed out &amp; rough. Azure in body &amp; the red called gules, white enamel &amp;
        thick green take very well. Having enamelled, one gilds the feuillages of the
        cutting[illegible]. Copper has a similar hardness when cut as pure <material>silver</material> or <material>pistolet</material>
        gold.</block>
</entry>


<entry identifier="p039v_a2">
    
    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type='application'/>
    <purpose type='observation'/>
    <heading>Colors for illumination on glass</heading>
    
    <block> In order that your turpentine colors shall not run, &amp; become unified, mix in a
        little <material>larme de mastic</material> together with the <material>turpentine</material>.</block>
</entry>

<entry identifier="p039v_a3">

    <folio number="039v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f84.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <purpose type="observation"/>

    <annotations>
        <annotation title="Tracing a history on glass"
            url="https://docs.google.com/document/d/1hadGQunGoh9R6eJUndm-5MxRcoIi_r95EOG-ZqizP4Y/edit"
        />
    </annotations>

    <heading>Tracing a history on glass</heading>

    <block>If you want to trace a history in intaglio on <material>glass</material>, you can do so
        in different ways. Place your glass pane on, as thin as possible, over the printed history,
        &amp; having cleaned the glass well with <material>lye</material> &amp;
            <material>ashes</material> so that it is not at all greasy, trace over the lines visible
        to you with oily black or scales black with a <tool>pinceau</tool>, if you want to paint
        with colors in the manner of glaziers, who spread a wash of scales black all over their
        glass pane &amp; then scratch &amp; uncover what they want to coat with color, leaving that
        which is necessary for shading. But if you want to make gilt histories on glass with a
        background of colors, which imitates the basse-taille of goldsmiths, gild the whole glass
        pane with <material>gum water</material> or <material>garlic juice</material> or
            <material>fig-tree milk</material>. Then moisten your printed history with two wet
            <tool>linen cloths</tool> &amp; lay it down on the gilt glass. Then with a
            <tool>pin</tool> mounted on a small <tool>stick</tool>, follow the lines of your history
        as if you wished to pounce it, &amp; thus you shall vividly trace it on the gilding of the
        glass. &amp; next you shall uncover the background &amp; what needs to be empty with a quite
        pointy steel <tool>awl</tool>, &amp; and neatly follow once more the lines &amp; accomplish
        your work &amp; fashion your faces &amp; flesh tones in <material>pounded silver</material>;
        then fill the background with <material>azur d’esmail</material> or
            <material>verdigris</material> or <material>fine laque platte</material>, tempered with
        clear <material>turpentine</material>, mixed with a little <material>larme de
            mastic</material> if you want the colors to be more unified &amp; not to run. Next,
        apply on the back of the glass &amp; over the colors a white <tool>tin sheet</tool>. And
        once this is dry, you can cover the tin sheet of with color to hide your secret. The tin
        sheet gives light to the colors. Thus you will be able to paint without being</block>
    <folio number="040r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <block>being at all expert in painting. If your glass pane is bulging as if taken from the belly
        of a jar, it will show better. When you apply your turpentine colors to your glass panes,
        first place them on a <tool>hot tile</tool> &amp;, once they are hot, spread your colors
        &amp; leave it a while on the tile, then lay down your tin sheet.</block>
</entry>


<entry identifier="p040r_1">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <heading>Dye</heading>
    <block>Some take the <material>root of Lapathium acutum maius</material>, which looks like
            <material>monk’s-rhubarb</material> or <material>sorrel</material>, &amp; using the
        root, which is yellow in summer, they dye <material>threads</material> &amp; similar things.</block>
</entry>


<entry identifier="p040r_1">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <heading>Aqua fortis</heading>
    <block>Some put on for four pounds of <material>aqua fortis matter</material> four that is in
        the retort, four ounces of common <material>water</material> in the container, which is
        better than putting it into the retort. The <material>alum</material> is de-phlegmed &amp;
        calcined such that the water does not have as many dregs. Many make it without de-phlegming
        the alum.</block>
</entry>


<entry identifier="p040r_3">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <heading>Vinegar</heading>
    <block>One takes for granted that jec heat red-hot the <material>mineral salt</material> that
        looks like <material>marble</material> &amp; that is called in <place>Catalonia</place>
        &amp; at the border of <place>Spain</place>
        <material>Cardana salt</material>C, &amp; throwing it in the red hot or quite hot in
            <material>wine</material>, it turns it into very good <material>vinegar</material>. Some
        make it with <material>water</material> poured on <material>pomace</material> soured after
        being pressed by <tool>grape pickers</tool>, but it will not keep &amp; spoils in heat &amp;
        thunder storms.</block>
</entry>


<entry identifier="p040r_4">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <heading>Silver gilt buttons</heading>
    <block>Because <material>silver gilt</material> does not fear fire, it is cut into lozenges
        flat[illegible] on one side, then they are joined together in a star shape with a paste of
            <material>crushed enamel</material>, which is then melted &amp; the enamel is gilt with
        <material>gold leaf</material> and then reheated.</block>
</entry>


<entry identifier="p040r_5">
    <folio number="040r" url="hhttp://gallica.bnf.fr/ark:/12148/btv1b10500001g/f85.image"/>
    <purpose type="observation"/>
    <heading>Grottos</heading>
    <block>To fill some empty place that cannot be laden with hanging rocks, one puts a piece of
        thick <material>parchment</material> close to the fire, which shrinks &amp; crumples. Then
        one paints it with <material>distemper</material>, then in <material>oil</material>. Next
        one affixes it.</block>
</entry>


<entry identifier="p040v_02">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <heading>Latten and calamine</heading>
    <block>Founders do not melt latten in a <tool>bellow furnace</tool> but in
            <tool>crucibles</tool>, for in a bellow furnace and amid the
            <material>charcoals</material>, the <material>calamine</material> would
        disappear.</block>
</entry>


<entry identifier="p040v_03">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <heading>Metal</heading>
    <block><material>Tin</material> needs to be pure because if there is any
            <material>lead</material>, it will go up in smoke whilst melting. Alloyed tin withstands
        fire for a long time but in ashes it will come apart.</block>
</entry>


<entry identifier="p040v_04">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Aqua fortis</heading>
    <block>If your retort is well luted you should not surround it with ashes, which would only
        prevent the vapors from escaping properly. But when, towards the end, you fire it intensely,
        surround it with <material>charcoals</material> lit elsewhere beforehand, such as those in
        the <tool>furnace</tool> should be, so they do not crackle or smoke. Place said lit
        charcoals around the body of the retort, not close to the neck, which does not need to be
        heated as much. The top grate, on which you place your retort, should be sufficiently far,
        one dour or half a foot, from the bottom grate where the charcoal is placed, since thus you
        will not waste as much <material>aqua fortis</material>.</block>
</entry>


<entry identifier="p040v_1">
    <folio number="040v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f86.image"/>
    <purpose type="observation"/>
    <purpose type="application"/>
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDWm03YUhIbEltRHM"
            title="Rouge Clair, fol. 40v (Chang, Shi)"/>
    </annotations>
    <heading>Cross of the commanders of Malta</heading>
    <block>The fine rouge <material>clair</material> which is the background of the white enamel
        cross is of fine <material>dragon's blood</material> drops soaked with <material>eau de
            vie</material> or <material>Indian laque plate</material>, which I believe is made in
            <place>Flanders</place>, distempered with clear <material>turpentine</material> and
            <material>mastic</material> drops and applied on a <material>silver leaf</material>, not
        the one used by painters but a thicker one, which is burnished by the makers of foil
        backings for <material>gemstones</material> or by goldsmiths, and that gives it its fine
        brilliance.</block>
</entry>


<entry identifier="p041r_02">
    
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type='observation'/>
    <heading>Garden lily</heading>
    
    <block>If it is broken during its first blossom, it will not grow or bloom until the following
        year, and I believe it is the same for bulbous flowers [in general].</block>
</entry>


<entry identifier="p041r_03">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <purpose type="advice"/>
    <heading>Sand</heading>
    <block>The <material>sand</material> to be used for casting should be chosen such that it is not
        too dry for it won't hold together, nor should it be too fat. And although you find some in
        nature, however, it is not everywhere. And if you are in a place where it is not found, you
        can put it together yourself but not from <material>fat earth</material>, because the sand
        should contain none at all, since it makes it porous. But you can make it bind by mixing it
        with <material>brick</material> well ground on <material>marble</material>, or
            <material>plaster</material> or <material>calcinated alabaster</material> or something
        similar, or the burned <material>marrow</material> of ox horn or burned
            <material>asphalt</material>. If you grind it quite finely on <tool>porphyry</tool>, it
        binds better &amp; then you can burn it with asphalt or mix it with a quarter of
            <material>tripoli</material>. Make sure no bread falls into your sand because this makes
        it porous.</block>
    <block position="left-middle">Try mixing in soot black.</block>
</entry>


<entry identifier="p041r_04">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="observation"/>
    <heading>Ducks</heading>
    <block>Young domestic ones do not grow for a month after hatching but remain in this state. But
        after, they soon grow up, even if they go into the water. They are fed boiled
            <material>millet grains</material>, to which are added crumbled
            <material>bread</material> and finely chopped <material>lettuce</material>.</block>
</entry>


<entry identifier="p041r_1">
    <folio number="041r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f87.image"/>
    <purpose type="making"/>
    <purpose type="observation"/>
    <purpose type="advice"/>
    <heading>Casting earth for founders</heading>
    <block>It becomes fat by being beaten and also mixed with <material>horse manure</material>.
            <material>Potter's earth</material> would be too soft and would break and wouldn't
        resist the fire. But [your soil] has to be mixed with one half of <material>sand</material>
        and a quarter or a fifth of horse manure. And leave it to dry, then reduce it to powder,
        then put it through a <tool>sieve</tool> to make it fine and free from gravel, which would
        prevent it from casting cleanly. The manure makes the earth more amenable [to casting] &amp;
        easier to work with, but it should be free of straw and other things. And when the earth is
        very fat, you have to add more sand and more manure. But one does find fat varieties of
        earth [that are] naturally mixed with sand. If they are not, make them so artificially. One
        should always cook the soils again before casting.</block>
</entry>


<entry identifier="p041v_1">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="observation"/>
    <heading>Glassmaker's black</heading>
    <block>Filings of <material>iron</material> taken from bars that have been in the fire for a
        long time, which are thick, are much better than the common soft ones that fall under the
            <tool>anvil</tool> in the <tool>forge</tool>, because they imitate niello. To said
        black, described elsewhere, some people add a little <material>minium</material>.</block>
</entry>


<entry identifier="p041v_2">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="observation"/>
    <heading>Sheared ewes</heading>
    <block>If the shearer wounds them at some point, he applies the very
            <material>excrement</material> of the ewe on it. When they are fat, they are easier to
        shear and do not get hurt as easily.</block>
    <block position="left-middle">If the shearer wants to 'viscorter' them, that is to castrate them
        as [they] are one or two years old, he must not have been with his wife, because this would
        cause the sheep to die.</block>
</entry>


<entry identifier="p041v_3">
    <folio number="041v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f88.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <annotations>
        <annotation title="Colors and gilt on glass"
            url="https://docs.google.com/document/d/1Ju7l92d5a-3Rg-ZoGVlLDOnT3cXFWOf1Nf0e8PU8K_A/edit"
        />
    </annotations>
    <heading>Colors and gilt on glass</heading>
    <block>You should not put as strong <material>gummed water</material> on
            <material>glass</material> for the silver layer as for the gold layer because a
            <material>silver leaf</material> is twice as strong as <material>gold leaf</material>.
        Also, silver is harder and therefore does not scratch as easily. And if
            <material>gum</material> was not a little [too] strong for silver, it would not crack so
        clearly. When you work, the exhalation of your breath humidifies the leaf lying on the
        glass, and therefore it would be good, when working, to heat it up a few times. You have to
        very thoroughly wash what you want to be empty and used as a surface painted with colors,
        because if it is not really clean of the gum's grease and viscosity, and of other things,
        the colors will not be so clear on it. To advance your work you can smooth with a
            <tool>pumice stone</tool>, or [you can do this] to better lay down gum and leaf on a cut
            <tool>paper</tool>. This way, you will have to do very little repairs. If you want a
        gold color there without gold, mix soaked dried <material>saffron</material> with a little
        bit of <material>massicot</material>.</block>
</entry>

<entry identifier="p042r_1">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Founder</heading>

    <block>The <tool>clay mould</tool> should be baked until sometimes it becomes red hot, since
        otherwise the <material>metal</material> would be unstable and be no good at all. Similarly,
        the inner core must be baked very hard, and mixed with <material>charcoal
        powder</material>.</block>
</entry>

<entry identifier="p042r_2">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="advice"/>
    <purpose type="making"/>
    <heading>Wax for seals and impressions</heading>

    <block>For large wax seals, you should always have tepid <material>water</material> handy, and
        keep your <material>wax</material> in it. Yet previously you should have kneaded it with
        your hands, so as to make it very smooth and even, for otherwise the water would penetrate
        the wax and prevent it from holding together. Afterwards, you can imprint whatever you want.
        Cover the wax in three or four sheets of <material>paper</material>, and, with a round and
        smooth <tool>stick</tool> similar to a <tool>pestle</tool>, roll it out as if to polish it.
        It will then stick to the paper, helping you to take it off from the seal. In this way you
        will imprint better than if you were dripping molten wax. You can carve figures and color
        them in gold, in silver, or paint them with <material>couleurs à vernis</material>, and
        transfer them onto a <material>glass pane</material> painted with <material>couleurs à
            tourmentine</material> &amp; <material>mastic</material>. And if you want to apply these
        designs by inlaying, use <material>gum ammoniacum</material> mixed with
            <material>vinegar</material>, and it will stick well.</block>
</entry>

<entry identifier="p042r_a3">

    <folio number="042r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f89.image"/>
    <purpose type="making"/>
    <heading>Casting in plaster</heading>

    <block>Melt some <material>wax</material>, and with a big <tool>brush</tool> coat it over the
        relief of which you want to have the cave, as if you wanted to paint it. And a light crust
        will be formed upon which you will cast <material>plaster</material>, to give it shape and
        consistency. Afterwards, in the cave of the wax, cast your plaster as well to get the
        relief, and it will come out very easily, because of the wax. This is done more often for
        large pieces in haut relief than for others.</block>
</entry>

<entry identifier="p042v_a1">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="making"/>
    <purpose type="application"/>
    <heading>Pounce for scratching satin</heading>

    <block>After pouncing with <material>crushed flour</material> or <material>chalk</material>, in
        order that the dots of the pounce not be erased, go over the trace with <material>egg
            white</material> beaten with the <material>milk or bark of a fig tree</material>, which
        will immediately make the egg white clear up like water, without becoming opaque, it will
        maintain the trace that you will go over again and scratch with a <tool>piece of
            glass</tool> or <tool>penknife</tool>.</block>
</entry>

<entry identifier="p042v_a2">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="making"/>
    <heading>Canvas for oil painting without breaking</heading>

    <block>In order that your oil painting be not broken or ruined as you bend it, make your
        (preparatory) layer with <material>honey</material>honey, a bit of <material>oil</material>,
            <material>water</material>, and <material>flour</material>.</block>
</entry>

<entry identifier="p042v_a3">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="application"/>

    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTmhNdHU1YnRjeG8"
            title="Oil Painting on Taffeta"/>
    </annotations>

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>

    <heading>Oil painting on taffeta</heading>

    <block>In order that the <material>oil</material> not run, make your first layer with
        <material>honey</material>, <material>water of alum</material>, and <material>essence of amidin</material>.</block>
</entry>

<entry identifier="p042v_a4">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <heading>Casting sand</heading>

    <block>The key is to grind it well upon <tool>marble</tool>, and that it be extremely fine; mix
        in a bit of <material>calcined alabaster</material>.</block>
</entry>

<entry identifier="p042v_a5">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="application"/>
    <heading>For decorating a painting</heading>

    <block>Go over the lines with <material>lacquer</material> ground together with <material>olive
            oil</material>, which will not dry out.</block>
</entry>

<entry identifier="p042v_a6">

    <folio number="042v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image"/>
    <purpose type="making"/>
    <purpose type="applicaiton"/>
    <purpose type="advice"/>
    <heading>White varnish on plaster</heading>

    <block>Put down two or three layers of <material>white glue</material> for painting. Afterwards,
        varnish with <material>varnish of sandarac</material>, <material>aspic oil</material>, and a
        bit of <material>mastic</material>. Put it into a <tool>vessel</tool> at night, everything
        ground well together without fire, which would make it turn yellow. Then, with a
            <tool>paintbrush</tool>, it becomes dry immediately. Filter the oil that will have
        absorbed the substance.</block>
</entry>

<entry identifier="p043r_a1">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type='advice'/>
    <heading>Mericoton and pavis</heading>

    <block>One should graft them before Christmas so that they will not freeze too much.</block>
</entry>

<entry identifier="p043r_a2">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <puropse type="applicaiton"/>
    <pupose type="advice"/>
    <heading>White bronzing on plaster</heading>

    <block>One must apply four layers of <material>painters' distemper glue</material> onto the
            <material>plaster</material> portrait, leaving one layer to dry at a time. Then apply
        gently some <material>burnt English point</material> ground on a <tool>marble slab</tool>,
        or some <tool>lead burnt</tool>, ground and distempered with a bit of
            <material>gum</material> or <material>glue</material>. When dry, rub gently with a
        little <tool>cotton</tool> and the plaster portrait will look like
        <material>lead</material>. Others grind <material>minium</material> with
            <material>quicksilver</material>.</block>
</entry>

<entry identifier="p043r_a3">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type="making"/>
    <heading>Purpurine</heading>

    <block>Take half an ounce of soft <material>tin</material>, melt it in a <tool>spoon</tool>.
        Once it is melted, throw in an ℥ of ☿, mix together. Once they are cold, grind on a
            <tool>porphyry slab</tool>. Then take an ℥ of <material>sal ammoniac</material> and an ℥
        of the yellowest <material>sulfur</material> that may be found, grind both. And then mix
        very well all the aforementioned materials. Then put all together into a <tool>glass
            sublimatorium</tool>. Hold this over a small fire for an hour, and for an hour over a
        stronger fire, and for an hour over a very strong fire, and it will be ready. Then, to use
        it, apply <material>resin</material> black with the <material>glue</material> used by
        painters to paint, two or three times, until it is quite black. Then apply a bit of
            <material>varnish</material>. Once it is dry, apply the <material>purpurine</material>
        dry with a <tool>finger</tool> where you want. The more you apply, the finer it will look.
        Then, if you like, you can apply varnish on top.</block>
</entry>

<entry identifier="p043r_a4">

    <folio number="043r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f91.image"/>
    <purpose type="application"/>
    <purpose type="observation"/>
    <heading>White bronzing</heading>

    <block>Apply some <material>black</material>black with <material>glue</material> on the medal,
        as described above, and then varnish it. Once dry, rub it with <material>English
            point</material> using a <tool>brush</tool> or your <tool>finger</tool>. The said rubbed
        point embellishes <material>lead</material> medals.</block>
</entry>

<entry identifier="p043v_1">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="advice"/>
    <purpose type="observation"/>
    <annotations>
        <annotation title="Sleight-of-hand tricks"
            url="https://docs.google.com/document/d/1g8zJFcK35VdDmYfw8bHrBRHvNiz35pRjAkri-hkfFTo/edit"
        />
    </annotations>
    <heading>Varied and transmuted wine</heading>

    <block>Grate <material>Brazilwood</material> very fine, let it soak for one or two hours in
        clear <material>water</material>. Then take this tinted water and add some clear water and
        you will make wine as clear as you like. If you please, put a drop of <material>juice of
            lemon</material> or of <material>orange</material> in it and it will immediately become
        white. You can drink it without danger.</block>
</entry>

<entry identifier="p043v_2">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="observation"/>
    <heading>Pearls</heading>

    <block>It is said that pulverised <material>talc</material> blown into a <tool>lamp</tool> makes
        them so.</block>
</entry>

<entry identifier="p043v_3">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose typ="advice"/>
    <purpose type="observation"/>
    <heading>Arquebusier</heading>

    <block>To shoot your <tool>arquebus</tool> precisely the end of the breech must come precisely
        on the edge of the light, because like this the <material>powder</material> catches [fire]
        and burns all at once without blowing and has more strength and does not recoil. On the
        contrary, if the breech is made hollow, as they commonly are, the powder catches more
        quickly in this place, makes it recoil, and blows. This is clearly shown [by] a arquebus
        with a chamber which recoils more than another. And since the cannon is bigger at the breech
        than at the muzzle the sights are also uneven, because that at the breech is higher than
        that at the muzzle. Additionally, the thickness of the cannon is greater than the caliber by
        about one line, and the sight by another. It would therefore be necessary to either make the
        cannon all of one size or to raise the barrel from the end and towards the muzzle, and push
        it in and lower towards the breech. The weight of the powder must be one third of the
        [weight of the] <tool>bullet</tool>.</block>
</entry>

<entry identifier="p043v_4">

    <folio number="043v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f92.image"/>
    <purpose type="advice"/>
    <heading>Hail shot for the arquebus</heading>

    <block>If you want that it stays together put a piece of <material>felt</material> or
            <material>leather</material> or <material>paper</material> on it, depending on the
        distance, and let the piece be made with a <tool>form</tool> precisely cut depending on the
        caliber of the <tool>arquebus</tool>.</block>
</entry>

<entry identifier="p044r_a1">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>The reach of an arquebuse</heading>

    <block>The proportion of a fowling piece is: 4 king's feet long and the <tool>bullet</tool>
        weights xviii pennyweights, the expulsion vi pennyweight of <material>powder</material>, its
        range iiii-by-xx pans and 3 and a half feet and two thumbs and around a line, which is the
            <place>Paris</place> aulne. The medium <tool>arquebus</tool>, which is the usual one and
        the easiest, admits xv pennyweight of bullet, v pennyweight of powder &amp; reaches lx
        paces.</block>
</entry>

<entry identifier="p044r_a2">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>Pewtermaker</heading>

    <block>They mix viii or ten pounds of <material>lead</material> for each hundredweight of
            <material>tin</material> in the cities that have regulated guilds. But elsewhere, they
        add as much as they can. One also uses ii. lb. of <material>estaim de glace</material> to
        bind it and three lb. of broken <material> brass</material>, that is,
            <material>copper</material> scrap that kettlemakers make. This makes the
            <tool>vessel</tool> more reverberant and it is not as breakable.</block>
    <block location="left-middle">This <material>pewter</material> is called ordinary pewter.</block>
</entry>

<entry identifier="p044r_a3">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="advice"/>
    <heading>Arquebuse</heading>

    <block>To keep it from backfiring, clean your <tool>arquebus</tool> every eight days, and rub it
        with <material>oil</material>, and when you draw out, wet some <material>linen</material> in
        oil &amp; put it in instead of <material>paper</material>.</block>
</entry>

<entry identifier="p044r_a4">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <puropse type="applicaiton"/>
    <purpose type="advice"/>
    <heading>Lacquer</heading>

    <block>To test it, soak it and apply it to <material>paper</material>, and if one or two hours
        later it has not died at all, it's fine and well-done.</block>
</entry>

<entry identifier="p044r_a5">

    <folio number="044r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f93.image"/>
    <purpose type="observation"/>
    <heading>Dyes from flowers</heading>

    <block><plant>Red poppies</plant> that grow amongst <plant>wheat</plant> make a very beautiful
        columbine on white <material>leather</material>. The <material>boufain</material> makes a
        very beautiful blue. An <plant>herb</plant> which grows in hedges, which has a stem similar
        to <plant>flax</plant>, long and broad leaves like little <plant>bugloss</plant>, which has
        a violet <plant>flower</plant> verging on blue and looks like the fleur de lys, makes a
        quite beautiful turquin, better than azure. Another columbine flower of the shape and size
        of the bugloss flower, which has a leaf like that of the <plant>pansy</plant>, also makes a
        very beautiful turquin. It grows in wheat in light earth.</block>
</entry>

<entry identifier="p044v_1">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    <annotations>
        <annotation title="Fine raw silk sieves and horse hair sieves"
            url="https://drive.google.com/drive/search?q=annotation%20sieves"/>
    </annotations>
    <heading>Horsehair sieves</heading>

    <block>They are made often in <place>Normandy</place> with <material>horsetail hairy</material>
        that they clean with some washing <material>water</material> because they pick them out with
        their mouth and separate short and broken ones. They do not make the
            <material>thread</material> longer than the <tool>sieve</tool> and it is round. They
        attach the black or white <material>hair</material> at the two edges of the thread,
        according to the piece they want to make. And the thread is woven above and below like any
        other fabric. And passing a small flat <tool>stick</tool> of ii or three fingers wide
        between two, they pass between after two bits of hair at each step strike and weave with
        three steps. The entire sieve is made of xvii bits of hair. They sell them by dozens and
        each xxx sols. They bring them to <place>Toulouse</place> to send them then to
            <place>Spain</place> and there, they exchange it with <material>silk</material>.</block>
</entry>

<entry identifier="p044v_2">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    <heading>Excellent water against the pest by the Master of Montorsin</heading>

    <block>Take some <material>theriac rue</material>, <material>dittany</material> and good
            <material>vinegar</material>, put the whole in a <tool>glass bottle</tool> and leave it
        half-open and well attached. And put it in a <tool>bath</tool> for three or 4 days. Then
        take some of your brew from its container when you need it and pour some, when necessary, on
        a red hot <tool>tile</tool> and receive the vapor and also perfume your clothes. This is a
        very precious and proved secret.</block>
</entry>

<entry identifier="p044v_3">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose ype="making"/>
    <purpose type="advice"/>
    <heading>White soporific oil</heading>

    <block>Have x or 12 Mandragore <material>apples</material>, put them in quarters together with
        some <material>olive oil</material> in a <tool>glass bottle</tool> which you will cook in a
            <tool>bain marie</tool> for two days and your oil will turn white with which you rub the
        sole of your feet and you will quickly feel sleepy.</block>
</entry>

<entry identifier="p044v_4">

    <folio number="044v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f94.image"/>
    <purpose type="application"/>
    <purpose type="advice"/>
    <heading>Stucco</heading>

    <block>To stick <material>stones</material>, some do not use <material>gem</material> and pitch
        black <material>rosin</material> because it is too greasy, but they use as much rosin and
            <material>sulphur</material> and the same quantity of <material>wax</material> and then
        add finely ground <material>brick</material>. Others some <material>white chalk</material>
        and crushed and powdered and sieved <material>white stone</material>.</block>
</entry>

<entry identifier="p045r_1">

    <folio number="045r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f95.image"/>
    <purpose type="advice"/>
    <purposet ype="making"/>
    <purpose type="observation"/>
    <heading>Loading a pellet arquebus</heading>
    <figure number="fig_p045r_1" position="top-center"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5bkhmQklfNHJoRnc"/>

    <block>It is necessary to make a <tool>wooden pipe</tool> 4 or 5 fingers wide that is perfectly
        hollow, according to the open end of your barrel, of the form represented in A. Then, having
        cut some <material>paper</material>, which has to be as strong as that of large printed
        books, in the form indicated in D and as wide as you want your cartridge to be long, wrap
        the paper around the <tool>baton</tool> B and at the top, where the pointed tip F will be
        around the aforementioned paper, and the cartridge will be formed. But, in order to make the
        bottom more uniform, put it into <tool>pipe</tool> A, then introduce baton B and, in the
        other end of the pipe, which is marked G, insert baton C and pack so as to compact and press
        the folded tip of your cartridge, then take it out, and the charge in this, put three or
        four drageons or <material>larmes</material>. Then, with a <tool>punch</tool>, marked E, of
        the same caliber of your arquebus or pistol, punch round pieces on cardboard or felt or
        waxed cloth, and put this round piece into your cartridge, and push it until the drageons
        with the baton B, the more drageons, 3 or 4, then a round piece. And continue like that
        until the cartridge is full, the put it into the <tool>arquebus</tool>. If you want your
        pellet to scatter earlier, make round pieces out of paper. If you want it to reach further
        without scattering, make the piece out of <material>cardboard</material>. If you want it to
        reach even further, make the round piece out of <material>waxed cloth</material>, or either
        of <material>leather</material> or <material>felt</material>, and a piece of waxed cloth on
        the top. And if you make the cartridge in part with waxed cloth or <material>waxed
            paper</material>, it will reach one hundred paces and will make a big hole, and the
        pellet, barely scattering, will produce a big opening. But if you make your cartridge with
        waxed cloth or a material stronger than paper, it cannot be so long, with the cardboard tip
        being like in D, because it is enough if it wrapped around twice. In such a way, the pellet
        barely scatters and makes a big hole in porte-corps armor or others.</block>
</entry>

<entry identifier="p045v_1">

    <folio number="045v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f96.image"/>
    <puropse type="observation"/>
    <purpose type="advice"/>
    <heading>Loading an arquebus</heading>

    <block>You must have different charges depending to the range that you want your
            <tool>arquebus</tool> to have, all of which have a screw on the end that fits in the nut
        of the the said arquebus' <tool>ramrod</tool>. So when you put the
            <material>powder</material>powder in the charge, which is in the <tool>nut</tool>, hold
        the ramrod upright. And raising your arquebus up, insert the said ramrod until the charge is
        in the bottom of the arquebus, then straighten the arquebus, the mouth of the barrel up, and
        remove the ramrod. That way, your powder will now be entirely in the breech without any
        grain or dust that lines the sides of the arquebus, which always has some grime in the
        chamber. That way it will not recoil, and you will shoot more true.</block>
    <figure number="fig_p045v_1" position="left-middle"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZlVWTkcyU2FfanM"/>
</entry>

<entry identifier="p045v_2">

    <folio number="045v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f96.image"/>
    <purposet type="advice"/>
    <heading>How to adjust a bent gun barrel</heading>

    <block>Take off the <tool>breech</tool> and put it [the barrel] on a well-leveled
            <tool>table</tool> set perpendicular to the floor, and insert a very smooth
            <tool>string</tool> without knots, on each end of which there is a plumb hanging from
        each side. Then look in the barrel along the string, and if it does not touch equally all
        over, note the place where it does not touch and hit it with a <tool>hammer</tool> on
        the exterior of this this side in the same place, and this will make it straight. Do this
        all around it.</block>
</entry>
<entry identifier="p049v_1">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Birds</heading>

    <block position="right-top"><bird>Calandra larks</bird> and all birds taken from the nest and which have not known freedom are better, because those
    taken with a net never sing as well. However, wild birds give much pleasure with their chanting, but they must be taken before
    <time>Michaelmas</time>, otherwise they do not live long. All get a small impostume on the fork of their tail, sometimes, which
    some call "gaillardise", which makes them sick and sometimes kills them, especially calandra larks. One can tell when they are
    sad and do not sing. It must be pierced, not with a pin, but very delicately by turning with the tip of a quite sharp feather.
    The calandra lark should not be without river sand, and grey sand, a little rough, is the best. It rubs itself against it and
    purges itself [with it].</block>
  <purpose type="observation"/>
</entry>
<entry identifier="p049v_2">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Grain of lead</heading>

    <block position="middle">Take a <tool>playing card</tool>, pierced with a <tool>pin</tool> or <tool>needle</tool>, folded over on all four sides. Hold it
    with the end of a small split <tool>stick</tool> and, holding said stick by the other end, put your card three or 4 fingers away from the
    water that you will have put in a platter or a similar vessel. Then pour your lead, which should not be too hot, into the card
    and continually tap on the stick that holds it. And thus your lead will turn into round grains. And pass it through a large
    sieve to separate the larger grain from the smaller. The larger one will carry 25 to 30 paces.</block>
  <purpose type="application"/>
</entry>
<entry identifier="p049v_3">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


    <heading>Birds</heading>

    <block position="bottom">Those that are caught at <time>Michaelmas</time> are good to keep, but those that are caught in <time>March</time> die,
    because they are starting to fall in love. <bird>Ortolans</bird> are fed oats all summer so that they eat without getting fat,
    to be more suitable for hunting and helping to catch others. Then, when one wants to fatten them to sell, one gives them millet.
    They sing at night. They must be caught after mid-July and before Michaelmas, because after the period when they have their young
    in this country, they leave as turtledoves do. Siskins should also be caught after <time>All Saints' Day</time> and before
    <time>Christmas</time>, because afterwards they leave for the mountains to brood.</block>
  <purpose type="observation"/>
</entry>
<entry identifier="p049v_mb1">
  <folio
  number="049v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f104.image"/>


  <margin-block position="left-bottom">Ortolans are ventriloquists, so that, singing without opening their beaks, they seem to be...</margin-block>
</entry>
<entry identifier="p050r_1">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <heading>Preserving fruit for the entire year</heading>

    <block position="top">Take a rounded <tool>glass phial</tool>, with a large enough opening to receive cherries and plums and whatever fruit you want.
    Put in some hot <material>water</material> and leave it for two hours, and once your water is cold, throw it out and turn the phial upside
    down onto its opening on a perfectly even table and in a room where there is not a bit of draft or wind. Then prepare a stopper of fresh wax,
    wrapped in oilcloth, and adapt it precisely to the glass phial so that it will be ready to stop it once you have put in the fruit. And once
    you have hand-picked the fruit, only the non-rotten fruit, and on a warm and dry day, withdraw to the room, well closed so that
    no wind or draft can get in, and put it gently and deftly in the bottle. Then stop the bottle well with the stopper and lute it,
    making your lute, if you want, with some quicklime and oil, so that no water gets in. Then put your bottles into a tub full of
    water, in a cellar, during the summer, and in the winter put your bottles into a basket filled with some weights and lower it to
    the bottom of a deep well. Because in the winter the water in the tub would be too cold if your cellar is not warm enough, because
    the water needs to be like river water.</block>
  <purpose type="application"/>
</entry>
<entry identifier="p050r_2">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <heading>Molding</heading>

    <block position="top">If you want to quickly mold in demi-relief anything you come upon, fold some <material>paper</material> five or six times over,
    and place it on the <material>medal</material> and make sure the paper is folded around the edges of the medal so it is very secure.
    Next take a <material>stick</material>, broad at one end and with a well-dulled point at the other, and rub firmly on the paper, and
    retrace the lines with the point of the stick until you reckon that your impression is well done. Then, at your convenience, rub oil
    onto the paper lightly with a <tool>brush</tool>, and cast some <material>tallow</material> or <material>wax</material> or
    <material>sulphur</material> into it. And the paper, without burning, will give you a neat design that you can then mold in
    <material>plaster</material> or <material>tripoli</material> and then in <material>lead</material> and other metals.</block>
  <purpose type="making"/>
</entry>
<entry identifier="p050r_mb1">
  <folio
  number="050r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f105.image"/>


    <margin-block position="left-bottom">Polished <material>cardboard</material> of little thickness and slightly humid is appropriate. Then if you want,
    strengthen it with some <material>paper</material> glued on the reverse side.</margin-block>
</entry>
<entry identifier="p050v_mb1">
  <folio
  number="050v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f106.image"/>


    <block position="left-bottom"><material>Steel</material> is applied to tools not on both sides, but underneath the part where one sharpens and whets
    them, and this part must be made of very soft <material>iron</material>.</block>
  

    <block position="left-bottom"><people>Levantines</people> refine our own steel because their country provides them with none, and they reheat it in
    a <tool>pot</tool> with <material>bitumen</material> etc.</block>
</entry>
<entry identifier="p061r_1">
    <folio number="061r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
    <purpose type="making"/>
    <activity type="color making"/>
    <heading>Skin colors</heading>
    <block>It is necessary that you make it of two kinds, one more
            <color>red</color> to make the main layer, the other more pale for the highlights, as
        around the eyes. And then on this last skin color, you will touch lightly the main lights
        with a little <material>white lead</material>. But avoid applying too much of it because
        this will look like a face of death. The beautiful <material>Florence lacquer</material>
        makes a beautiful vivid skin color that resembles the complexion of <color>alexandrine
            pink</color> and <color>incarnadine</color></block>. 
     
     <margin-block position="left-top"
        purpose="observation"> Certain colors need to be ground like minium or massicot. The
            <material>ashes</material> don't need to be ground at all.</margin-block>
</entry>
<entry identifier="p061r_2">
<folio
number="061r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
  <purpose type="making"/>
  <activity type="painting"/>

<heading>Making things round</heading>

<block>If you want to model well, soften round things by rounding them off with the <tool>brush point</tool> and the rest with a <tool>flat part</tool> if it is flat, and thus for the others according to their nature, and lightly with the dry and flattened brush point and with patience.</block>.
</entry>
<entry identifier="p061r_3">
    <folio number="061r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
    <purpose type="observation"/>
    <activity type="painting"/>
    <heading>White lead</heading>
    <block>Without this, you can't work on a small scale for which it is
        necessary to soften with great care. But you can't do it with <material>ceruse</material>
        because it does not have enough body.</block>. </entry>
<entry identifier="p061r_4">
<folio
number="061r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f127.image"/>
<purpose type="making"/>
<activity type="painting"/>

<heading>Lights</heading>

<block>Your <tool>brush</tool> shows it to you by making some shadow which must always follow the back of your hand, not in a straight line like this, <figure/> because the light would be too crude and too harsh, but obliquely and as an incline like this. <figure/><figure/> It is necessary that the painting is not facing the light, but be half turned back against it, and above all look for a soft light, for it makes a soft shadow and soft work, like a harsh light makes a harsh work.</block>
<block position="bottom"/>
</entry>
<entry identifier="p061v_1">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>
<purpose type="making"/>
<activity type="painting"/>

<heading><material>Water</material> to make light for painters</heading>

<block>Distill some <material>vine water</material> and put it into a big <tool>bottle</tool>. Put your <tool>candle</tool> behind that, and it won't disturb your vision.</block>.
</entry>
<entry identifier="p061v_2">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>
<purpose type="observation"/>
<activity type="painting"/>

<heading>Chassis used by Germans</heading>

<block><Foreign>Germans</Foreign> who work in small scale make 'chassis" not of <material>glass</material> but of <tool>canvas</tool> oiled with clear <material>turpentine varnish</material>, that is half of <material>turpentine oil</material> and almost half of <material>turpentine</material>, because such light, being less bright than glass, makes the lines appear thicker. And when they want to make something more delicate, such as veins and similar things, they use <tool>brushes</tool> made of two or three <material>rat hairs</material>.
</block>.
</entry>
<entry identifier="p061v_3">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>

<heading><material>Azure enamel</material> with <material>oil</material></heading>

<block purpose="making">One must choose the finest possible, for if it is coarse one cannot work in oil. And if you cannot find any that is fine enough, you may as well grind it, not with <material>water</material> but with <material>oil</material>, and grind it thick. Then lay it on your palette and mix in some <material>turpentine</material> but not much, to make it bind, and make it as thick as butter or mortar, and then, with a large enough <tool>brush</tool>, work it while always moving the brush freely. Then, to soften it, make jagged hatching movements with the tip of the brush. The highlights will be made using the same diluted with <material>ceruse</material>, which makes it bind, making it easier to work. I have seen it used thus. It must be very thick, so that you almost need an effort to spread it with your <tool>brush</tool>. And it will be all the better if you lay down your painting. All these difficulties do not occur when it is very fine and fluid without being crushed, and it doesn't run.
</block>.<activity type="making color"/>
 

<block purpose="observation"><color>Azure</color> needs to be applied neatly, which is why it always fades when it is applied over old, already tarnished, azure to mend an old painting. In such cases, it is better to scrape off the old layer and prime again and then apply the <color>azure</color>. It is the same for almost all other colors. Also <color>azure</color> mixed with <material>oil</material> always remains shiny, which is not good for azure because that makes it fade.
  </block>
<block position="left bottom">
<activity type="applying color"/>
</block>
</entry>
<entry identifier="p061v_4">
<folio
number="061v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f128.image"/>

<heading>Grinding colors</heading>
<purpose type="advice"/>
<acivity type="making color"/>

<block>A slab of <tool>glass</tool> <unit of measurement>one inch</unit of measurement> thick is more appropriate than anything else for grinding colours neatly, especially for <color>lacquer</color> and for <color>whites</color>..
</block>.
</entry>
<entry identifier="p062r_1">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>
<purpose type="advice"/>
<activity type="painting perspective"/>

<heading>Perspectives</heading>

<block>Painting perspectives in oil takes a long time because of the many lines that need to be drawn with a <tool>ruler</tool>, and for that reason one generally paints them in <material>distemper</material>. One chooses the vanishing points at will. The main thing is to know where the point is. One commonly sets two or three, sometimes up to five.
</block>.
</entry>
<entry identifier="p062r_2">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading><color>Ocher</color></heading>

<block purpose="observation">This is used for faces, hair, skulls and rocks.
</block>.
</entry>
<entry identifier="p062r_3">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading>Distant people and animals</heading>

<block purpose="painting">First one roughs them out in <color>gray</color> or in <color>purple</color>, which is made of <material>azure ash</material> and <material>lake</material>. Once dry, one highlights and finishes with flesh tones and other colors and <color>white</color>. And it will look better and is quicker to do than in <color>black</color> and <color>white</color>. Armies are painted the same way.
</block>.
</entry>
<entry identifier="p062r_4">
<folio
number="062r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f129.image"/>

<heading>Drawing</heading>

<block purpose="painting">After you have primed your panel and scraped it with a <tool>knife</tool> to make it quite even, you will start drawing with the longest possible piece of <material>charcoal</material>, because with a short one you would not see your line so well and you would make it rougher. Let the tip of the <material>charcoal</material> be sharp, and to prevent if from quickly becoming dulled and blunt, drag the tip flat, thus you will constantly sharpen it. Hold your <material>charcoal</material> as far as possible, and accustom yourself to drawing with a light touch. Because if you become accustomed to drawing delicately with charcoal, you shall do the same with colors. And whoever is rough with charcoal is never exquisite with colors. And by a line of charcoal, masters assess their apprentices. First make the contour of your drawing, that is the outline, lightly and without too diligent work, rather with boldness. By so doing, you will learn to be an artist, and if you need to erase anything, you will not waste as much time as if you had elaborated it. Afterwards work on all the details, not standing too close to your panel, but sometimes stepping back in order to better assess the proportions. Once you are satisfied with the first drawing, retrace all the lines with your <tool>paintbrush</tool> in <color>pink</color> or another gummed or distempered color. Thus you will work more surely with colors, and with less trouble.

</block>
</entry>
<entry identifier="p062v_1">
<folio
number="062v"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f130.item"/>

<heading>Portraits</heading>

<block>To become an artist, it is necessary to draw by eye, without <tool>compass</tool> or <tool>ruler</tool>. Masters do not allow apprentices to use them.
</block>
<block>When the priming has been done a long while ago, it becomes greasy. It must be scrubbed with <material>ashes</material> and <material>water</material>.
</block>
</entry>
<entry identifier="p062v_2">
<folio
number="062v"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f130.item"/>

<heading>Perspective</heading>

<block>In order to tell where the vanishing point is one must lay a <tool>ruler</tool> over the lines, and the point will be where the lines meet. Some make a hole at the end of their <tool>rulers</tool> in order to fix the point by that hole while moving the <tool>ruler</tool> about. Others lay a <tool>ruler</tool> across the <tool>panel</tool>,, then on this ruler they place the tip of another <tool>ruler</tool> which, being attached to the former by a <tool>screw</tool>, will move about and reach as far as necessary without losing the point. The <tool>ruler</tool> and <tool>compass</tool> without discernment of the eye will cause errors. Perspective is very difficult.
</block>

<figure identifier="fig_p062v_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZkRNOG9hZmpMT2M"/>

<block position="left-middle">To paint a perspective in <material>oil</material>, you should not use a <tool>ruler</tool>, for you would smudge everything. Instead, in applying your colors you must keep and follow the lines of your first drawing.
</block>
</entry>
<entry identifier="p074r_1">
<folio number="074r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


<heading>To bronze in white</heading>

<block>Take looking-glass <material>tin</material> and put it to soak in <material>gum water</material>, and pound it in a <tool>pestle</tool>. And afterwards, you will put it on the <material>marble</material>.</block>
</entry>
<entry identifier="p074r_2">
  <folio number="074r"
    url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


  <heading>To make <material>vermillion</material></heading>

  <block>Take two pounds of <material>sulphur</material>, and melt it, and add two pounds of <material>mercury</material> to it. And if this material ignites, cover it quite neatly, so that the air does not pass into the <tool>pot</tool>, then put everything for some time after into a <tool>leaded pot</tool>, into the fire. In the space of twenty-four hours, you will have good <material>vermillion</material>.</block>
</entry>
<entry identifier="p074r_3">
<folio number="074r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f153.image"/>


<heading>To make varnish</heading>

<block>Take one pound of <material>linseed oil</material>, and then put it in a pot of earth mixed with a <material>breadcrust</material> and three <material>onions</material>, and put it on a charcoal fire, and you will cook it on a low fire, and let it boil for the space of five hours. You will take half an ounce of <material>flour glue</material>, and will make it boil just as before, and stir continuously with a <tool>spoon</tool>. And then afterwards, you will add two ounces of well-pounded <material>sandarac</material> to it, and will do so as above. And then afterwards, you will take <material>mastic</material> and <material>gum arabic</material>, two ounces of each, both well pounded, and will put everything together, and will have it boil, always stirring, for the space of five hours. And then you will add <material>rock alum</material>, two ounces, and then you will make it boil. And if you add two ounces of <material>gum arabic</material> to it, if you see that they are not cooked enough, have it cook more on a low</block>

<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<block>fire until it is cooked enough. And strain it through a <tool>cloth</tool> that is compact enough. And when you have strained it, leave it to cool a little. And if you see that it is so thick that you cannot strain it, you will add a little of that oil and will make it better.</block>
</entry>
<entry identifier="p074v_1">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>To make red varnish</heading>

<block>Take <material>vermillion</material>, and let it  soak in quite light <material>gum water</material>, like the other, and make two or three ground layers as is said above.</block>
</entry>
<entry identifier="p074v_2">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>To make yellow varnish</heading>

<block>Take some <material>gum arabic</material> and let it soak in <material>water</material>, then take some well beaten <material>saffran</material> and soak said gum. And make it quite light, then make your ground layer on that which you want to varnish, and leave it to dry, and when it will be dry give another ground layer of the same <sup>varnish</sup>, and leave it to dry as before, until it will be dry enough. Then take varnish from an <place>apothecary</place>, crushed by strokes far enough from one another. Then wash your hands quite well and spread your varnish with their palms.</block>
</entry>
<entry identifier="p074v_3">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading>Recipe for white gum</heading>

<block>Take <material>white wax</material> and <material>ceruse</material> and a little fine <material>pitch</material>, very well pounded together, and put it in a small new <tool>pot</tool> and make it melt. And when it will be melted you will make a palette of wood and burnish what you want.</block>
</entry>
<entry identifier="p074v_4">
<folio number="074v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f154.image"/>


<heading><material>Green gum</material></heading>

<block>Take <material>green wax</material> with a little <material>verdigris</material> and make it melt as said above.</block>
</entry>
<entry identifier="p075v_2">
  <folio number="075v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f156.item"/>


  <heading>
    <material>Gilding wood</material>
  </heading>

  <block>First of all it is necessary to apply a coat of very clear <material>glue</material>; and
    when it is dry, you will apply a coat of yellow <material>gold</material>; and when this is done
    you will take <material>fig tree wood</material> and soak it for a while, and wash the place you
    want to gild,<note>dhdjhjdhdjh</note> and cut your gold with a <tool>knife</tool> near where you will put it; and said
    gold must be applied with <tool>cotton</tool>, and if you can find some fig tree, take an
      <material>egg white</material> and stir it frequently.</block>

  <block>If your gold does not have a nice enough color, you will take a <material>partridge
      feather</material> burn it in a <tool>chafing-dish</tool>, and turn the smoke toward what you
    have gilded.</block>
  
   <identifier>jkfjoehwfoihwoq ehcfo3  h 2oth  o </identifier>
</entry>
<entry identifier="p075v_4">
<folio number="075v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f156.item"/>


<heading>Recipe for coloring all wood</heading>

<block>To make it black, the wood needs to be soaked in <material>olive oil</material> and tough <material>meat</material> in a similar case for four or five days, then boil it in where the wood has soaked for one hour, then take it the wood out of the oil. Take some <material>natural sulphur</material> if possible otherwise take another</block>

<folio number="076r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f157.item"/>

<block><material>sulphur</material>. Cover the aforementioned wood with this powder, until it cools, and bring it back to a boil. Upon boiling one will see whether or not it is black enough. If it is not, take the aforementioned powder and apply some over the wood and boil it.</block>
</entry>
<entry identifier="p077r_a2">
<folio number="077r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f159.image"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDVEUtZWtJYy1XR0k" title="Smoke as Medicine, fol. 77r (DeVinney)"/>
      </annotations>

<heading>Medicine of orientals against all maladies</heading>

<figure identifier="fig_p077r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5ckxxXzJIeWhnMDg"/>

 <block> Dry some <material>rosemary</material> in the month of May, then fill this <tool>bowl</tool> with powder made of it, and place a lit <material>charcoal</material> on top. And, receive the smoke by a quite tightened mouth having closed your mouth well, and a part will come out by your nose. But if you want to purge the head also pinch the nose.  Against colds, rheums, and other maladies.</block>
</entry>
<entry identifier="p079_3">
<folio number="079v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f164.image"/>


<heading><material>Tin</material> for casting</heading>

<block>They use common <material>tin</material>, which is the one that <profession>pewterers</profession> use for plates, which is composed of 9 or ten pounds of pure <material>lead</material> on one quintall of <material>tin</material>.</block>

<block position="left-bottom">
Some find that there is nothing better than pure <material>tin</material>.
</block>

</entry>
<entry identifier="p080r_3">
<folio number="080r"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f165.item"/>


<heading>Fountains</heading>

<figure identifier="fig_p080r_2"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5c3dLNVNsem9nTjQ"/>

<block>If you wish to raise <material>water</material> higher than its source, make a <material>pipe</material> descend as in A. to B. to give it push , then from B. to C. make the <material>pipe</material> ascend, but not quite to the height of the source, here represented by the dotted line, and then make it descend again in a <material>pipe</material> from C. to D., and then let it rise higher than the line demarcating the height of the source, and do this successively until you reach the desired height. Remark nonetheless that the length of the descending pipe is always twice as long as the ascending <material>pipe</material>. This cone also fills itself and demonstrates a perpetual fountain which you can adapt into a rock, attracting the water with which it is filled by the tip here marked, by sucking and breathing in. You can also make a watering can pipe in this way, so long as the bent pipe is just as long as the straight pipe, but does not extend as far down.</block>

<block position="left-middle">
<figure identifier="fig_p080r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5N2U2RXB5UFc3TUE"/>
</block>

<block position="left-middle">
<figure identifier="fig_p080r_3"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5R2ZBNWRseEpQdnc"/>
</block>

</entry>
<entry identifier="p080v_a1">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>

<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>

<heading>Founders of small <material>tin</material> work</heading>

<block>
  They usually cast from soft <material>solder</material> the things that should not become hollow, because hollow works require fine and <material>soft tin</material>. However, these things would not otherwise lose their coat or become hollow if they are mixed or include <material>glass tin</material>  in them, just like they mix a little <sup><material>glass tin</material></sup> in the <material>soft tin</material>. They carve their work on <material>stones</material> of which the sharpening stones or barber's files are made. These are found in great flakes near the <place>mountains</place>, and resemble <material>slate</material>. They are found in three colors: one reddish, that is not as perfect as the others because it does not sustain heat ; <sup>another</sup> one  is the color of dark <material>slate</material>, and the other is whitish. When they work a relief, first they print it on <material>carton</material>, which is one finger thick, to serve as a pattern. After planing their <material>stones</material> and rubbing them together , they use a <tool>compass</tool> or <tool>little iron tools</tool> to carve their figures. They make their molds with three or four <material>stones</material>, to make a circle or a square with the <material>stones</material> which join perfectly because the <material>stones</material> are of equal size. Before casting, they rub the mould over with <material>tallow</material>, and it <sup>the mould</sup> absorbs it quickly because it is hot. Then, having <sup>put</sup> fine powder of <material>quicklime</material> into a <tool>cloth</tool>, they rub the mould using pounce in beating the <material>linen</material> on top, then blow it a little on top; this prevents bubbles <sup>from forming</sup>. The main thing is to make some vents. If the work is big, they do as it is shown <sup>on the picture</sup>. They make a hole in the <m>medal</m>, somewhere where it is least visible, and with a bit they pierce the mold on the side of the <material>medal</material>.
</block>

<figure identifier="fig_p080r_1"
  url="https://drive.google.com/open?id=0B9-oNrvWdlO5VktqeFlScTAyczQ"/>

<block>And if they want their work to last, they pierce <sup>it</sup> somewhere and fit in a piece of <material>cork</material>. <material>Lead</material> or <material>tin</material> will not damage it. </block>

</entry>
<entry identifier="p080v_mb1">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-top">
Make sure the <tool>pegs</tool> of your frame fit in easily so  it will open with ease without moving anything else. Your box molds should fit well, and the table should be very flat.
</block>
</entry>
<entry identifier="p080v_mb2">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-top">
Try to carve with <material>distilled vinegar</material>.
</block>
</entry>
<entry identifier="p080v_mb3">
<folio number="080v"
  url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f166.image"/>
<annotations>
  <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfnZ2cUFXWktPQWU0TTJPY3ZUeEVOdkFwS1g5eUhOM1hsRXVTSXRzQ0IxWVk" title="Founders of Small Tin Work"/>
</annotations>
<block pisiton="left-middle">
Try calcined <material>oyster shells</material>; they are said to be excellent for molding.
</block>
</entry>


<entry identifier="p088r_a1">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Vine</heading>
    
    <block>
    As with a bramble, it can be planted on both sides. And those who plant the larger side facing a slope say that it makes a larger stock. But it only has a higher point, because it grows higher.
    
    </block>
</entry>

<entry identifier="p088r_a2">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Mortars</heading>
    
    <block>
        The fine copper mortars do not throw any flames, as long as the iron pestle is not tempered. If the mortar is indeed made from metal, when this is sour, in this case one makes the bottom of large mortars from fine copper.
        
    </block>
</entry>



<entry identifier="p088r_a3">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Varnish</heading>
    
    <block>
        Turpentine oil: turpentine &amp; good eau de vie, to dry it out; heat it without mixing on the stove, so that it mixes  of its own accord in melting. After, test it on a very clean blade, &amp; you will know from this whether it has enough body and whether it does not flow too much.
        
    </block>
</entry>


<entry identifier="p088r_a4">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Grafting</heading>
    
    <block>
        One knows from experience that the young shoot that is enters into the incision on the sunny side takes hardly often at all when it is also bowed.
    </block>
</entry>


<entry identifier="p088r_a5">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Baker</heading>
    
    <block>
        Dust guards wheat against being worm-eaten. And to clean it well when it is stained &amp; like rust, pass some ashes through a sieve and mix them with the wheat, then sift the whole thing with a bolting cloth made from rough cloth or canvas. The ashes will pass through &amp; your wheat will stay nicely yellow &amp; very fine.
        
    </block>
</entry>



<entry identifier="p088r_a6">
    <folio number="088r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f181.image"/>
    
    <heading>Looking-glass tin</heading>
    
    <block>
        It makes material whiter.
    </block>
</entry>




<entry identifier="p088v_a1">
    <folio number="088v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f182.image"/>
    
    <heading>Sand from pulverised rock salt and sand from a minium finely ground on marble </heading>
    
    <block>
        After they have been dryly ground and beaten in the mortar, they are ground finely on the marble. I mixed the same quantity of each material, and in order to mix them better, I ground them on the porphyry again, and then filtered this through a double sieve or the sleeve of a shirt. Then, I put them on sheets of paper and stored it on marble in a cellar. In one night, they were both moist enough [that there there was no need] to dampen them further because rock salt, like all other salts, dissolves in dampness. I molded with this very neatly because both should be quite fine. They need to be moist enough so it can be removed easily.
        
    </block>
</entry>


<entry identifier="p088v_a2">
    <folio number="088v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f182.image"/>
    
    <heading>Mineral sand</heading>
    
    <block>
        It does not matter if the sand color is white or yellow. Above all it the sand must be lumped together much like a precious stone or a stone, and the deeper in the earth one gets it from, the better. The signs of its quality is that it is thus gathered together, that, if the stone is removed as it should be i.e. in the correct way, it forms pieces and  lumps together, which demonstrates its capacity for binding, and that it the sand is not too dry.
        
        However, it should crumble in your hands. And the grain must be  quite small, fine, and homogeneous. If this sand is not fine enough, you can filter it and grind it up finely either with water, or through a sieve, when it or on the porphyry. That way it loses its dryness and becomes greasy and well bound. You can mold it in  a box mold or in a noyau without wadding, and try it with lead because, if it does not swell and casts neatly, it will bear out well too. Some say that fatty sands do not work for casting metal that is too hot. Artisans who undertake a big job and who want to save money do not need to crush sand and seek the curious properties of artificial sand; they have more to profit from finding natural sand that has the finest grain possible. And for a small job, they take advantage of finding the finest natural sand they can. For a smaller job, they only filter the sand through the sieve. But those who work on a very small scale crush the sand and grind it finely until it becomes impalpable, because they do not need as much sand.
        
     </block>
    
        <block position="left-middle">
        
        Ground wheat makes a tawny-colored powder that is quite fine and quite soft. Once this powder has been mixed, it can mix mold very neatly. Try wheat flour burned in an enclosed fire.
    </block>
</entry>





<entry identifier="p089r_a1">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfjNRYzJEYS1Nemd1Sm1aT2J0S0t0clViNThnQlpNYjVtUWwtVlRHNlhaZ00" title="Ox Bone and Rock Salt"/>
    </annotations>
    
    <heading>Powder of ox bone and rock salt </heading>
    
    <block>
        I pulverised them separately and ground them finely on the porphyry as much as I could. Then I mixed all of one with the other and re-ground it on the porphyry. Afterwards I moistened it in paper folded in a moist napkin which is made wet more quickly from the moisture of the night, or the moisture of the cellar. I have never found one which can be removed more cleanly from the mold than this, though it needs to be quite moist. And if you want to cast small works, make it very hot. It came out very cleanly from the doulx tin, like the main one, and has sustained several castings. For tin, I believe that it is not necessary to look further to find a material that takes to powder better, and even for use with fine lead which has almost better results than tinTou. The bone of an ox hoof is always dry, that is why you must mix it with fatty sand, so it will bind like tripoli, salts, felt, ashes and similar materials. If you do not mix ox-hoof bone, it will not turn out from the mold and will not mold cleanly because it crumbles.
        
        
    </block>
</entry>




<entry identifier="p089r_a2">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <heading>Reheating or wiping a box mold</heading>
    
    <block>
        Always arrange the most delicate parts, like faces or handles, so that nothing will fall which would then disturb your fusion.
        
    </block>
</entry>




<entry identifier="p089r_a3">
    <folio number="089r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f183.image"/>
    
    <heading>Natural sand </heading>
    
    <block>
        This should not be reheated for lead and tin, it is  better all new and fresh.
        
    </block>
</entry>




<entry identifier="p089v_a1">
    <folio number="089v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f184.image"/>
    
    <heading>Ammonia salt and alabaster</heading>
    
    <block>
        Dry ammonia salt, ground  on a marble slab, molds very cleanly and is easily removed from the mold. When mixed with pulverized alabaster, use two ounces per pound of alabaster; it also is easily removed from the mold. It should be humidified in a cellar or in the cool humid evening air, or to have it quickly, in a sheet of paper in a moist towel. Take care not to leave it too long because it will soften, which would not be good if you wanted to use it as a box mold. However you can use it well as a core provided that you dry it gently and away from the fire. Otherwise the heat would make it swell, and push the salt onto the surface, causing lumps. If you want to mold a core,  rub your medal with aspic oil. It is better to use 4 ounces of ammonia salt per pound. Humidify it in a damp place for two or three days, so that the material can be handled without sticking. You will mold very cleanly. Let the mold dry out and reheat it, that way it will get body, and become as hard as stone and when it is like that it is far easier to remove from the mold. If you do not reheat it, it could crumble when removed from the mold because of its thinness. It is the same with a large relief medal. Once you have molded, pulverize the material like before, and moisten it in a damp atmosphere.
        
        
        
        left-middleAll sands which can be removed easily from the mold have body, well-made fat ammonia, and  is sand that removes easily from a mold. There is nothing better for binding than the salt of the metal itself. When ground into powder, they pick up moisture, dry and reheat together.
        
        
        
    </block>
</entry>






<entry identifier="p089v_a2">
    <folio number="089v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f184.image"/>
    
    <heading>White glassmaker's sand mixed with ammonia salt</heading>
    
    <block>
        You can find this sand in Cominge, near the town Aurignac. This sand is dry and as white  as salt. Glassmakers and potters use this sand ground on the porphyry until it becomes as fine as possible. Easy to grind, this sand looks like calcined alabaster, and provides a very clean mold. I have not found another as suitable for delicate bas reliefs. It is also excellent to mold as a core, without any box mold. You must grind it very finely on a porphyry with gummed water or pure water, then apply a thick coat (as thick as mustard or a little bit thicker) over the medal, which has already been lightly rubbed with oil, walnut oil or, even better, aspic oil. For best results, let it dry by itself, away from fire, for one or two days. If you are in a hurry, you can heat it; it should not break if the coat is quite thick. If it is suddenly exposed to fire, some holes will appear; that does not happen if it has been gently dried. Once dry, reheat it, and it should allow for several castings.
        
        
    </block>
</entry>





<entry identifier="p090r_a1">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Sal ammoniac and iron dross</heading>
    
    <block>
        I pulverized sal ammoniac, previously well dried in a hot bronze mortar over heat. Then I filtered the salt through a double sieve; it became very fine. But to make it finer, I dry ground it  on the porphyry, then I mixed it with iron dross which was pulverized and ground the same way. Both ingredients take a very clean cast of bas-reliefs, without being moistened with serain, or into the hollow mould, or anywhere else with the serviette, and the cast can be cleanly removed. 
        
    </block>
</entry>



<entry identifier="p090r_a2">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Sand</heading>
    
    <block>
        Molders from Foix who cast their medals sideways use crocum ferri and calcinated slate. It is used for very flat things.
        
    </block>
</entry>



<entry identifier="p090r_a3">
    <folio number="090r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f185.image"/>
    
    <heading>Every kind of sand can be made useful</heading>
    
    <block>
        Artisans who do big works, and who need to search for things made by nature to pursue their work, because nature does not want to sell its wares to its children, and in order to save the time they would spend grinding, pulverizing and artificially preparing their sand, look for sand from sandpits, which is not too fat from the soil, nor too arid and, consequently, without any binder effect. From deep in the sandpit, one can find some lumps and gravel that show the sand's natural compaction; it is quite hard to break, with very small and fine grains, quite smooth between the fingers. And since it is found solely close to mountainous regions or arid lands, you cannot find any near every good town, where artisans live. Thus, if they can't find any close to their home, they prefer to order some of this sand from afar, like Lyon, Venice or Paris, near the Sainte Chapelle, and similar areas, instead of preparing it themselves. Nonetheless, you can be assured that in all locations, you can make sand from the sandpit
        and will be good and will mold cleanly. Because the sand is coarse and dry, filter it through a sieve. If it is not fine enough, wash it. And when the water has settled a little, pour the soiled water into another pot. The coarse [grains] will quickly fall to the bottom of the first pot. But the sand from the troubled water pot, having settled, will be much finer. If this sand does not bind enough, dry crush it on the porphyry, thus making it impalpable, and it will bind as chalk does.  If you wish you can reheat it, and straight after crush it and blend it with salts, or burned cloth, or felt, or paper ashes, or similar material.
        
    </block>
</entry>

<entry identifier="p090v_a1">
    <folio number="090v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f186.image"/>
    
    <heading>Potters' clay</heading>
    
    <block>
        Grind it in a mortar mustard mill with water, and it will become as impalpable as possible. Dry it, then moisten it with salt water, which give force to  all sands in order to allow several castings.
        
    </block>
</entry>






<entry identifier="p090v_a2">
    <folio number="090v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f186.image"/>
    
    <heading>Orange trees</heading>
    
    <block>
        In Italy, particularly in the coldest areas like Lombardia, people plant the orange trees inside squared wood planters. The planters are larger at the bottom than at the top. People make handles on each side, where they attach straps in order to carry the planter, like one carries the gout sufferers, because if one used wheels to roll them one would damage the garden's paths. Every two year they remember to open the sides of the planters and meticulously cut and trim the ends of the orange tree's roots, which are dry. Otherwise, the roots find the wood [of the planter] and tighten on it, they double over themselves, the ends dry and the tree dies. Once trimmed, the roots gain new space  to expand, without encountering resistance from the wood of the planter. That is why it is better to join the sides of the planter with screws rather than nails, to avoid shaking the soil when one opens them.
        
        
    </block>
</entry>






<entry identifier="p091r_1">
    <folio number="091r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f187.image"/>
    
    <heading>Grafting</heading>
    
    <block>
                
        Any tree that has a large pith will be hard to be graft from, because the cutting is difficult to remove.  If the pith is damaged, the graft will take in an unstraight manner, like with vines of all peach and apricot trees.
        
        
        
        Apricot trees have a very thin bark, and so it is necessary to graft them onto young trees whose own bark is not thick yet, such as the young shoots of prune trees or apricot trees.
        
        
        
        The graft will not take if the cutting gets wet.  It is necessary therefore to graft in serein and mild weather, not too cold and not too windy.
        
        
        
        One must use old wood to graft, if one wants to graft on a tree that is already mature and quite big; because if this is the case, it will compress the cutting, and if the cutting is of young wood, it will not grow properly. But old wood resists the compression of old wood better than the young, because it is harder than young wood. But if the graft is done with only old wood, it will never grow beautifully, but will be frail and short and will take a long time to grow.
        
        
    </block>
</entry>






<entry identifier="p091r_2">
    <folio number="091r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f187.image"/>
    <heading>Molding with cuttlefish bone</heading>
    <block> Pay attention to keep the bones in a dry place, because they are very prone to dampness.
        If you have a small medal, divide the bone into two pieces, then smooth the two parts with a
        knife. And on a dry, smooth rooftile [that has been] pulverized with willow charcoal, rub
        and polish the two half bones. In this way, the bones soak up the willow charcoal so that
        the bones will come off cleanly from the cast, and will not stick to it. Then on a fake
        bone, that is to say a bit of smooth brick of the same width as your bone, place your medal.
        And then on the medal, put your bone and press it firmly with another stone of the same
        size. And for a second time, mold it, and instead smooth over the top with willow charcoal
        and blow slowly, then press as before, and it will cast neatly. If it is for a spoon handle,
        two whole bones are needed. Any work that is cast is brittle and prone to breaking, because
        the metal swells when cast, and contracts and condenses when hammered. That is why it is
        necessary to retrace with a chisel the cast object and in this way the metal will contract
        again and let it escrouir. If the piece you have to cast is in high relief, first trace the
        mold and the hollow with a penknife, to make a clear path for the medal and then cast it.
        And if the medal has two sides </block>
    <block position="left-bottom">Rather than casting, heat the bones only to make them lose the
        coldness and wetness.</block>
    <block position="left-bottom"> When the lead gets too hot, it calcinates. </block>
    <folio  number="091v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f188.image"/>
    <block> Because the two bones are joined, cut around them with precision, and make notches in
        different places which cross through where the two bones are joined, so as to recognize the
        place where they were first joined. Or with little shards of wood, you can also pierce the
        bones, or coat the joints with clay, and leave it to dry. Compress between them it with your
        two hands in between your knees; and do not use a normal press, otherwise the bones will
        break. Mold at your leisure two or three times, until you can see that it has the design
        come up and is well imprinted. And on each occasion rather than putting the piece straight
        back in the mold, smooth with willow charcoal because it helps it to come out easily. Once
        you have cast, rub your medal with oil and willow charcoal with a brush, to make it dull.
        Take care that your medal is not greasy or oily when you cast it in cuttlefish bone. Once
        you have cast, leave it to cool rather than taking the medal out straight away, because when
        one takes it out hot, some bone will come away with the medal. Cast at medium heat, which
        you will recognize because the bone should stay almost white. But when it is too hot, the
        bone becomes brown. The proportion of lead and tin is equal, one to the other. If the piece
        is difficult to cast, and composed of various pieces, cast it with a forked pattern, of
        three or four grooves, and make and make these grooves where the metal is the thickest. Also
        make these grooves around the medal and directly on the head because this attracts the metal
        and will fill the figure best. Lift your boxmold a little, once you cast, and in this way
        you will be able to make several clean casts. Tin that is too hot burns the bone which
        becomes damaged. Moreover, having come out of the mold hot , it risks breaking. <figure
            identifier="fig_p091v_1"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5Q2hHbzNsX1JlYUU"/>
    </block>
</entry>


<entry identifier="p092r_1">
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Sand mixture easy to melt</heading>
    
    <block>
        
        One ℥ of part soft tin, one part fine lead, one part looking-glass tin and one part argent vif arresté makes an alloy and a solder, so easy to melt that it could easily be melted in a dish of fine tin.
        
    </block>
</entry>





<entry identifier="p092r_2">
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfmlmV1RuaUJjald2bmlQN3V1N0NTdnM2VzVBdDAwTXVnVnQ3b2lmTGFNaEU" title="One-Sided Hollow Cast Medals"/>
    </annotations>
    
    <heading>Molding hollow on one side and in relief on the other</heading>
    
    <block>
       And for this effect, one casts a medal of fine tin, which is harder to melt. And since it is neat, one molds with it.  And one leaves it in one half of the box mold, &amp; presses it a little so that it holds better. And next, you shall cast in your box mold the solder described above, or another more meltable than fine tin. And thus, the second medal will melt and mold itself on the first one without ruining it. But to be safer, temper lamp black with water, &amp; with a pinceau, give a light coat of this to the medal, which remains in the box mold, &amp; leave to dry. Thus it will not melt.
        
        But if you have a  medal of copper or silver, you can leave it in the casting, if you want to cast with lead or tin; but it is necessary that it be a little hot, for the cold would make the tin contract.
        
        Tin needs to be cast quite hot to come out neat.
        
        Tin doulx, which is the best for the cast, is the one that once cast en grille, is burnished &amp; shiny &amp; polished like a mirror, &amp; appears to have been burnished, &amp; does not have holes like the one that is brittle, &amp; that is not shiny, as if burnished.
        
    </block>
</entry>





<entry identifier="p092r_3">

    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Potin</heading>
    
    <block>
        Potin, once cast very hot, runs and drips like tin. But the medal becomes whitish and immediately casts off the green, which good substances do not do.
        
        
    </block>
</entry>





<entry identifier="p092r_4">
    
    <folio number="092r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f189.image"/>
    
    <heading>Molding statues</heading>
    
    <block>
        Half founder’s earth, which founders use, and half clay earth renders very neatly.
        
    </block>
</entry>






<entry identifier="p092v_a1">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Sand of river tellins and mussels</heading>
    
    <block>
        
        The long shells that can be found in rivers of fresh water, being calcinated, make a white and very fine [impalpable] sand which moulds very clean.
    </block>
</entry>



<entry identifier="p092v_a2">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Freezing mercury</heading>
    
    <block>
        
        It can be frozen, as I tested, letting it boil one or two hours in a rather large iron pan putting, for each ℥ of ☿, ii  ℥ of  vert-de-gris and  vitriol of saltpetre, each in the same quantity, with enough of the blacksmith's old water.
        
        Or melt 4 ℥ of tin, and when it  has cooled, purify it by removing the filth on the top, then make a hole and inside there add  i ℥ of ☿ and if you remelt it, it will be like tin but it will be fragile. If you want to know if it is tin or ☿, redden a shovel and put a small piece of your ingot on the top. If it is tin, the piece will melt but remain, but if it is ☿, it will melt immediately then, crackling quite hard, it will evaporate. It must be frozen in a ladle or in a hollow crucible, and make the hole medium sized.
        
        It can also be frozen, as I tried, that is to say with aqua fortis which before corroded a bit of silver. This, mixed, will make tin and lead fluid.
        
    </block>
</entry>



<entry identifier="p092v_a3">
    <folio number="092v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f190.image"/>
    
    <heading>Mixture</heading>
    
    <block>
        
        Pure tin, frozen mercury, smells like tin. Iced tin, pure lead, as much of one as of the other, makes a substance that  melts very quickly but that is fragile and white. I think that it would be good for soldering. [Takes a] long time to cool.
        
    </block>
</entry>



<entry identifier="p093r_a1">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Olives</heading>
    
    <block>
        The olives go bad if you do not refresh their salt water once a month, do not touch it with your hands, otherwise they will go bad.
        
    </block>
</entry>



<entry identifier="p093r_a2">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Country folk's observation</heading>
    
    <block>
       
        When it freezes on Palm Sunday, it will freeze every month of the year
        
        When the first flowers fall because of the frost, the other flowers also start perish. 
    </block>
</entry>



<entry identifier="p093r_a3">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Grafts</heading>
    
    <block>
               
        Do not use a graft from old wood, because it never makes a beautiful tree.
        
        Leave only two shoots on the graft and no more, otherwise it will become weaker. The wind torments it and leaves it strengthless to propagate by cuttings.
        
        Trees which have big pith, such as peach trees, and all other trees of their kind, and the plum trees, can't be grafted when freezing because the cold damages their pith, which also has to be protected avoiding to cut the bottom of the graft.
        
        All grafts must not be done earlier than the sap flows up, otherwise they dry.
    </block>
</entry>



<entry identifier="p093r_a4">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Sand</heading>
    
    <block>
       
        The white ash of all kinds of wood, which still sticks to the wood while burning, and which has not fallen into the hearth, molds very clean
        
    </block>
</entry>




<entry identifier="p093r_a5">
    <folio number="093r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f191.image"/>
    
    <heading>Sand</heading>
    
    <block>
        
        Very fine pulverized soot molds and removes easily from the mold.  The best soot, which is greasy and shiny, is the one from the big kitchens
        
        Very fine pulverized quicklime works, but mixed flint, crumbled into the hollow, does better.
        
        
    </block>
</entry>




<entry identifier="p093v_1">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTkM0UklMWDhqZlU" title="Painting Skin and Shadows a destrempe, fol. 65r, 66r, 93v (Nisse)"/>
        </annotations>

    <heading>Faces painted with distemper</heading>

    <block>

        Because colors painted with distemper dry quickly and one would not have enough time to complete the shadows and touches on the face, one wets the reverse of the face, on canvas, with a wet sponge. Then, with a small pinceau, one makes the shadows, which won't come off. Next, one lays the flesh tones, which do not prevent the already painted shadows from appearing. And then, one retouches the more prominent areas with lively flesh tones. And with another pinceau one retouches the shadows in hatching. The shadow strokes do not come off because they are made of bister, which stains the canvas like rust. The said bister is good for making shadows with distemper, for in oil it has no body and would dry with great difficulty. One mixes ru ochre in the said bister for shadows with a little sap green. The best bister is the rich, shiny one from the fireplaces of large kitchens. It is difficult to grind and screeches on the marble slab.

     </block>
</entry>


<entry identifier="p093v_2">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDZjVoVURubFJMRlk" title="Azure Enamels, fol. 11r, 59r, 61v, 93v (Chang, Clemens)"/>
        </annotations>

    <heading>Azure</heading>

    <block>
       Azur desmail always wants to be cleaned because the filth that can be seen in the used water would makes it die. It always needs to be coated twice, &amp; first very thickly, driving the pinceau by laying it lengthwise then across. It is better used on canvas, which imbibes it immediately, than on wood. Varnish restores its vigor, because while imbibing, it becomes dark. To try it, painters bring their palettes to the grocers and distemper and mix @ it with a bit of white crushed in oil, for in this way the beautiful shows its turquine vivacity, while the mediocre is lavender grey. The thinner one is best to work with. It is made thinner by being washed.

    </block>
</entry>


<entry identifier="p093v_3">
    <folio number="093v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f192.image"/>
    
    <heading>Purple and lake</heading>
    
    <block>
        
        It is made of azure and lake which is also tested on the palette with white. The one which gives a clear red rose color, tending slightly towards purple, on a polished knife or on glass, is esteemed beautiful. The dark red one is not as pleasant.
        
        
    </block>
</entry>




<entry identifier="p094r_1">
    <folio number="094r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f193.image"/>
    
    <heading>Burnisher</heading>
    
    <block>
        The different parts of a sword are the handle, [and] the sheath of the sword. What comes next is the heel. The rest is the blade. The sides are the edge and the point. Certain blades, acute in point, have only one side filed in the middle &amp; along the whole length, and are easy to break. Other blades are called of three molds or three grips, which have one good rise in the middle, but this elevation is flat as if it were acute in point but flattened. These ones are most certain. Others are called fluted, which are notched from the middle, &amp; when it is along the whole length, they are just as easy to break as those acute in point and are more troublesome to burnish because the burnishing stick can't get in. But they make one specially that is narrow.
        
        Making up the hilt of the sword are the pommel, the branches of the hilt and the cross-guard, which is this iron strip that closes off the guard [and] that is at the end of the heel to stop thrusts from sliding down the hilt. The rings are these two branches in half round that start from the eye of the guard and go all the way to the branch of the cross-guard.  The branch that crosses the hilt is called the body and this escutcheon, by which the sword enters the sheath and to which all the branches return, and which holds them, is called the eye of the guard.
        
        
        
        Following is the wood of the grip which one glues or more fittingly [uses] some mingled wax which is made of wax and pitch, for rosin would be too hard. He heats it lightly, then rubs the wood of the grip so that the tang takes hold, or the threads, otherwise, when a thread frays off, the whole thing will break all at once. With iron thread or dog skin, one also uses glue. The trimming set on the wood, which is made of silk or thread, is called the cord, which is made from two or three threads twined on the spinning wheel, or 4 if the silk is thin. A cord a little bigger holds better. The rivements, which are also made of silk at both ends of the grip, are called the buttons.
        
        
        
        Some grips are made of silk, seal skin, iron thread reheated with gold and fine and false silver thread &amp; velvet [thread]. Iron thread is of less price and is most durable. Next is that of silk, if one does not have the convenience of being close to the sea in order to recover some dog skin, which is quite convenient. The good skin costs fifty or lx s{ous} and makes 4 or five dozen grips. This one gives a good grip and a sure hand. To put it to work, if it is too hard, soak it for one or two hours in slightly lukewarm aqua fortis. Because if it were too hot, it would boil and spoil the skin. It is sewn with black thread. 
        
    </block>
        <block position="left-middle">
        <figure identifier="fig_p094r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5YTlFNHRBSVRrOEU"/>
        </block>
         
        <folio  number="094v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f194.image"/>
        
    <block>
        The gold handles are made with some yellow thin cloth set below or other kind of chalk-yellowed fabric. And this cloth is set on with glue or aforesaid gum. This is in order to make the thread hold better on it. These latter are made of cordons like the silk ones and between two cordons are put one or two threads to enhance it. The silver one is identically made. And there is as much difficulty as for the silk one, not because silk is difficult to twisted, but it needs to be twisted twice. A fine gold handle is worth 28 or 20 cents.
        
        The best sword point is of sage foliage.
        
        
        
        This long stick on which the sword is laid down and attached in order to furbish is called the chameau. It is commonly made from rowan which is hard and even.
        
        The stick underneath which is folded bow-like is called the arch.
        
        The stick above is called stick of the fustée.
        
        And this square piece, used on the sword to burnish it, is called the fustée.
        
        There are two horns, one is called the oil hornet and the other the emery hornet. 
        
        There is an iron tool with the shape of a halberd point, square and made of very even and well limed steel called the grateau which helps to soften lime strokes on swords hilts and to sharpen blades once they are softened which is better than with stone or other tools which leave some scratches.
        
        To make the swords cut better, the edge from the point is also sharpened.
        
        Those who create sword hilts are different craftsmen than furbishers.
        
        The fustée is a three-finger-thick, square wood tool, made of boxwood which fit in the middle of the fustée stick to furbish.
        
        The fresil stick is made of willow wood which is to […] weapon with some clinker which is the iron scale falling from the blacksmiths' forge.
        
        </block>
    <block position="left-top">
        <figure identifier="fig_p094v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5Q29MTEVLUGE5RGs"/>
        
               
         le banc 
        
        des fourreaux
        
    </block>
    <block position="left-middle">
        <figure identifier="fig_p094v_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5OEQ3OEFSNnEzeE0"/>
        
    </block>

        
        <block position="left-middle">
        a b
        
        D
        
        
        
        le baston 
        
        a felinder
        
        
        
        c
        
        le flin ou pierre
        
        de fouldre
        </block>
    
    <folio  number="095r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f195.image"/>
    
    <block>
        The furbisher buys his blades by the dozen which are not finished, [but ready] to be pulled from [their] sheaths since he does this himself in order to add them well at the pommels and guards.
        
        
        
        Spanish swords are esteemed to be better for they are of better steel and iron but they are not as well-forged as Vienna swords, in Dauphiné. The Spanish ones are not as well sharpened from the forge since they sharpen them with their feet and this is what makes them wavy.
        
        
        
        Vienna blades cost commonly Xviii or 19 lb.
        
        
        
        The first thing the furbisher does to his new blades is to draw them out from the sheath, which he does himself or has it done by locksmiths or blacksmiths to whom he gives some liart for their charcoal. Afterwards they pass it over a grindstone to cut it down. Then they lay it down on the chameau, and with some powdered emery, fine and soft as flour, and soaked with oil to make it take, they polish the sword with the stick used to take off the tracks left by the grindstone and then they clean the blade well with the emery. And they add a drop or two of oil spread with the finger to give it luster. Once the oil is applied, they polish it again on the chameau with the "felin" which is a thunderstone mounted on the middle of a stick like the "fustée." And this stick is called the "felindel" stick. Once they used the "felin," they polish it again with some chalk and the oil [already] on the sword. After they follow this and going over it again, they polish it with dry chalk. Finally when they are finished with mounting [of the pommel and guard], they give it a sharp edge with a file. They then dry it and sharpen it and furbish it again with some dry chalk. At the end when they are completed and mounted, they give it [the blade] a sharp edge with a grater.
        
        
        
        They are polished on a false mounting with the guards which are present in order to find out if they work well together. And employing a blade of the sort of which all the sizes should be made in the hand, one conjectures whether it will be as strong when mounted.
        
        
        
        One puts the blade in a vice between two pieces of wood, then with a file, they enlarge [it] if needed for attaching the guard. Then to clench it, one positions the place to be riveted and the pommel on a piece of wood. And with a hammer, one beats on the top to make it very level and to secure the pommel. Then with the hammer, one finishes the rivet when the hammer is well secured and does not shake. The wood is placed so as not to put gashes in the pommel. Afterwards one makes a place for the rivet with a file or chisel. And some make the rivet [or attachment] in a diamond-shape but this is not as good as a round [topped one] because one cuts oneself on the corner of the rivet.
        
        
    </block>
    
    <folio  number="095v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f196.image"/>
    
    <block>
        
        The end can be bought already made, a dozen of small ones costs six sols but the big ones 2 carolii.The end is fixed either with nails which are fixed on the sides of the cutting edge, but this only spoils the sword and rots the scabbard for the water goes into it via the juncture of the nail. The best way is to apply some resin or glue but the resin is better. And the best is when the end is tightly set and so hot when set that powdered resin on the end melts, in that way it doesn't fall and can't be undone unless it is put in fire.
        
        Hilts are of different types:
        
        Ornate
        
        Guttered which is with round mouldings
        
        Pearled
        
        Scarfed when the bands are crosswise
        
        Onioned which is with a flat head
        
        In the King's manner, fully covered 
        
        The furbishers buy them by dozens, the dozen of full ones costs 10 lb. the worked one, 30 sols or [more] depending on its nature.
        
        
        
        The first thing that the apprentice does is to furbish as said.
        
        And then to adorn the sword and make a scabbard which is the summum of the art.
        
        They buy scabbards' wood pieces which are wholly made of beech wood, a hundred for 15 or 20 or 30 sols, depending on how far they are made.
        
        Theses wood pieces are thus called estelles, and have to be very clean and without any knots and are one finger thick.
        
        Then the furbisher puts them on a small bench, called a scabbard bench and with a small iron tool similar to the joiners' bench, they maintain it firmly.  Then with a plane, which is like a two-handled knife, they work the wood piece from the top, then use the joyner's plane to flatten it more. Afterwards, the inside is scoured with a
        
    </block>
        
</entry>
<entry identifier="p102r_1" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>Provisions for the work of Colchos</heading>

<list>
    <activity type="Colchos"/>
<item>7 <unit><tool>limbecks</tool></unit> of <material>glasse</material></item>

<item>2 <unit>lbs.</unit> of <material>☿</material></item>

<item>One <unit>measure</unit> of <material>coarse salt</material></item>

<item>6 <tool>unleaded earthenware vessel</tool></item>

<item>2 <tool>large unleaded pots</tool> for calcinating</item>

<item>2 <tool>alembics</tool> to distill <material>vinegar</material></item>

<item>4 <unit><tool>pots</tool></unit> of <material>good vinegar</material></item>

<item>3 or 4 <tool>lamps</tool></item>

<item>2 <unit>lbs.</unit> of <material>cotton</material></item>

<item>One pair of <tool>scissors</tool></item>
</list>
</entry>
<entry identifier="p102r_2" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>For the furnace</heading>

<list>
    <activity type="Colchos"/>
<item>A <tool>chest with a ten inch wide square <material>stone</material>, and of a one-foot thickness, pierced in the middle</tool></item>

<item>2 <tool>boxes</tool> or two <tool>earthenware pots with a lid</tool></item>

<item>2 <tool>small pipes of <material>white iron</material></tool> to evacuate the <material>smoke</material> of the <tool>furnace</tool></item>

<item><material>Turnipseed oil</material> for the <tool>lamps</tool> to heat the <tool>furnace</tool></item>

<item>A <tool>fire-steel</tool></item>
</list>
</entry>
<entry identifier="p102r_3" group="Colchos">
<folio
number="102r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading>Royal cement</heading>

<list>
<activity type="Colchos"/>
<item>One pound and a half of <material>vitriol</material></item>

<item>As much <material>saltpeter</material></item>

<item>As much <material>rock alum</material></item>
</list>
</entry>
<entry identifier="p102r_4" group="Colchos">
<folio number="102r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f209.image"/>
<purpose type="making"/>

<heading><material>Glass</material> <tool>vessel</tool></heading>

<block><activity type="Colchos"/>The <material>glass</material> <tool>vessel</tool> must be either pear-shaped or round pyramid-shaped, of the same thickness as the small back of a <tool>knife</tool>, round on the bottom without folding over on itself, like <tool>flasks</tool>, its opening of such a size that a <foreign>Dutch</foreign> <material>feather</material>can just about get in, with a lip at the end, in this way of the height of seven <unit>fingers' width</unit>.</block>

<figure identifier="fig_p102r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5MVhNYTRzOXJzR2M" position="middle-bottom"/>
</entry>
<entry identifier="p102v_1">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>Painting on crystal or glass</heading>

<block><activity type="painting"/>They paint without any traces <material>oil</material>, except for faces where they outline the nose and the mouth in very fine <color>black</color> work. Then they make strokes and highlight them in <color>white</color>, and then they apply a coat of <color>flesh-tinted color</color>.  As for the background, they do it in natural <material>azur</material> from <place>Acre</place> to make it more beautiful, or <material>lacquer</material> for a quickly-done <color>red</color>, or for a finer <color>red</color>, <material>dragon's blood</material>. But it is necessary to apply it little by little so that it is smooth and of one color, and in the same way for other colors. Then they apply underneath it, a leaf of <material>topaz</material>, <material>gold</material> or <material>silver</material>.</block>
</entry>
<entry identifier="p102v_2">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>

<heading>Infusion of <material><plant>anthos</plant></material> or <material><plant>rosemary</plant></material></heading>

<block><activity type="infusing"/>It is better to cook the <material><plant>flower</plant></material> in <time>August</time> and more suited to <material>oil</material>-making. Take as much as you want. Then put it into a <tool>bottle</tool> very well corked, and leave them to wilt in the shade for a <time>day</time>. Then add the first substance of <material>wine</material> and leave to settle three or four days; and express it all in another <tool>vessel</tool> and into this very same substance of <material>wine</material>, add seven or eight infusions made out of new <material><plant>flowers</plant></material>. Then leave the latest infusion in the sun for a <time>month</time>. Then distill it through a <tool>still</tool>. Then mix two <unit>ounces</unit> of this <material>water</material> with two or three <unit>spoons</unit> of <material>white wine</material>; but this is for the elderly. <name type="person">Paul the Third</name> used it.</block>
</entry>
<entry identifier="p102v_3">
<folio number="102v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f210.image"/>
<purpose type="making"/>

<heading>Casting</heading>

<block><activity type="casting"/><material>Tin</material> casts better when it is thin and delicate, than when it is thick, because when it is thick it contracts in high heat. So if you want to mold a thick piece in <material>tin</material>, mold it only one one side, and if it is possible, make it hollow on the other side. In this way your piece will be neater. And then you can solder two half pieces together. But if you have no choice but to mold it thick, make the shape of it and mold <foreign language="French">force abreuvouers</foreign> around the figure in this way.</block>

<figure identifier="fig_p102v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5SjZwV0ZHdW93ZEk" position="middle-bottom"/>
</entry>
<entry identifier="p103r_1">
<folio number="103r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f211.item"/>
    <purpose type="making"/>
    <purpose type="advice"/>
    
    <heading>Excellent burn relief</heading>

    <block><activity type="medicine"/>Heat <material>linseed oil</material> on a light fire, without letting it boil and simmer. But when it is hot put a quarter part(of the quantity of the <material>linseed oil</material>) of the newest <material>wax</material> you can find. Once it has melted, let it cool and when it begins to curdle, stir it continuously with a new <tool>wooden spatula</tool> for the length of time it takes to say 9 <foreign language="Latin"><time>pater nosters</time></foreign>, and while you say them, wash this composition with <material>holy water</material>, always stirring. Having said the first of 9 <foreign language="Latin"><time>pater nosters</time></foreign>, pour the first <material>water</material> out and add more, then wash and stir the composition for the time it takes to say 8 <foreign language="Latin"><time>pater nosters</time></foreign>. In the interval it takes to say 3 of the 7 <foreign language="Latin"><time>pater nosters</time></foreign>, and continuing thusly, add more <material>water</material>, as above, until there is only one last new <foreign language="Latin"><time>pater noster</time></foreign> left. Then you will have a soft <color>white</color> <material>ointment</material>, with which you will apply to the burn for 9 <time>days</time>. But don't apply any more, you must let the flesh grow over. Dress it twice a <time>day</time> and each time you wash your face with <material>water</material>, and mix it together a bit tepidly, without rubbing. But press it with <tool>wet linen</tool>, and wipe it similarly with <tool>fine linen</tool>, and apply the <material>ointment</material>. On which you can put <tool>binder's string</tool>. This will regrow your hair and prevent a scar from forming. A <material>powder</material> maker who was completely burnt but had no sign of burns taught it to me.</block>
</entry><entry identifier="p103r_2">
    <folio number="103r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f211.item"/>
    <purpose type="observation"/>
    <purpose type="making"/>
    
    <heading>Against <animal>dog</animal>'s gall.</heading>
    
    <block>The <name type="people">English</name>, who fawn over their <animal>dogs</animal> owing to the care they take of their <animal>livestock</animal>, have <profession>healers</profession> for them the <animal>dogs</animal> who hold this particular office, and who melt <material>pitch</material> in <material>water</material> and, leaving it wet, rub the <animal>dogs</animal> with this <material>water</material> or with <material>water sublimate</material>.</block>
</entry>
<entry identifier="p103v_1">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><tool>Enema</tool></heading>

<block><activity type="medicine"/>In order for the <tool>pipe</tool> to not hurt children at all, or those with swollen or protruding hemorrhoidal veins, one covers the <tool>pipe</tool> with a parcel of <material><animal>chicken</animal> entrail</material> and fold it over the end, and in this way, one gives the <tool>enema</tool>.</block>
</entry>
<entry identifier="p103v_2">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>

<heading>Casting</heading>

<block><activity type="casting"/><material>Tin</material> recoils if thick, therefore it is better to cast it thin and from one piece, to make two and then solder them together, if necessary. One makes use of a strong piece of <material><tool>taffeta</tool></material> to sieve the <material>fine sand</material> with which one first covers the medal, which is of the thickness of a teston.</block>
</entry>
<entry identifier="p103v_3">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>

<heading>To make colors fluid</heading>

<block><activity type="colormaking"/>Mix some <material>vinegar</material> with a bit of <material>bile</material>, put it into a <tool><material>glass</material> bottle</tool>, and if you want to preserve it for a long time, add some <material>salt</material> and mix some of this with your colors which will make them flow.</block>
</entry>
<entry identifier="p103v_4">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>Earwax</heading>

<block><activity type="experimentation"/>If you take enough with the tip of an <tool>ear picker</tool> and you sieve it with <material>foam of urine</material>, which often forms in the <material>urine</material> of those who have a headache, all the foam will dissipate.</block>
</entry>
<entry identifier="p103v_5">
<folio number="103v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f212.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
      </annotations>

<heading>Enamels</heading>

<block><activity type="enameling"/>To well recognize their difference and their true <color>color</color> by candlelight, it is necessary to put the <tool>candle</tool> behind a <material>crystal</material> mirror, or a <tool><material>glass</material> globe</tool> or <tool>jar</tool> full of <material>water</material>, because this light is like sunlight.</block>
</entry>
<entry identifier="p104r_a1">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Corroding and dissolving absolutely pure <material>gold</material></heading>

<block><activity type="metalworking"/>Put it regular <material>salt</material> with <material>aqua fortis</material> into a <tool>violl</tool>. Let it rest for two <time>hours</time>, without heating it. Put [in this mixture] <material>tenuous gold</material>, and draw it out as if it had been separated from <material>silver</material>.</block>
</entry>
<entry identifier="p104r_a2">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Engraving on <material>iron</material></heading>

<block><activity type="metalworking"/>One <unit>℥</unit> of <material>verdigris</material> and 2 <unit>℥</unit> of <material>coarse salt</material> and a bit of <material>sublimate</material>, or crush some <material>ocher</material> with <material>linseed oil</material>, and use it to cover the <tool>blade</tool> or the very neat and polished <material>iron</material>. And let it dry on the fire or in the sun. Then, to engrave and make it beautiful, take a <unit>small coin's worth</unit> of <material>verdigris</material> twice that quantity of <material>coarse salt</material> and about four <unit>grains</unit> of <material>ammoniac</material>, and six <unit>grains</unit> of <material>sublimate</material>, and the <material>water</material> must not be hot.</block>
</entry>
<entry identifier="p104r_a3">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>Good mixture to color <color>gold</color></heading>

<block><activity type="colormaking"/><material>Sulphur</material> and small <material>gravel</material> as much of one as of the other, and the third part of this quantity of <material>salt</material>, and as much <material>turmeric</material> as <material>sulphur</material>.</block>
</entry>
<entry identifier="p104r_a4">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>

<heading>How to <material>silver</material> plate <material>copper</material> and <material>latten</material></heading>

<block><activity type="metalworking"/>Mold the <material>silver</material> as the <material>gold</material>, and put it in the <tool>oven</tool> in order to get a good gilt pot. And do not let it heat, otherwise the <material>silver</material> would tarnish. Once it will be well spread, make it boil in <material>walnut oil</material>, and then heat it a bit, and put it [into the <material>water</material> the <profession>silversmiths</profession> use to bleach their works].</block>
</entry>
<entry identifier="p104r_a5">
<folio number="104r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f213.image"/>
<purpose type="making"/>
<annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDYVR5NE9zV1BfTUE" title="Esmail, fol. 39v, 103v, 104r, 116r, 136r (Chang, Clemens, Shi)"/>
    </annotations>

<heading><material><plant>Enameling a carnelian</plant></material></heading>

<block><activity type="enameling"/>Soak some <material>wheat flour</material> in <material>white wine</material>, and slop and cover the whole <material><plant>carnelian</plant></material>. Then cook the <material><plant>violet</plant></material> again, then soak it into <material>white wine</material> for one or two <unit>hours</unit>, then rub it and leave the part you want to keep on it, then lay on some more on top again.</block>
</entry>
<entry identifier="p104v_a4">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>
  <annotations>
          <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDaHBIVmRtMFRwZjg" title="Spinet playing by itself, fol. 104v (Hiebert)"/>
      </annotations>

<heading>Spinet playing by itself</heading>

<block><activity type="musical instrument-making"/>Make an axle surrounded with wheels pierced all around in their thickness and attach <material>feathers</material> as for a cittern or a spinet and arrange them according to the song you want it to play, leaving a suitable distance. And, turning the axle either by yourself or by a <tool>clock spring</tool>, your invention will effect itself.</block>

<figure identifier="fig_p104v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5cWFSaUU5a2R6N2s" position="left-bottom"/>
</entry>
<entry identifier="p104v_a1">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>

<heading>Against <animal>dog</animal>s' mange</heading>

<block><activity type="medicine"/>For normal-sized <animal>dogs</animal>, take half an <unit>℥</unit> of <material>stavesacre</material>, and one <unit>℥</unit> for big <animal>dogs</animal>, as fine powder beaten with two <material>egg whites</material> and one <unit>quarteron</unit> of oil. They must drink the beverage on an empty stomach, after keeping them locked without any <material>food</material>. Approved.</block>
</entry>
<entry identifier="p104v_a2">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>

<heading>For casting</heading>

<block><activity type="casting"/>If you've got a big piece which does not allow an easy stripping of casting, mold it with some wax, either on the hollow side or in relief, because it is soft and hollow and so can easily be separated from the piece without leaving anything. But be sure that the melted <material>wax</material> is neither too hot nor too cold. Some people use for molding some <material>wax</material> warmed in boiled <material>water</material>, but while pressing the mold it bends and becomes unusable. Once you have made your <material>wax</material> cavity, you can cast in some very soft and clear <material>clay</material>, and let it dry. Then, upon it you will make a <material>lead</material> or <material>tin</material> cavity, in which what you will make will easily be stripped.</block>
</entry>
<entry identifier="p104v_a3">
<folio number="104v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f214.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><profession>Goldsmith</profession></heading>

<block><activity type="metalworking"/>Know what it is to work on spangled garments, it is small pieces of pure <material>silver</material> and of <material>silver-gilt</material> with which one makes the archers' coats.</block>
</entry>
<entry identifier="p105r_1">
    <folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="observation"/>

    <heading><animal>Turtles</animal></heading>

    <block><activity type="animal observation"/>Males have shells that turn down at the end near their tails, and their underbelly shells have lined marks along the bottom from their tails to their head. And the females have neither the turned down shell near the tail nor the marks.</block>
</entry>
<entry identifier="p105r_2">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Drying colors</heading>

<block><activity type="colormaking"/><color>Soot black</color> and others will not dry in <material>oil</material> unless you add <material>verdigris</material>.</block>
</entry>
<entry identifier="p105r_3">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Painting</heading>

<block><activity type="painting"/>Colors that have been applied twice are more gritty by themselves, unless they have a binding agent. Otherwise, paint on <material>wood</material>; otherwise, on <material>canvas</material>; otherwise on walls.</block>
</entry>
<entry identifier="p105r_4">
<folio number="105r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f215.image"/>
<purpose type="advice"/>
<purpose type="making"/>

<heading>Gardening</heading>

<block><activity type="gardening"/>To graft, it is necessary to take the new growth that was produced within the year by the <plant>tree</plant> you wish to graft. And cut off a branch in which you can see that beside the place where the leaves join the stem, there are little buttons we call buds, the initial stages of a sprout. With dexterity you must, with a very sharp <tool>pen-knife</tool>, cut in the shape of a graft a small bit of the skin of the <plant>tree</plant>, which contains a bud or a sprout with the leaf, as you can see in B. Then on the tender <material>wood</material>, which is full of <material>sap</material>, and on which you wish to graft, cut quickly two lines as you can see , then add in the middle a slit thusly.<figure identifier="fig_p105r_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5T1FZYTdOT1U4Qzg" position="right-bottom"/> Then with the point of your <tool>pen-knife</tool> separate the bark from the <plant>tree</plant>, and open it from the slit in the middle, and having neatly lodged your graft so that nothing is sticking out, only the sprout, binding everything well and wrap the whole thing with a bit of <tool>linen</tool> or <tool>soft string</tool>. In this way, there will be nothing uncovered but the leaf, which in three or 4 <time>days</time> will indicate whether the graft has taken hold, by being green. Keep your graft in this way for seven or eight <time>days</time>. Then unwrap it, and join it to the bark, keeping the sprout itself straight, and then rewrap the whole thing gently, but not as strongly as before. And if there is any growth, leave it some room to grow and then three or four times</block>

<figure identifier="fig_p105r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5UWpzdGVweGVvQTg" position="left-bottom"/>

<folio number="105v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>

<block><activity type="gardening"/>Then, when the graft has taken hold, cut the top of the <plant>tree</plant>, which is above your <plant>tree</plant>, three or four <unit>fingers</unit> above the graft for the first time. Then, closer so that it serves. But be advised that when you do your initial grafting there should be no small hole at the back of your sprout, because this means that root is broken and your graft will never take. Therefore make sure the back is in tact. This type of grafting can be done from <time>mid-May</time> onwards, because the <plant>trees</plant> have budded and made new growth, until the beginning of <time>August</time> when the <plant>trees</plant> are full of <material>sap</material>. <plant>Almond trees</plant> which are naturally drier lose their <material>sap</material> earlier. Those who want to graft onto them the <plant>almond trees <foreign language="French">mericotons</foreign></plant>, <plant>apricots</plant> and <plant>nut-tree</plant> grafts, which are the best, should do so usually in <time>January</time>. <plant>Nut trees</plant>, such as <plant><foreign language="French">perches mericotons</foreign></plant> should be grafted <foreign language="French">en fente</foreign>. It is said that <plant>trees</plant> graft by the shield-graft method take longer to bear fruit.</block>
</entry>
<entry identifier="p105v_1">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>

<heading>Gardening</heading>

<block><activity type="gardening"/>It's not very strange to cultivate in your garden some <plant>arnols</plant>, because when your soup or broth goes cold, you get <animal>worms</animal>.</block>
</entry>
<entry identifier="p105v_2">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="making"/>

<heading>Fountain</heading>

<block><activity type="fountain making"/>Recooked <material>plaster</material> runs when mixed with <material>water</material>, which you will see in the next recipe about wet molds.  When put on the joints of the fountain conduits, it resists as much as any <material>stucco</material>.</block>
</entry>
<entry identifier="p105v_3">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
<purpose type="making"/>

<heading>Catching nightingales</heading>
<block>
See the 15th folio after this.
</block>
<block><activity type="catching animals"/>
In order to catch them, you must observe them in real life, the food that they favor and their mating season.  The <animal>nightingale</animal>, as long as he is singing, marks his own territory.  Therefore approach him by pretending to look for something on the ground.  Take some <animal>worms</animal> from <material>old flour</material> or from beneath what you are kneading or from mills, which <animal>nightingales</animal> love, and put some on your hat, fastened with a pin or in any other way, so that it can wiggle.  And five or six steps away from the hedge where it is singing, dig a hole, and place some <animal>worms</animal> in it, as well as your device made out of little criss-crossed sticks.  As soon as you leave it will be anxious to go and see what you have done.  And seeing <animal>worms</animal> it will enter.
</block>

<block position="left-bottom">
Some people sell <animal>nightingales</animal> on <plant>trees</plant>.
</block>

<block position="left-bottom">
It is easier to catch <animal>nightingales</animal> in the cool of the morning or evening, near fountains or shaded areas.
</block>
</entry>
<entry identifier="p105v_4">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading><animal>Nightingale</animal></heading>

<block><activity type="keeping animals"/>The <material>iron</material> wire used for its cage must be the thickest possible, so that should it try to leave, it will not hurt itself.  At the beginning of its captivity cover its cage in <material>fabric</material>. The first day you will have to forcibly feed it, moving it from its cage in your hand and opening its beak and with a small <tool>wooden needle</tool>, place its food in its throat and make it swallow. And continue to do so until it is no longer willful.  You must do this to keep it alive, because should it become thin or lose weight it will die.</block>
</entry>
<entry identifier="p105v_5">
<folio
number="105v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f216.image"/>
<purpose type="observation"/>
<purpose type="advice"/>

<heading><animal>Nightingale</animal></heading>

<block><activity type="keeping animals"/>It will need a cage made in the shape of a barn, like the ones for <animal>larks</animal>, lined with <color>green</color> <material>fabric</material>, because it feels the cold. And to get it to eat when it is first put in the cage, you must give it <animal>ants</animal> mixed with <material>earth</material> in the bottom of the cage to get it used to pecking, and you can give it <material>minced <animal>sheep</animal>'s heart</material>, and sometimes <material>eggs</material>, and sometimes <animal>mealworm</animal>.</block>
</entry>
<entry identifier="p106r_a1">
<folio
number="106r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f217.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading>To cast</heading>

<block><activity type="casting"/><material>Asphalt</material> from <place>Germany</place> is the most excellent sand you can find for molding in a box frame, because it is fitting for <material>silver</material> &amp; for <material>gold</material>. And the more you use it and the older it is, the better it is. With it, one molds very slender &amp; subtle things.</block>
</entry>
<entry identifier="p106r_a2">
<folio
number="106r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f217.image"/>
<purpose type="making"/>

<heading>Making <material>gold</material> run for casting</heading>

<block><activity type="casting"/>Because <material>gold</material> cools down very quickly, you have to give it a mixture when it is well melted that will keep the heat. <material>Sublimate</material> softens it nicely. But, since it vanishes into <material>smoke</material>, it won't aid you for very long. Therefore mix this mixture into it when you want to cast it: of <material>sal ammoniac</material>, the best <material>verdigris</material> that you can find, a bit of <material>borax</material> and some <material>saltpeter</material>. And this, held over the heat, will become neat. The <material>saltpeter</material> makes it clear and heats it. But the key thing in this mixture is the <material>verdigris</material>, which has to be good. This mixture softens your <material>gold</material> so much that it becomes as tractable as <material>lead</material>, even if it is good <material>gold</material>.</block>

<!-- Does everything that follows still belong to the 'Making gold run for casting' entry?-->

<block><activity type="casting"/>For <material>sand</material> for molding <material><plant>flowers</plant></material> and <material><plant>leaves</plant></material> &amp; other delicate things, mix in <material>raw plaster</material>, <material>crushed brick</material> and <material>stone alum</material>.</block>

<block><activity type="casting"/>To moisten <material>sand</material>, <material>spirits</material> are excellent because it makes <material>sand</material> fine and leaves in a vapor when you reheat your <tool>box frame</tool>.</block>

<block><activity type="casting"/><material>Dilute sal ammoniac</material> is very good, is excellent for moistening <material>sand</material>, but for lots of <material>water</material> you only need a little bit of <material>sal ammoniac</material>.</block>

<block><activity type="casting"/>A raw lump of <material>metal</material>, if you don't have <material>crocum ferri</material>, is good for <material>gold</material>.</block>

<block><activity type="casting"/>The <animal>snakes</animal> and the <animal>lizards</animal> you wish to mold should not be kept for a long time, because if they are alive, they will waste away, and if they are dead, they will decay.</block>

<block><activity type="casting"/><material>Plaster of Paris</material> is as hard as <material>stone</material> and very good. When you want to choose some for your <material>sand</material>, take the rawest and the hardest that is possible for you &amp; that does not make any powder. Transparent <material>[plaster]</material> and that which makes powder in giving way is that which is not good for this work. A sign of that which is near perfect is that it is hard &amp; makes shining grains that look almost like <material>sugar</material>. Finally, to mix it into the <material>sand</material> to cast <material>gold</material>, it has to be put in the fire twice, &amp; reheated twice.</block>

<block position="left-top"><activity type="metalworking"/>
When <material>gold</material> is really pure, it is so dry that it can just barely endure a <tool>hammer</tool>. But this mixture softens it like <material>lead</material>.
</block>
</entry>
<entry identifier="p108r_a1">
<folio number="108r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f221.image"/>
<purpose type="making"/>
<purpose type="observation"/>

<heading><material>Spalt</material></heading>

<block><activity type="casting"/>
<material>Spalt</material> is white like <material>cooked plaster</material> and one can find it in mounds and <material>stones</material> made in long stairs and long veins. It is very soft such that with a fingernail and it makes a powder like that of our <material>chalk from Champagne</material>. And because everything which is provided from the earth is mixed with some other substance, to purify it [the spalt], one boils it with somewhat large <material>gemstones</material> then tempers it with <material>essence of sal ammoniac</material>. One puts [a lump of it] <unit>the size of a walnut</unit> in a large <tool>bottle</tool> of <material>water</material> and <folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>that way one tempers it &amp; reducing it into small balls, [one] purges it of impurities [by] then putting it on to cook cleanly in a <tool>vessel of earth[enware]</tool> in a <tool>furnace</tool> like those in which <tool>pots</tool> [are made] and one leaves it there to the point at which <tool>pots</tool> would be fired. After one tempers it more with <material>essence of sal ammoniac</material> &amp; boiling it very strongly and emptying the <material>murky water</material> &amp; putting it in a separate <tool>vessel</tool> straight after put back the same <material>water</material> over it &amp; one boils &amp; one puts back the <material>murky water</material> again with the other. And one does this therefore until that which is there has passed away. In this way one purges and purifies and makes it a very fine and malleable [matter]. After one has taken away the <material>water</material> by tilting [it] or with a <tool>sponge</tool>, one takes the residue and dries it. Then moistening it with the aforementioned <material>water</material> the way one did with the other <material>sand</material>, one uses it in a <tool>frame</tool> or if it shrinks [this] is a sign that it is not fired enough &amp; needs to be fired more. This one is proper for molding all <material>metal</material> and especially <material>gold</material> and <material>silver</material> and the more it is used the better it is. One should put <material>alum</material> which you have cast of <material>lead</material> or <material>tin</material> separately because it makes <material>gold</material>. sour if you cast it there.
</block>
</entry>
<entry identifier="p108v_a1">
<folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>
<purpose type="making"/>

<heading>[Stone alum]</heading>

<block><activity type="casting"/><material>Stone alum</material> must be reheated in a <tool>pot</tool> covered with a <tool>tile</tool> over a good <material>charcoal</material> fire so that the impurities which might be in it [are] burned with that which does not burn. This is done either in the <tool>goldsmith forge</tool> surrounded by <material>bricks</material> or in a little <tool>oven</tool> vented to the fusion fire such that the <tool>pot</tool> stays red for a quarter of an <time>hour</time>. This is more to purify it than for anything else. It becomes <color>reddish</color> on top and the inside remains <color>white</color> and dries best this way.#</block>

 <block position="left-middle"><activity type="casting"/> # Once your <material>stone alum</material> is cooled down, crush it in a <tool>mortar</tool>, then grind it more finely on <tool><material>marble</material></tool>. And this makes it into very fine wooly dust that gives binding to <material>sand</material> without burning like all other things. [This is] a beautiful invention. Crush it on the <tool>mortar</tool> to being careful to keep the grindings together because the dust flying can get down your collar or on your face which can have very grave consequences. Put a little each time in the <tool>mortar</tool> to avoid the dust flying. It is best to grind therefore with the <tool>pestle</tool> trained on the <tool>mortar</tool> rather than on the <tool><material>marble</material></tool> where it spreads and on the <tool>mortar</tool> it gathers [the dust] from all sides and renders it very fine and sweet to the touch.</block>
</entry>
<entry identifier="p108v_a2">
<folio number="108v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f222.image"/>
<purpose type="making"/>

<heading>[Clay]</heading>

<block><activity type="casting"/><material>Clay</material> used to surround molds, should be very fat and malleable, and should not be used for anything else except to make the contour of the molds. Therefore one should only choose that which is very fat and beat it very well and soak it moderately with <material>water</material> and have it in a pit or <tool>earthenware pot</tool> and make good holes with a <tool>stick</tool> with which one replenishes it with <material>water</material> to keep it always fresh and soft and ready to use when needed.</block>
</entry>
<entry identifier="p109r_1">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="waxwork"/>

<heading>Working in rough with <material>wax</material></heading>

<block>When the <material>wax</material> is too hard, one mixes in some <material>turpentine</material> or a bit of <material>butter</material>, which renders the <material>wax</material> malleable, and cleaner than <material>tallow</material>, which the <name type="people">Italians</name> mix in, because oftentimes, it is necessary to put the <tool>tools</tool> into the mouth, <tool>tools</tool> which are better when made from <material>box wood</material> or <material>antler</material>.</block>
</entry>
<entry identifier="p109r_2">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="waxwork"/>

<heading><material>Wax</material> for molding</heading>

<block><activity type="molding"/>Since the <material>wax</material> is molten, they have some <material>sulphur</material> in a <tool>spoon</tool> or <tool>crucible</tool> and pour it in the molten <material>wax</material>. And with the <material>sulphur</material> going to the bottom or staying on top, it stays where it is and mixes only its substance in the <material>wax</material>, and renders it more meltable when warming it, in such a way that having molded it, the <material>wax</material> gently melts in the mold like <material>butter</material>, without leaving any blister or boil.  Also be warned to not give it too much heat.</block>

<block position="left-top">If</block>
</entry>
<entry identifier="p109r_3">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="waxwork"/>

<heading>Molding <material>wax</material></heading>

<block>So that your mold takes hold without repelling any surface on a form or figure in <material>wax</material>, it is necessary to rub the <material>wax</material> with <material>oil</material> and soak your <material>sand</material> in lukewarm <material>water</material>, because cold <material>water</material> repels <material>oil</material> even more and will not make a good layer on the <material>wax</material>.</block>

<block position="left-middle"> Rub the <material>oil</material> on very very lightly, use so little that it hardly appears at all. Then rub with some <material>spirits</material>. After soak your <material>sand</material> in lukewarm <material>water</material> so that it does not repel the <material>oil</material>.</block>
</entry>
<entry identifier="p109r_4">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<purpose type="advice"/>

<heading>Forge <tool>bellows</tool></heading>

<block>It is better that at the end with the air chamber the bellows be set in some kind of bit of cloven board because they are more secure this way. Afterwards you can lightly secure them from the top.  It is necessary that the nozzles be four <unit>fingers</unit> above the bottom of the forge.</block>
</entry>
<entry identifier="p109r_5">
<folio number="109r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f223.image"/>
<purpose type="making"/>
<purpose type="observation"/>
<activity type="keeping animals"/>
<activity type="casting"/>

<heading>Molding <animal>snakes</animal></heading>

<block>When you get them for molding, if it is possible, do not remove their teeth if you [think you might] want to keep them, because having had their teeth removed, it hurts their gums and mouths, and they can no longer eat.  You can keep [the snakes] in a <tool>barrel</tool> full of <material>bran</material> or even better of <material>earth</material>, in a cool place, or in a <material>glass</material> <tool>bottle</tool>.  And give them some live <animal>frog</animal> or other live <animal>animal</animal> because they do not eat anything that is dead. Also I have noticed that<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/> when they want to bite or to eat something, they [snakes] do not go at it head on, but sideways and by sinuous coiling, as do <name type="personal">Satan</name> and his henchmen. The <animal>snake</animal> has a small head, but a very large body; the entryway to sin seems small and inconsequential, but the consequences are great indeed. A <animal>snake</animal> can abstain from eating for seven or eight days, once he has swallowed a <animal>frog</animal>, and can swallow three or four <animal>frogs</animal>, one after the other, and what it has devoured does not rot and is not digested all at once in its stomach, but each part little by little, i.e. the bones and everything. The rest is just as fresh as when the <animal>snake</animal> ate it, such that when one bothers and torments it, it spits out what it swallowed up, which, in part, is totally digested, with the other part as fresh as if the <animal>frog</animal> were alive. It can hold a swallowed <animal>frog</animal> down for two or three <time>hours</time> and spit it out alive.</block>
</entry>
<entry identifier="p109v_1">
<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/>
<purpose type="observation"/>
<purpose type="advice"/>
<purpose type="making"/>
<activity type="molding"/>
<activity type="medicine"/>

<heading><animal>Toad</animal></heading>

<block>If by chance you want to mold this ugly animal and if it should piss in your hand, it will sting your hand and cause it to itch, as if you had been holding nettles. But the very best remedy for this is to put your hand into <material>fresh dirt</material>, and to cover it as if you wanted to bury it. <animal>Frogs</animal> are not so beautiful when molded because they have shiny skin, and <animal>toads</animal> have lumpy skin.</block>

<block position="left-bottom"> You can mold the <animal>toad</animal> hollow, and leaving a notch open on the underbelly, you will make it jump with the twisted cord of the saw. If it is a small, put it on a <tool>magnet</tool> cut small to the size of the <animal>toad</animal>, then put it in good <material>vinegar</material>.</block>

<block position="right-middle"> If it is big, mold hollow, and if you want to mold it with its mouth open, put some <material>cotton</material> therein, and then put some melted <material>wax</material> on the <material>cotton</material>.</block>
</entry>
<entry identifier="p109v_2">
<folio number="109v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f224.image"/>
<purpose type="advice"/>
<activity type="keeping animals"/>

<heading>Killing <animal>snakes</animal> for molding</heading>

<block>Some put a drop of <material>aqua fortis</material> into their mouths, which stupefies them, so that the head and the body look dead. But the head is still alive, and when you stick it with a <tool>needle</tool> in order to fix it to your mold, it moves and spoils and undoes everything. Therefore, to kill your <animal>snake</animal>, put it into a <tool>bottle</tool> filled with good <material>vinegar</material> and some <material>spirits</material>. Do the same with <animal>lizards</animal> and other similar animals.</block>

<block position="left-bottom">If you want to keep them, you can put them in a <tool>pipe</tool> full of <material>dirt</material> in a garden outdoors, but it is necessary that the <tool>pipe</tool> be covered with <material>latten wire</material>, because otherwise, the <animal>snakes</animal> will crawl and climb up quite high.</block>
</entry>
<entry identifier="p110v_3">
<folio
number="110v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f226.image"/>

<heading>A cast of lead or tin</heading>

<block purpose="making">Because you want to cast <material>tin</material> very thinly, if your <material>medal</material>, <material>plant</material> or other thing you want to mold is thin and fine, make sure to include more <material>tin</material>, much more than <material>lead</material>, namely less than the fourth part of <material>lead</material> for three of <material>tin</material>. And moreover, one only puts <material>lead</material> in as an alloy. Contrarily, if you want to mold something strong and thick, put a lot more <material>lead</material> in than <material>tin</material>. And for the one and the other you can put in a little <material>looking-glass tin</material>, but only a very little, with a little <material>resin</material>, when you want to cast.  Since then, when molding with pure new <material>lead</material>, I put in two <unit>ounces</unit> of <material>pure tin</material> for every <unit>pound</unit> of <material>lead</material>.  And when molding with <material>pure tin</material>, I put in two <unit>ounces</unit> of <material>pure lead</material> for every <unit>pound</unit> of <material>tin</material>. I made some <material>plants</material> and <animal>snakes</animal> as if they were real.</block>

<margin-block position="left-bottom" purpose="making">
I cast <material>tin</material> when it was nearly red, and the same thing with <material>lead</material>, which however had not remained in the fire for too long, because it becomes brittle and burns up.
</margin-block>
</entry>
<entry identifier="p114r_1">
<folio number="114r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f233.image"/>

<annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDLU9qZ0xaSUxRU00" title="Bread as Mediating Material: Tactile Memory and Touch in Ms. Fr. 640, fols. 29r, 114v, 129v, 130r (Le Pouésard)"/>
    </annotations>
<purpose type="making"/>

<heading>Second Casting</heading>

    <block><activity type="casting"/>When you have well molded the first part of the <animal>animal</animal>, that is to say the back, the spine, and the entire top part, and when the half-mold where the part is encased is hard enough <figure identifier="fig_114r_2" url="https://drive.google.com/open?id=0B9-oNrvWdlO5SWVndzB0aEk5MWs" position="left-top"/> turn over the bottom and the sides of the belly, sometimes using a <tool>knife</tool> for the thicker parts, and then with a <tool>pen-knife</tool> for the places where the more fragile parts are encased, like legs, tail, and similar things. Because the head is higher, you will have to dig deeper to expose it and do a deeper notch that has to be well exposed, by enlarging it from the outside, in order for the second mold that you cast on top of it releases well. A process for which the <animal>animal</animal> himself can be useful because his nature so permits. However, make sure that you reveal the <animal>lizard's</animal> throat more than you would do a <animal>snake</animal>, because the <animal>lizard</animal> has big jaws and big bones that do not cast as easily, and has deep ears in which the <material>wet sand</material> is not as easy to remove. But you will avoid all of this if you expose half of the head and those things that you know do not release easily. When everything is well exposed, blow over it and wipe each part again with a <tool>cloth made of swine hair</tool>, slightly dampened into <material>salt water</material> or <material>clear water</material>, do that gently, that way the lower part of your uncovered <animal>animal</animal> will be very neat. # <material>🝋</material> Once it is done, dip the covered side of your mold into <material>water</material> for a <foreign language="Latin">pater noster</foreign>. It will suck <material>water</material> inside, that way when you'll rub with <material>oil</material> the uncovered side, the <material>oil</material> will remain on the top, and to prevent the second cast which you will cast on top from sticking. Dip your mold into <material>water</material>, take a particularly <tool>fine brush</tool> and rub with <material>oil</material> the entire mold but the <animal>animal</animal>; it should not be touched with <material>oil</material>. Make sure to use you brush between the parts and on all the fragile parts. And if by mistake <material>oil</material> is soaked, dip the mold into <material>water</material>, as it is said above, and drop by drop the <material>oil</material> will come back to the top.</block>

<block position="left-top">Mold small <animal>animals</animal> as big ones, however, for small animals, use very <tool>fine tacks</tool> made of <material>cords of cittern</material>, short and long ones.</block>

<figure identifier="fig_p114r_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5NVR5Y2FtZHM0ck0" position="left-top"/>

<block position="left-top">remove all the little <tool>tacks</tool> with the help of very small flat <tool>pincers</tool>. # then + [illegible] # However, leave the <tool>tack</tool> which is pinned into the throat so that it will help you to turn the head over, because it is sunk deeper than any other part, because when you drew the plan, you put higher up. It is at the level of the head that you must make the biggest notch and you should start at that notch to expose and then keep following by looking at the traces left by the <tool>tacks</tool>.</block>

<block position="left-bottom"># and if a small piece of nail, or piece of tail, or other fine things separate from the mold, put a little piece of <material>wax</material> between them, and join them with the tip of a hot <tool><material>iron</material> wire</tool>, then smooth it in your mold with a <tool>knife</tool>, and make notches on the sides in order for the other half of the mold to adhere to it. <material>🝋</material> </block>

<figure identifier="fig_p114r_6" url="https://drive.google.com/open?id=0B9-oNrvWdlO5TTRuWU8yVktnc3M" position="left-bottom"/>

<folio number="114v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f234.image"/>

<block>This thus prepared, put your first half-mold on the disc of <material>clay</material>, surround it with a <material>clay</material> circle and do a thickness mark similar to the first one. Then, with a rather <tool>thick brush</tool>, wet with <material>spirits</material> all your <animal>animal's</animal> exposed half, without, if possible, missing any part, because therein lies the secret to casting neatly. Then, as fast as possible before the <material>spirits</material> evaporate, soak your <material>sand</material>, and cast it, shaking, blowing, and moving the mold, as you did for the first one, making sure that what you pour first on the <animal>animal</animal> is clearer than the rest, so that it is soaked everywhere and highlights the finer parts. So, leave it for fifteen <unit>minutes</unit> so it sets, then remove the <material>clay</material> circle and disc. And, with a <tool>knife</tool>, join you two molds together in a longish form, like a mandore, as we say, because of how you cast. Then soak a little in <material>water</material> the whole mold up to the level of the joints. Because this is another secret to separate them more easily. Otherwise, you would break everything. Separate them like this skillfully. After this, gently and patiently remove half of the <animal>animal</animal> still in the mold, pulling it sometimes on one side and sometimes on the other, in order to avoid breaking it, or ruining parts of the mold. The mold, being empty, rejoin both half so that no <material>dust</material> comes in, and put them aside until you want to heat them up, make the <tool>runners</tool>, the <tool>vents</tool> and put the <tool>clamps</tool>. As for the <animal>animal</animal>, to avoid it drying, and in order to be be able to use it to mold 4 or 5 of times, put it on <material>water</material>. I believe that it would be better preserved in <material>spirits</material>. However, it would be best to make the 4 or 5 molds the same day because these <animal>animals</animal> rot and will smell within the <unit>day</unit>. Having left your molds to dry out, for they will stay humid for at least a <unit>month</unit>, make the vents for one half.</block>

<figure identifier="fig_p114v_1" url="https://drive.google.com/open?id=0B9-oNrvWdlO5dmlRQm1lTjc4aXc" position="left-top"/>

<block position="left-top">+ Note that once you have made your second casting, if you left your mold without opening it for a <unit>day</unit> or a <unit>night</unit>, you would then need to put it into hot <material>water</material> or reheat it, rather than open it, like for the <animal>crab</animal>.</block>

<block position="left-top">If after both halfs of the <foreign language="French">noyau</foreign> have set and hardened, it would not open if you did not dip it into <material>water</material>. But as you dip the back of your mold into <material>water</material>, <material>oil</material> comes back to the top and touches the joints which separates them.</block>

<block position="left-middle">However, be sure that your second mold is thick enough, and hard enough otherwise it could break while dipping it into <material>water</material> if you want to open it. To avoid this mistake dip the entire mold into <material>water</material> and rub it everywhere, if the mold has set enough it will harden. Then take both molds with a <tool>rough cloth</tool>, in order to grip it better. Then strongly separate the molds as if you wanted to tear <material>bread</material> apart.  But in case it breaks, rejoin them, and fortifies the joints with <tool>clamps</tool>.</block>

<figure identifier="fig_p114v_4" url="https://drive.google.com/open?id=0B9-oNrvWdlO5NmZxVUxKTmhYSXM" position="middle-bottom"/>

<figure identifier="fig_p114v_3" url="https://drive.google.com/open?id=0B9-oNrvWdlO5dkk3MW10YzNIbDg" position="right-bottom"/>

<block position="right-bottom">Afterwards you can repair the mistakes with a small pair of <tool>scissors</tool>.</block>

</entry>

<entry identifier="p130r_1">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Drying animals in an oven </heading>
<purpose type="making"/>
    <activity type="drying animals"/>

    <block>One can skin small <animal>cats</animal> and remove their eyes and all their guts. Then place a small
        <tool>stick</tool> vertically between the teeth in order to open their mouths. Then with <tool>iron nails</tool> one
        should attach their feet to a small board, arrange the required position. Once they are tied
        by their feet with small <tool>iron rings</tool>, one has to hang them upside down into the sun. By doing
        so, they will get the right shape and dry, the belly will tighten and the the tail will
        remain high up thanks to the twist that you made. Once they are already a bit dry, one may
        twist the head as he wishes and secure the position with any tool. One may finish to dry the
        animal by placing it in an oven once the bread has been taken off. Then place some
        realistically painted <material>lead balls</material> or <material>wax balls</material> in the eye-sockets. One should paint them with
        gummed ink so that they look like jet. One can add a painted tongue, or horns, or wings or
        anything you may imagine, same goes for <animal>rats</animal> or any animal. </block>


    <!-- left-top marginalia on p130r, here included as block -->
    <block>
        <figure identifier="fig_p130r"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5cHVsNnNVQ1l5RnM"/> which surround the
        fingers of the paws and which stick in the jacket of clay. </block>

</entry>

<entry identifier="p130r_2">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Reddening lively crayfish which will look as if they were boiled </heading>
    <purpose type="making"/>
    <activity type="coloring animals"/>
    <block> Rub your <animal>crayfish</animal> with good <material>vinegar</material> diluted with a
        little <material>eau-de-vie</material> and not much, then you can present them as if they
        were cooked and yet they will walk. </block>

</entry>

<entry identifier="p130r_3">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>

    <heading> Molding a single spider </heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> One has to display it on the <material>jacket of clay</material> as it is said for the
            <plant>vine leaf</plant>. Then do the first cast. And once it dry, peel the mold off to
        the middle of the legs and do the second cast. </block>

    <!-- marginalia on left-bottom of 130r -->
    <block> Also. One cannot mold the hairy legs of big <animal>spiders</animal> or any other hairy
        animal if they had not been rubbed with <material>wheat oil</material> before they are laid
        flat. This will make the hair firmer and will dry very quickly. Hairy things entangle in the
            <material>sand</material>, and do not burn very well. </block>

</entry>

<entry identifier="p130r_4">
    <folio number="130r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f265.item.r="/>"
        <heading> Molding a single vine leaf </heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Attach it with <material>brass wire points</material> on the <material>jacket of clay</material> and then cast the first mold.
        Once it is dry peel off the back side and make the second cast. Then peel away the back
        side, and make your second cast. Once it is dry, you may remove the leaf. You must heat your
        mold only once, because there is nothing to be burnt inside. </block>
</entry>
    
<entry identifier="p130v_1">

    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>
    <heading> Molding a crab</heading>
<purpose type="making"/>
    <purpose type="advice"/>
    <activity type="casting animals"/>
    <block> It is a secret and a masterpiece to mold [a crab] well because it is necessary to
        proceed differently [than you would] with other animals, because its shell is quite
        difficult to [...] and that is why it is necessary to reheat the mold three or four times.
        And on top of all that, it leaves a hard crust [that is] gray like ash. It is not molded
        from one piece and one cast as [is done with] plants. Rather, [it is moulded] in two casts
        as [is done] with <animal>serpents</animal> which are easily stripped from it [the mold].
        After it is opened, nimbly remove this crust with the very fine point of a
            <tool>pen-knife</tool> {and not with <tool>quicksilver</tool> which removes nothing from
        it} and likewise those small crusts of the second cast which get into the cavities that the
        sand or the molded animal made because it has curved legs. Here is the subtlety and the
        secret of stripping it. As you molded it [the crab] from the back side in the way [that you
        did for] the others [animals], remove the stomach and all the curved legs from it. Make your
        second cast in the way [that you did for] the other [animals], but as it will have set, take
        care that you not open the mold unless you have first reheated it well. Otherwise, because
        of its curved legs, you would break the whole thing. Herein lies the subtlety. If, after it
        has been well reheated and opened, you see that the crust is not burned enough, reheat [it]
        until it is burned [enough]. </block>

    <block position="left-top"> It [a crab] can be painted like a <animal>crayfish</animal>. </block>
    <block position="left-top"> It does nothing. </block>
    <block position="left-bottom"> For opening the mold, it is not necessary to soak it because,
        once reheated, it will open itself by itself. </block>
</entry>

<entry identifier="p130v_2">
    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>


    <heading>Stag beetle </heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> Like a <animal>crab</animal>, it [a <animal>stag beetle</animal>] is also difficult to
        burn, therefore do [<animal>stag beetles</animal>] as you did <animal>crabs</animal>.
    </block>
</entry>


<entry identifier="p130v_3">
    <folio number="130v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f266.item.r=.zoom"/>

    <heading>For molding thinly </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> After you have molded the first mold as the core, leave it to dry well before removing
        the figure from <material>wax</material>, so that the mold is not ruined. Afterwards, then
        make make a small lasagna of paste as thick as you like, and, once you have greased the
        cavity of your first hollowed mold with <material>butter</material>, apply the paste to it
        [the cavity of the first concave mold] and then the upper part of the second mold. If you
        grease [the mold] with <material>oil</material>, it will be soaked up [into the mold] and it
        will not be as clean as <material>butter</material>.</block>
</entry>

<entry identifier="p131r_1">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading> Herbs difficult to burn in the mold </heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Mold them in two or three castings; being annealed, your mold will open, and it will be
        easier to extract the <material>charcoal</material> from inside. </block>
    <block position="left-top"> Try [this] </block>
</entry>

<entry identifier="p131r_2">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <annotations>
        <annotation
            url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfmlUdWdYdlczSW5HVmNVam5pN1kwYXBvTlZuSDBXZUJDZlRLTkVmdk92N0k"
            title="Molded Letter Paper"/>
    </annotations>

    <heading>molded letter paper</heading>
    <purpose type="making"/>
    <activity type="casting things too thin"/>
    <block> Write with some <material>ink</material> well thickened with <material>gum</material> or
        any other color dye which has body, and which is not erased if dampened with
            <material>brandy</material>. Then put your <material>paper</material> on the sheet of
        clay, and dampen it with brandy. Cast both sides [of paper].</block>
</entry>

<entry identifier="p131r_3">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Adorning beds, mirrors and similar things</heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> Model any drawing in half relief on a flat slate in order to set it on round or flat
        things. Cast with very fine <material>tin</material>, then you can gild it with
            <material>gold leaf</material>, and set it wherever you want. Fill the bottom of the
        relief with small <material>rubies</material>, <material>orpiment</material>, or any colored
        little grains.</block>
</entry>

<entry identifier="p131r_4">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Training a dog</heading>
    <purpose type="advice"/>
  
    <block> You need to keep your <animal>dog</animal> attached; when it does what you command, to win its love, give
        it a piece of cheese which was held under the armpit. This cheese would be a bad drug if the
        master, or the apprentice, is red-haired. </block>
</entry>

<entry identifier="p131r_5">
    <folio number="131r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f267.item.r="/>
    <heading>Molded wax</heading>
    <purpose type="making"/>

    <block>
        <material>Wax</material> representations made from <material>white lead</material> and
            <material>cerussite</material> are not made to be burned and melted in a mold where you
        want to cast <material>silver</material> and <material>gold</material>; this would make it
        brittle. Moreover if you use such a mold, the <material>wax</material> would be stripped
        thanks to the violence of the fire which makes it boil, and the mixture made of
            <material>cerrusite</material> or any other metal would attack the mold. That's why if
        you want to sketch things </block>
    <block position="left-bottom"> +White <material>wax</material> is more delicate than the other,
        and it doesn't leave any filth when you want to mold it as a core, or to mold hollow. </block>
    <folio number="131v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f268.item.r=
        "/>
    <block> to be cast with <material>gold</material> and <material>silver</material>. Do not add to
        your wax all the drugs you are preparing, but only melted <material>sulphur</material>, as
        the candle melts, and also candle smoke. Melted <material>sulphur</material> falls down to
        the bottom of your mold, but lets the wax keeps some of its quality, melting it but leaving
        it a little firm. You can thus melt your wax representation on fire. If your
            <material>wax</material> is composed of <material>cerussite</material> or something
        similar, you need to put your mold into boiling water. </block>
    <!--margin block on the next page -->
    <block position="left-top"> You don't need all this to mold flat representations made of wax,
        because the <material>wax</material> can be removed completely from the mold, and won't
        remain inside it. </block>
</entry>

<entry identifier="p131v_1">
<folio number="131v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f268.item.r="/>
    <heading> When lead or tin casts fill with bubbles </heading>
    <purpose type="making"/>
    <activity type="repairing"/>
    <block>If your casted work became porous, it can be repaired with very firm <material>wax</material>, and you can
        gild or silver it afterwards. If you cast fine, the alloy of one <unit>℥</unit> of <material>lead</material> to one lb of <material>tin</material>
        is good. But if you cast with <material>lead</material>[ligue illegible], indeed you need one <unit>lb</unit> of lead to two ℥
        of <material>tin</material>, because lead is fat and sticky, goes over the alloy. I have cast a very small <animal>lizard</animal>
        that way. If you cast something thick, which keep the heat for a long time, it will make
        bubble if there is not enough <material>tin</material>. Your mold should not be cold, but cool enough that you
        can hold it without burning your hand, or that you can hold your finger into the cast
        without burning yourself. Your tin or lead must be like red. Cast your lead first, then cast
        tin. When you are going to cast, add a piece of resin to your mixture, then a little
        looking-glass tin. If you add too much lead to your tin, the mixture wouldn't be fluid
        enough. To know [the right proportion], If tin cries loudly, it means that there is not too
        much lead; if tin cries softly, it means that you added too much <material>lead</material>. Be wary </block>
    <block position="left-middle">You can solder with the same matter, then rework it and [remove
        away all the unwanted thick parts] with a <tool>burin</tool>. </block>
    <block position="left-middle"> Tin is a metal that can[…], makes bubbles and burn, and more
        capricious to work with than <material>gold</material> and <material>silver</material>. </block>
    <block position="left-bottom"> Lead must not be only red, it must be quick, and as liquid as
        water, which is a sign of its perfect heat. Your mold must be so hot that you couldn't bear
        to put your finger into it. Do not open your mold until is has cooled down. Just as for
        <material>silver</material> and <material>gold</material>, it is a sign of good casting when lead comes out through the vent holes. </block>
<folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/> "
        <block> not to heat your mold too hot because it makes it brittle, it makes bubbles and
        shrinks tin, and would also break the molded thing. Do not dip you hot mold into water
        because tin and lead would shrink. </block>
</entry>

<entry identifier="p132r_1">
    <folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/>
    <heading>Mold made from two casts</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> It opens once anealed. To clean it after, fix the <tool>clamps</tool> again, lute the mold,
        particularly the joints. Then let the earth slowly dry. When it doesn't smoke anymore, let
        the mold cool down until you can hold it without burning your skin. Then put your molds into
        the <tool>presses</tool>, or into a <tool>pot</tool> filled with <material>sand</material>,
        and cast with <material>tin</material>. If you cast <material>gold</material> or
            <material>silver</material> your mold needs to be cast twice, and cast when your mold
        becomes red-hot.</block>

    <block position="left-top">If your heated mold […], shrinks because of the bad quality of the
        plaster, open it after the first heating, tighten it, then lute it and clamp it
        again.</block>

</entry>

<entry identifier="p132r_2">
    <folio number="132r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f269.item.r="/>
    <heading>How to anneal the molds</heading>
    <purpose type="making"/>
    <activity type="annealing"/>
    <block> Light your charcoals from the forge, then place them in a line in a corner of the forge
        according to the size of your mold, in order that it be surrounded with 3 or 4 fingers of
        charcoals, particularly at the bottom of the mole, where it is thicker. Then put your molds
        on these charcoals -- and not on a grate as some people do -- because they would get too
        strong a heat. Let your furnace heat up gradually for a while, always adding burning
        charcoal. As long as the mold is humid, your charcoal will be dampened at the bottom, but
        when it is dry, the charcoals start to blaze. When one side of the mold is dry, turn over;
        when both sides are dry and don't smoke anymore, increase the heat and cover your mold with
        burning coals. When the mold starts being red, do not blow on it with small bellows, because
        the mold would burst. Similarly, when your mold becomes red-hot, keep it well covered with
        burning charcoals and do not uncover it because it would crack. Prevent the draft from a
        window from reaching it. Then let it cool down. </block>
    <block position="left-middle">When you want to anneal your molds, luted or not, do mark the
        belly of your mold, in order to place that side at the bottom, against the burning
        charcoals, because if the intensity of the heat made the mold crack, it would be better that
        it do so on the bottom part instead of the top part. </block>

    <block position="left-bottom"> If your mold is small, do not heat it as long, otherwise it would
        crack and be damaged. </block>
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <block> dry by itself. When your mold starts to redden, it will soon be become completely
        red-hot. But make sure that its bottom is red-hot too, without any black spot. </block>

</entry>

<entry identifier="p132v_1">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <heading><material>Common quarry sand</material></heading>
    <purpose type="making"/>
    <activity type="casting with sand"/> 
    <block> In a frame, If you cast it hot, <material>sand</material> will bubble; thus you have to
        just dry it. </block>
    <block position="left-top">I have tried to prevent molds blended with <material>sand</material>
        from cracking when annealed, and thus not get any with flaws that crack. </block>
</entry>

<entry identifier="p132v_2">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>

    <heading>Crocum ferry</heading>
    <purpose type="making"/>
    <activity type="making sand"/>
    <block> After I processed it with <material>vinegar</material> and reddened under heat, I had it
        ground very finely on the <material>porphyry</material>, until there could be no ruggedness
        felt under the nails. Then I soaked it in very good <material>vinegar</material> for 2 or 3
        days, stirring the mixture several times a day. Then I boiled it and made it red-hot in a
            <tool>pot</tool>, and put the whole thing into an air furnace. I obtained a mass full of
        eyes, but that crumbled finely between the fingers. I mixed half as much as <material>stone
            alum</material> in the sand. I diluted the sand very thinly, and molded a very small
            <animal>lizard</animal>, which molded very cleanly and finely. <material>Crocum
            ferry</material> does not make the mold harder, but makes it firmer. When your mold is
        soft and fat under your nail, it means that the <material>crocum</material> is good, very
        fine and well prepared. You can add any quantity of crocum, your mold will not be damaged
        because it is a friend of <material>gold</material>. I think it would be the same with
            <material>silver</material>. And in order that molds made with it do not crack, make it
        with <material>needle filings</material>. </block>

    <block position="left-top"><material>Sand</material> is better made with distilled
            <material>vinegar</material>. </block>
    <block position="left-middle">You can add this <material>sand</material> to the molds you want
        to use to cast <material>silver</material>, because it make molds firmer, and when you
        scratch it, you will find it a bit rougher than the other molds not made from this
            <material>sand</material>. You mold very clean with this
        <material>sand</material>.</block>
    <block position="left-bottom">You can use this one for all molds, because it prevents them from
        cracking and bursting when heated. This <material>sand</material> withstands several casts
        for molding flat medals. <material>Sand</material> from <material>steel</material> or
            <material>needle filings</material> is redder and better. </block>
</entry>

<entry identifier="p132v_3">
    <folio number="132v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f270.item.r="/>
    <heading>Gilding animals casted with <material>silver</material></heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> You can gild them with an amalgam, the lines won't be damaged if they are made from
            <material>silver</material>. </block>


</entry>

<entry identifier="p133r_1">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Hard <material>wax</material> to imprint seals</heading>
    <purpose type="making"/>
    <activity type="wax molding"/>
    <block>One makes these [seals] out of white <material>wax</material> which is harder than the
        other and one mixes in it some <material>cerussite</material> or <material>leaded
            white</material> very finely ground such that it is as hard as you like and mix in a
        drop of <material>turpentine</material> to bind it. Afterwards mix it in the color that you
        want. It is in <material>wax</material> that serves goldsmiths for modeling. </block>
</entry>

<entry identifier="p133r_2">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Casting the feet of small lizards in <material>gold</material> and
            <material>silver</material></heading>
    <purpose type="making"/>
    <activity type="gold and silver casting"/>
    <activity type="casting animals"/>

    <block>Because the feet of these [<animal>lizards</animal>] that are very small are [also] very
        fine, once you have molded the top and you have uncover the vents and underneath the feet
        are covered lightly with <material>wax</material>, and then cast a second mold. And the wax
        that one removes, it leaves a little cast for these said feet, and again such that the
        underneath [part] comes out in one piece that you can repair well, And the scales on top of
        the toes come [out] well.</block>
    <block position="left-top"> Around the big lizard nails, put on each a small round of
            <material>wax</material> to make the cast like this. </block>

    <figure identifier="fig_p133r_1" position="left-middle"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5V2JZcWtNeEJmYWs"/>


</entry>

<entry identifier="p133r_3">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Marks [made by] the [pin] points of iron thread which one finds on the head of an
        animal</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/>
    <block> With the <material>points</material> [or <material>pins</material>] with which you have
        dressed [your animal] all over, do same with the head, but [out of] the head which is
        pierced, a certain moisture seeps out around the wound and this little exudation prevents
        the <material>sand</material> from covering the point well and there always remain little
        pinpricks. But to avoid this, you can plant in the plaster of the said blunt pin point and
        around the upper part of the point, and over this point, there put a little hard
            <material>wax</material> or a little <material>mastic</material> or
            <material>cement</material>. And by the medium of the hot <tool>thread of iron</tool>
        there you can hold the throat of the animal which one removes [the iron] when you come to
        uncover the vents and the throat for doing the second cast. </block>
</entry>

<entry identifier="p133r_4">
    <folio number="133r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f271.image"/>
    <heading>Clamps and the broken mold</heading>
    <purpose type="making"/>
    <activity type="repairing"/>
    <block> When you have done the first firing and taken off the <tool>clamps</tool> and you have
        opened your mold to clean it by taking off the bubbles with <material>quicksilver</material>
        which one cannot do with closed molds, reclose the mold and reattach the <tool>clamps</tool>
        but not in the same place as the first time. Reapply lute and dry it but if this is for
        casting <material>silver</material> or <material>gold</material> [use] lute with the rest of
            <material>sand</material> which has been used because this is the best netting. If your
        mold is broken in refiring you can augment it with <tool>clamps</tool> and lute. </block>

    <block position="left-bottom">X </block>
</entry>

<entry identifier="p133v_1">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>

    <heading>Porosity and little holes which are in the mold </heading>
<purpose type="making"/>
    <activity type="repairing"/>
    
    <block> It oftens happens when you cast two or three molds one after the other using the same
        <tool>dish</tool>, because the last casting comes from the bottom of the <tool>dish</tool> and is thicker, and then
        often the last cast which comes from the bottom and which is the thickest of the <tool>dish</tool>, may
        easily become porous. Cast thinner and neater, as long as you blow very strongly on the
        soaked <material>sand</material> while casting in order to clear the little air bubbles. </block>

    <block position="left-top"> When the <material>sand</material> is casted thick, it often becomes porous </block>

</entry>

<entry identifier="p133v_2">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>
    <heading>Thing that cannot be released from the mold</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/>
    <block> You must cut it inside the mold in order to burn it. Cut it with <tool>scissors</tool>
        at once, that way blood doesn't flow on the mold, and doesn't make dirty. Because this dirt
        would be removed with difficulty when reheated. Then place your mold into a furnace, or
        something similar, in order to quickly dry the mold which must be removed before the forming
        of crusts or molds.@ </block>
    <block position="left-middle"> + When you mold small <animal>lizards</animal>, and when you want
        to peel away the first molded part, start to peel away the heads, you will know its place
        thanks to the <tool>needle</tool>. Don't peel away the legs before peeling away the entire
        body, to avoid that the naked body, moving,doesn't remove the legs from their place, which
        would not be easy to put back into place. When you remove the small <tool>needles</tool>
        fixing the legs, block the legs or press the legs with something, that way while removing
        the <tool>needles</tool> the legs won't move; finally, you can fix the legs again with
            <material>wax</material>.</block>
</entry>

<entry identifier="p133v_3">
    <folio number="133v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f272.image"/>
    <heading>Various animals entwined</heading>
    <purpose type="making"/>
    <activity type="lifecasting"/>
    <block> You can entwine a <animal>snake</animal> with a <animal>lizard</animal>, each one biting the other, or a <animal>snake</animal> eating a
        <animal>frog</animal>, or a <animal>wall lizard</animal> or something similar. But since these interlacings cannot be
        stripped, cut what's possible, and allow the rest to burn. To make the mouth of the <animal>snake</animal>,
        which must stand high, hold a <animal>wall lizard</animal>, which is small and would need to be held in the
        air, because the snake's head is higher, put under the wall <animal>lizard</animal> a mound of earth suitable
        to support it. And if you place the mold in a furnace, the animal drying quickly, it will
        quickly shrink, then it will burn more easily. These interlacings are also made to mask
        wounds or defects on the animal which happen when we catch them. Do not forget to join with
        <material>wax</material>, applied carefully with a hot <tool>iron wire</tool>, all the parts of the animal which are one on
        top of the other, or those which are not well pressed on the slab of <material>clay</material>, so that the
        soaked <material>sand</material> does not remove them. Do that in order to </block>
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <block> avoid putting <tool>pins</tool> that should not be put, only on the top of the head, the thickest
        parts of the body, and on the delicate parts like the middle of the lizard's feet, the nails
        of which you will drive into the <material>clay</material>, thus they won't move. Once your first mold is casted,
        peel away the belly of the animal, but do not forget to put some tenuous little pieces of
        <material>wax</material> at the tip of the lizard's feet. But if it is from a <animal>wall lizard</animal>, lightly cover all the
        sole of its feet with wax, which will be removed with the second cast. A cavity is left
        which will be fill these little fingers with metal. then rework it. Make sure that <material>wax</material> is
        fixed well on the parts of the animal which are one on top of the other, so that the soaked
        <material>sand</material> which comes in does not make them move. If that happened your jacket of <material>clay</material> would be
        spoiled and your mold wouldn't get the right thickness, would have holes, and would be
        spoiled. To obviate that you can make a thicker mold. If this occurs you could rework it in
        this fashion.</block>
</entry>

<entry identifier="p134r_1">
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <heading>To repair a pierced mold</heading>pairing
    <purpose type="making"/>
    <activity type="repairing"/>
    <block> If the molded animal pulls of in certain places, moves from the place you had fixed it,
        or has not completely died, or if you didn't fix it well with the <material>iron pins</material> or with the
        melted <material>wax</material>, or if the animal hasn't the right thickness on the outside at the relief, or if
        it is pierced, instead of removing the animal from the mold, peel away the weak parts, or
        the pierced part, and make holes all around these parts, then dip the back side of the mold,
        quickly cast onto this place with the same soaked sand which will go into the holes, the
        cast will adhere to the first cast. But you will have to lute this spot afterwards.</block>
</entry>

<entry identifier="p134r_2">
    <folio number="134r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f273.image"/>
    <heading>Sand made of crocum [ferri]</heading>
    <purpose type="making"/>
    <activity type="making sand"/> 
    <block> You can use the mixture made of <material>crocum ferri</material> to cast
            <material>silver</material> or <material>gold</material>, this mixture will make these
        casts firm, and prevent these from cracking and making burrs. And I believe that for flat
        things, it would withstand severa casts. Which however is not commonly done for
            <material>gold</material> and <material>silver</material>. </block>
    <block position="left-bottom"> Try <material>crocum ferri</material> for
            <material>lead</material> and <material>tin</material>. </block>
</entry>


<entry identifier="p134v_1">
    <folio number="134v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f274.image"/>
    <heading>To make gold fluid</heading>
    <purpose type="making"/>
        <block>Put as much <material>verdigris</material> as <material>sal ammoniac</material>, as much
            <material>borax</material> as <material>saltpetre</material>. But don't add a greater
        quantity of <material>borax</material> and <material>saltpetre</material> than half the
        quantity of <material>verdegris</material> and <material>sal ammoniac</material>, in fact
        add as much <material>borax</material> and <material>saltpetre</material> all together as
            <material>verdigris</material>. Grind into powder the ingredients on the <tool>marble
            slab</tool>, then grind again with very good <material>vinegar</material> until it is
        very fine, like a ground color, grind <material>verdigris</material> with
            <material>oil</material>, then leave to dry if you have time, if you haven't so much
        time dry it with the fire of the forge, make so that it is very dry. </block>

    <block position="left-top">Grind </block>
    <block position="left-top"> One of the principal things for casting is to cast very hot,
        especially large metals </block>

</entry>

<entry identifier="p134v_2">
    <folio number="134v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f274.image"/>
    <heading>Casting big works with gold</heading>
    <purpose type="making"/>
    <activity type="handling and maintenance"/> 
    <block> Not only should one clamp the mold very well, but also strengthen it with good <tool>iron wire
        links</tool> or adequate <tool>straps</tool>. </block>
    <block position="left-middle"> Before casting with gold, clean thoroughly your forge with <material>lead</material>
        and <material>tin</material>. </block>
</entry>

<entry identifier="p134v_3">
    <heading> Secret for soldering small works made of <material>gold</material> and
            <material>silver</material>
    </heading>
    <purpose type="advice"/>
    <purpose type="making"/>
    <activity type="soldering"/>
    <block> If some little pieces of legs cannot be easily removed from <material>gold</material> or
            <material>silver</material> casting, it is because you didn't cast wax under these
        parts. Beat some soldering <material>gold</material> very finely, then cut it into very fine
        flakes, cut the quantity you need. Take some of this phlegm or white and thick saliva which
        is on the teeth, put some of this matter to the place you want to solder with the point of a
            <tool>burin</tool>, then place your flakes, then put to the opposite part a mixture made
        of a small quantity of soaked fat earth and saliva, thanks to the mixture the solder will
        better adhere. Then pulverize a bit of <material>borax</material> on it, and heat up
            <material>Quince pulp seed water</material> to a boil and others too.</block>
</entry>

<entry identifier="p135r_1">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
        <heading>Colors for <material>gold</material>, or sauce</heading>
    <purpose type="making"/>
    <activity type="coloring"/>
    <block> Take as much <material>verdigris</material> as <material>sal ammoniac</material>, &amp;
            <material>saltpetre</material> the size of a bean. Because if you put in too much, it
        would make the whole thing boil so much that it would all pour out.
            <material>Saltpetre</material> is only put in to make it boil, so that you know when the
        material has boiled enough. This color put on sour melted gold makes it soft instantly. </block>
    <block position="left-top">Softening <material>gold</material>
    </block>
</entry>

<entry identifier="p135r_2">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
        <heading>Casting</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> It must be lengthened out with respect to the thing you have molded. And at a minimum
        for large molds it must be four or five fingers in length. You can make it large enough for
        half the mold &amp; then divide it in three points of such a sort, and so the molded things
        will [each] be small. But your points must be small. And in the middle of the casting &amp;
        of its points, make some holes to impede the fury of the metal &amp; make it run more
        softly. It is also necessary to fix the bent parts of the animal with little notched lines,
        and similarly the end of the tail and other fine parts so that the metal goes throughout
        &amp; flows from one part to the other. </block>
    <block> Do not forget to make a wax cast of the paws of [illeg] &amp; things as subtle as this. </block>
    <block position="left-top"> When you have molded an animal in the first part of the mold, do not
        let this part dry out before you have removed the said animal, because when the mold dries
        out it will shrink and it will also make the animal shrink. Keep it therefore in a damp
        &amp; humid place until you have done it. </block>
    <figure identifier="fig_p135r_1"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5U3BqOGxwTHNPeVk" position="left-middle"/>
    
</entry>

<entry identifier="p135r_3">
    <folio number="135r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f275.item.r="/>"
    <heading><plant>Vine leaf</plant> and small frog</heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <activity type="casting animals"/>
    <block> To mold, take <plant>vine leaves</plant> as they are blooming, just as with all herbs &amp; flowers, or
        a young <plant>vine</plant> regrowing after it has been cut or when the leaves come off in autumn, because
        new leaves are knottier &amp; have more evident veins. By contrast, old leaves are smooth
        all the way through &amp; full of holes in many places. Place therefore your leaf, its back
        behind it against the <material>clay plaster</material>, and fasten it with little <tool>pins</tool>. Leave it nevertheless
        with its natural curling. And make a notch in the <material>clay</material> to hide the stem for the first cast.
        And when it's done and dry, take out the stem of the leaf and clean it well with your jacket
        and press it with a little scoop of <material>clay</material>. Afterwards, make many castings around the leaf
        with <material>wax</material>, as you know well, &amp; make a slender casting &amp; with many lines &amp; knots. </block>
    <block position="left-middle"> <plant>Vine leaf</plant> is painted with a <color>green</color> made of <material>scudegrun</material> &amp; verd de
        terre. </block>
    <block position="left-bottom"> You can cast a <animal>spider</animal> or <animal>frog</animal> &amp; whatever you like on the
        leaf. </block>
</entry>

<entry identifier="p135v_a1">
    <folio number="135v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f276.item.r="/>"
    <heading>Casting <material>gold</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Take a <tool>crusol</tool> that can contain a certain amount, as you wish to place roughly crushed
        <material>borax</material> into it. Place [the borax] at the bottom and then the <material>gold</material> on top of it. Arrange the
        <material>coal</material> in the forge in such a way that the wind of the bellow will blow above the <tool>crusol</tool> and
        no on its side as it would cool it down and would not heat it enough. Also, make sure it is
        three good fingers away from the wall of the forge so that it is quite surrounded by coal.
        Allow the <tool>crusol</tool> to anneal until it is quite red. Then, have your boy strongly blow the
        bellow with long pushes, as in this manner it heats it better. Meanwhile, once the <material>gold</material> will
        be melted, blow a small bellow above it. Because [otherwise] the <material>gold</material> would turn sour and
        would acquire some kind of coat. As long as there will be some swirling smoke as you blow
        this way, it means that it is not soft enough for the cast. Therefore, uncover the melting
        pot and without displacing it and without stopping the bellow, tilt it towards you so you
        may well see what is inside. Throw a ferue of <material>borax</material> in it and blow wind towards it with the
        small bellow in a jerky fashion. Should there be <material>coal</material> inside, blow a bit stronger to make
        them come out. And if the <material>gold</material> still smokes and swirls, add <material>borax</material> again and blow above it.
        Beware that it is still sour and not soft enough, it will show a coat when you blow it as if
        it had cooled down. By contrast, if it does not show this sign, it is soft enough. Then,
        blow strongly so that it [the gold] is quite heated and once you think it is hot enough,
        throw colour on top of it in the <tool>crusol</tool> and the colour should be composed as following:
        <material>verdigris</material>, <material>saltpeter</material>, <material>sal ammoniac</material>, and a bit of borax. And continue blowing with the small
        bellows, and the <material>gold</material> will turn shiny like </block>
    <block position="left-top">If you cast in <material>gold</material> some piece of important [dimensions], lute your
        mold with the same <material>sand</material> or put <material>crocum</material> on it. </block>
    <block position="left-top">If you wish to cast some large work, or of important [dimensions],
        create at the bottom or at an extremity of the forge a vented furnace where you may hold
        your mold in the <material>sand</material> so red. </block>
    <block position="left-middle">One may cast two or three <unit>pounds</unit> of <material>gold</material>. </block>
<folio number="136r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f277.item.r="/>
    <block> a mirror. And once you will want to [start] casting, put a bit more colour in
        and let it rest a little, still blowing wind with both the small and the large bellows.
        Finally, place your mold quite red between the small molds or in a <tool>crusol</tool> full of <material>sand</material> quite
        hot and [start] casting. And once it will have stuck, you may, if you wish, throw it into
        water as <material>gold</material> does not get damaged like tin which breaks. </block>
    <block> To melt <material>gold</material> bullion, there is no need to blow above [the crusol] with the small bellow. </block>
    <block> For large works, the <tool>crusol</tool> made of <material>sand</material> has to be placed in a wind oven so that it is
        all red at the end of the furnace. </block>
    <block> <material>Gold</material>, when exposed to wind or when forged becomes black. But a bit of <material>aqua forte</material> removes
        [the black] instantly. </block>
    <block> If you have to forge a work made of <material>gold</material> on <material>brass</material>, as is done on small statues, put a
        <material>lead</material> sheet between the <material>gold</material> and the <material>brass</material>, and rather than anneal it and put it back in the
        fire, dip it in the <material>aqua forte</material> and it will be soft. </block>
    <block> It is enough for the cast to be of the same thickness as the medal, that it from the
        middle of the cast, up to the medal. But if the medal is very thick, one should not thicken
        the cast as a result, because a thick cast never comes out well. It may be done large to
        embrace the medal as much as possible. </block>
</entry>


<entry identifier="p136v_1">
    <folio number="136v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f278.image"/>
    <heading><material>latten</material> casting </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Take <material>latten</material> from <tool>skillet pans</tool>, used to make baby's
        cereal, which is doulx and apt for the cast. Some people say that <tool>counter</tool> from
            <place>Germany</place> contain a lot of <material>calamine</material>. However, when
        they are tempered, <material>calamine</material> evaporates, <material>calamine</material>
        mixed with melted <material>latten</material> always evaporates, because
            <material>latten</material> becomes red again, thanks to the reiteration of melting.
        However, fresh <material>calamine</material> and only fresh <material>calamine</material>,
        which is blended with remelted <material>latten</material>, makes
            <material>latten</material> run, and allow a clean cast. Because
            <material>calamine</material> which is added to remelted <material>latten</material> is
        half-damaged compared with its natural state. This half-damaged
            <material>calamine</material> make <material>latten</material> porous and agitated
        because it has a tendency to evaporate. Thus add only very fresh
            <material>calamine</material> to melted <material>latten</material>. Make sure to cast
        your mold very hot, you mold must become red-hot, like molds to cast
            <material>gold</material>, <material>silver</material>, <material>copper</material> and
        metal. If you pour fresh <material>calamine</material>, avoid its smoke which is pernicious.
        To cast a medal, I took thirty <material>counters</material> from <place>Germany</place> and
        xii <material>clous de rosette</material> made of <material>doulx latton</material>, like
        for claires medals which are made of soft <material>latten</material>. This matter contains
        a lot of <material>calamine</material> like all kind of yellow <material>latten</material>,
        and make a lot of smoke which prevent <material>latten</material> from running, and make it
        porous, that is why it is necessary to make many vents and to cast very hot, latten must be
        as white as water, or as melted <material>silver</material> or as a polished mirror of
        steel. The second fusion will come out much better because evaporated
            <material>calamine</material> does not make as much smoke. If you use a molding frame
        that does not break and holds its own, the second [casting] will come more neatly out of the
        mold, because the frame is impregnated with the smoke of <material>calamine</material>. If
        you add <material>sal ammoniac</material> to your <material>latten</material>, this latten
        will be clear and shiny, but will be even more shiny with <material>huile
            tingente</material>. Do not use another <material>sand</material> than the above
        mentioned to mold a <material>noyau</material>, and the mold must become red-hot, like a
        mold to cast <material>gold</material>. Make a lot of vents. If you cast yellow
            <material>latten</material> with the prepared tutty you will not get any smoke. </block>


    <block position="left-top"> This metal is capricious to cast because of the smoke of the
        calamine. Do not leave it out of the fire, as some do with silver. Because when air or wind
        touch it, the mold gets cold at once. When you cast it, this metal always leaves burrs, like
        when casting glass. <profession>Foundry workers</profession> do not usually use this very
        yellow latten as much because of the calamine which is heated. They cast red
            <material>copper</material> and turn it yellow with fresh <material>calamine</material>,
        or with some prepared tutty. Before casting, clean it with <material>charcoal</material>
        with a quere made of <material>copper</material> or <material>iron</material>. Then cover it
        with a cloth soaked in <material>lard</material> blended with
        <material>saltpetre</material>, or <material>sal ammoniac</material>, in order to protect it from wind, which
        would cool it down. </block>
</entry>

<entry identifier="p137r_1">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading>Casting <material>red copper</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> Pure cauldron <material>red copper</material>, or copper of any other small works, is good to cast. To make
        it runny, add some <material>sal ammoniac</material> to it, and when you are about to cast, add a little bit of
        fine <material>tin</material>. One must cast the <material>copper</material> very hot into the mold, so that it is burning and very
        red, like <material>gold</material>, <material>silver</material>, <material>latten</material>, and metal. You will know that it is hot enough when it is
        clear and shining like a newly polished steel mirror, or like melted silver. Protect it from
        wind so that it doesn't cool down too soon. Cover your cast with tow in order to prevent it
        from cooling down. <material>Red copper</material> is cleaner than <material>latten</material>, which smokes a lot, which prevents the
        metal from running. I have moulded it as a noyau very neatly, and as thin as a piece of
        paper. It must be very hot, white and shining like melted silver, or a mirror. I have
        moulded it as a noyau with the same sand mentioned above. </block>
    <block position="left-top"> It takes more time to melt <material>copper</material> and <material>latten</material> than any other metals,
        even <material>red copper</material>. It will run and will comes out well if you cast it very hot, and as thin as
        water. </block>
    <block position="left-top"> Remove your mold from the fire, and set it into embers, which should
        fill a <tool>pot</tool> or <tool>vessel</tool>. </block>
</entry>


<entry identifier="p137r_2">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading>
        <material>Huile tingente</material> to make metal runny </heading>
    <purpose type="making"/>
    <purpose type="advice"/>

    <block> Take some <material>mercury</material>, some real sublimate of
            <material>venice</material>, and not sublimate of <material>arsenic</material>,
            <material>aes ustum a poix</material>, <material>sal ammoniac</material>, <material>a
            poix</material>. Ground everything separately, then blend them together in a <tool>glass
            bottle</tool>, and put it on <material>warm ashes</material>. You will see that
        everything melts like wax, and will have bright colors. Leave to set, add a small quantity
        of this mixture on every metal, it will run marvelously. </block>

    <block position="left-middle">
        <profession>Foundry workers</profession> who make large casts to mold statues, clean the
        dirt from these molds with <material>calamine</material>, and a lot of <material>sal
            ammoniac</material> in order to make moulds clear and neat. When they want to cast they
        add a lot of tin. Dampness and cold could spoil their works, that is the reason why even a
        small source of water in the hole can damage the whole thing. </block>

</entry>

<entry identifier="p137r_3">
    <folio number="137r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f279.image"/>
    <heading> <tool>Clamps</tool> </heading>
    <purpose type="making"/>
    <activity type="tool making"/>
    <block> To make <tool>clamps</tool> use <tool>flat tongs</tool> made from wire, which is reheated and bent, and hammered
        on <tool>anvil</tool>. Since those <tool>clamps</tool> are thinner, they burn more easily, being used in reheated
        molds. So use new clamps. </block>
    <figure identifier="fig_p137r_1"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5aG5XMHdYTTYzbzA" position="left-bottom"/>
</entry>

<entry identifier="p137v_a1">
    <folio number="137v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f280.image"/>

    <heading>Wetting sand to mold flat medals</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    
    <block> Flat medals, made of <material>wax</material> or metal, must be oiled very lightly and then touched with a
        brush of <material>spirits</material>. So that the already moistened mold takes well the oiled thing without
        rejecting it, one warms the water well in order to wet the <material>sand</material>, because with cold water it
        would be rejected. It is necessary to <material>oil</material> medals, because they do not expand and in this way
        would break the mold. Animals, which expand, do not need oiling. The hot water much be of
        such a heat that you cannot keep your figure in it without it becoming too warm. Wet the
        thickest sand for flat and solid medals rather than [for] <animal>lizards</animal> and finer things. Once
        your <material>sand</material> has set, clean and scrape your mold on one side and the other, and on the bottom
        edge of the thrown side of the medal, make a notch so that it is easier to take out. Lower
        the mold, scraping what surrounds the medal, so that on all sides you can take it out easily
        without it damaging the mold. Then make some gashes around the first mold used to throw so
        that the second time that you throw in it, it will be identical to the first one, and in the
        same way, make a notch at the bottom of the mold, where the held of the item cast lies. Also
        make some [gashes] in the sides of the cast. This done, wet the back of the first mold in
        oiled water, and after the second casting moisten it with warm water if you have molded your
        medal in a <material>noyau</material> mold. Having done the first cast, and this one having set, cut around the
        edge of the medal with the point of a knife so that it comes out of the throw and is not
        buried in it. Then having made the second cast, and having opened your mold, take away the
        medal in one go, with two <tool>knife</tool> points, one on the side of the cast object and one on the
        side of the head, which is at the opposite end. </block>
    <block position="left-middle">Take care not to <material>oil</material> your medal too much because if the seeps out,
        it prevents the sand from serving its purpose and coming together and renders it wavy and
        lumpy. You must only touch the middle of the medal with the tip of your oil brush and then
        smear the oil everywhere. </block>

    <block position="left-bottom"> Make especially sure that the throw is as wide as you can on the
        medal and holds it together well. The gate of your cast must always be big and always
        narrowing as you go towards the medal. Also do not forget to notch the gate of your cast. </block>

    <folio number="138r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f281.image"/>
    <block> If you want to cast <material>gold</material>, <material>silver</material>, <material>copper</material> or brass, it is necessary that they be
        perfectly red, and fired on the inside when you cast, and perfectly reheated twice, if there
        is something inside to be burnt and cleaned. </block>
    <block> The molds of animals that you burn must be reheated in such a manner that the animal
        burns up. But if it has big bones, it is frustrating to take out and ☿ often breaks delicate
        things because of its heaviness. One does not put ☿in molds that can open. It is often molds
        for flowers that do not open because they are cast in one go. </block>
    <block> When you want to reheat your molds, fix <tool>cramp-irons</tool> on the joints, so that when they
        reheat they will not bend, contract or break. This is done once the cast is made. </block>
    <block> The scrapings of the mold can also be used instead of bricks after being reheated, and
        also the leftover bits of the mold that have already been used. You can also pat it over
        important things, like works in gold or silver. You can also reheat it and blend it with
        water diluted with <material>sal ammoniac</material>, like <material>spar</material> from <place>Germany</place>, and is excellent <material>sand</material> for box molds
        for all metals. </block>
    <block> The molds with things that need to be burnt out inside them, those ones will not open
        until the thing that is inside is burnt, like the molds for <animal>crayfish</animal>, <animal>crab</animal>, <animal>great-horned
            beetles</animal>. Do not open the molds in which you will burn something, not before the thing is
        burnt, it could be crayfishes, crabs, stag beetles, pictures, and pieces of <material>wax</material> and <material>black
            sulphur</material>, which do not come out of the mold [easily]. </block>
    <block> You must not mold on <material>brick</material> or <material>wood</material> because they absorb and attract water too early, and
        do not allow the sand to set. The best place for [the sand] is on a fresh layers of <material>clay</material>.
        And yet, I have experienced that <material>grey earth</material> dries out the mold too quickly. <material>Yellow [earth]</material>
        is better. </block>
    <block position="left-middle">For medals, and flat things, the sand must be quite thick and
        moistened so that it sets quickly. And when the sand is thusly thick, you can shake and move
        the table where you mold lies, so that [the movement] makes the <material>sand</material> go everywhere. But when
        the sand is clear, as for flowers and herbs, you cannot shake it, nor can you do it when
        there is something attached to wax or other things which are prone to come off, such as the
        legs of <animal>crayfish</animal> or other similar things. And if by chance your sand is too thick, you must
        quickly add some water. And having put the sand in the water, examine it until it is thick
        on the bottom and clear on top. The clearest is thrown in immediately and then bubbles and
        the thickest is thrown in at the end so that it strengthens the mold. </block>

</entry>

<entry identifier="p138v_1">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>
    <heading>
        <material>Talcum</material> mixed with the molds </heading>
    <purpose type="making"/>
    
    <block> I used the one from which I had extracted the <material>oil</material>. I crushed it
        very finely even more into a <material>steel</material> mortar with a <tool>pestle</tool>
        [which was] rough like a file. I crushed it very finely into a cottony, downy powder. I
        mixed it with the sand and soaked both matters together, and I casted it en
            <material>noyau</material>. It molded very clean and there is no doubt that it will
        withstand fire. </block>

</entry>

<entry identifier="p138v_2">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>

    <heading><material>Gold</material> casted very thinly</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <block> When <profession>goldsmiths</profession> have to solder something quickly but don't have enough time to forge it,
        they melt <material>gold</material> and then they pour it on a <tool>cloth</tool> or on anything else that withstands fire.
        Then they flatten it swiftly with a <tool>hammer</tool> or another similar tool, and it [the gold] is
        very tenuous and it even retains the impression of the cloth. </block>

    <block> Unalloyed pure <material>gold</material> can be cast into a medal but not into <plant>herbs</plant> and <animal>lizards</animal> or other
        very delicate things if it is not alloyed. </block>
    <block> A <plant>pansy</plant> which is oiled with <material>wheat oil</material> can be cast with alloyed <material>gold</material>. </block>
    <block> And other <plant>fruit leaves</plant>, but with branch[es] that are not large and especially the
        leaves, once cast, can be soldered. </block>
</entry>

<entry identifier="p138v_3">
    <folio number="138v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f282.item.r="/>
    <heading>Imitation diamonds set into the work </heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> Spread a fine layer of imprinting <material>black wax</material> on the inside of the frame then coat it
        inside with <material>wheat oil</material>, then dust it with lamp smoke because this color should not be
        lustrous for fake stones. Having done this, set your stone with a piece of <material>wax</material> then, with a
        <tool>steel point</tool>, or a small <tool>finishing hammer</tool>, join the edge of the frame with the stone, so that
        light cannot get in but be careful not to hit the stone, which would break.</block>
</entry>
<entry identifier="p139r_1">
    <folio number="139r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f283.image"/>

    <heading>Casting with <material>lead</material> and <material>tin</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting animals"/>
   
    <!-- <related-block>  -->
    <block purpose="making">
        <!-- <activity type="casting">  --> The way I have done it <!-- casting --> for
                <animal>lizards</animal> and <animal>serpents</animal> is with two <unit>℥</unit> of
            pure <material>tin</material> for one <unit>lb</unit>. of unrefined
                <material>lead</material> that is impure.<!-- </activity> -->The mold is made out of the
        aforementioned <material>sand</material>, common for all metals, when it is reheated, leave
        it to cool until you can put your finger in it without causing a breach in the gate of the
        cast. As for the <material>lead</material>, it is melted in a <tool>crucible</tool> with a
        bellows' fire until both the <tool>crucible</tool> and the <material>lead</material> are
        red. When it gets to that state, cleanse it anew with <material>charcoal</material> or with
        a specially made <tool>scraper</tool> or with the pufts of the little bellows. This done,
        leave it to rest in it red state and you can even reheat it, then if you want, throw in a
        bit of <material>resin</material> to burn away the filth. However, some think it best not to
        put any in because it leaves filth. But when they are ready to cast, they cannot forget to
        also thrown in a bean-size quantity of <material>bismuth</material> for each pound of
            <material>lead</material>. And it must be as red as the melted metal when it enters the
        mold. If the mold is large, it is much better to put in in a <tool>press</tool> so that they
        join well and so that the <material>lead</material> does not come out of the mold. However,
        should this happen, and that for the first, second or third time your mold does not fill up,
        cast heartily because for as long as your metal is red it will mix and join with the other
        one and will come out very neatly like the main one. The same thing can be said for pure
            <material>tin</material> used for thin things. And that way for doing pure
            <material>tin</material> is one <unit>℥</unit> of new <material>lead</material> for one
            <unit>lb</unit>. of the former. Large molds must be put in a press held tightly between
        two <tool>layers of copper</tool>, and then bury the whole thing in
            <material>sand</material>, which is better than ashes, because being heavy, it will seal
        better. Otherwise large molds are prone to open because the metal is heavy. Some make square
        molds </block>

    <!-- apart from having marginalia as related blocks we also have related folios when the body of one entry moves to the next folio as below;
When we use <realted-block> across folios it disrupts the positionality of marginalia if they lose their position, especially at the top of the page, where would they be placed in the consolidated entry? I am assuming that we are trying to have a continous entry without pagebreaks

-->

    <folio number="139v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f284.image"/>
    <block>are made of earth or blades of <material>copper</material>, or <material>iron</material>,
        or wood covered with white iron, in order to bury more easily these aforementioned molds
        between the thin <tool>sheets of copper, estric or one of iron</tool>. </block>

    <!--in the above block I am not sure how to distinguish between material and tool-->

    <!-- </related-block> -->


    <block position="left-top" purpose="making"> When the metal is thick, you do not need to cast as
        hot as when it is thin. </block>
    <!--the marginalia above and below can be classified as making or advice; however making seems to be more applicable since the block is giving adice for making; this makes me wonder if purpose can be defined at the entry level; of course, there are time when purpose has to be defined at the block level-->
    <block position="top" purpose="making"> When you melt this often, it becomes sour and fragile
        because it has to be cast very hot and it makes it half-calicanated. Use new stuff. </block>


    <!--the following three blocks are related to each other, this can be verified both when we read them one following the other and when we look at the image of the folio -->

    <!-- <related-block> -->
    <block position="left-top">+ </block>
    <block position="left-top" purpose="making"> Note that If you want to cast with cuttlefish bone,
        they cannot be too warm because that would burn the cuttefish. For this effect, try
            <material>paper</material>. It it becomes brown, it is enough, and it is good for
        casting, but if it blackens the <material>paper</material>, then it is too hot.</block>
    <block position="left-bottom" purpose="making"> If you want to cast <material>paper</material>
        with writing on it, make a mixture with half <material>lead</material> and half
            <material>tin</material>. As soon as it is melted, throw it between two pieces of
            <material>cardboard</material> on a flat place that is level. And with a point or
            <material>gold</material> or <material>hard wood</material>, engrave on the left the
        writing that you want. And having poured the <material>lead</material> onto the
            <material>cardboard</material>, press onto it the other piece of
            <material>cardboard</material>.</block>
    <!-- </related-block>  -->



</entry>
<entry identifier="p139v_1">
    <folio number="139v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f284.image"/>
    <annotations>
            <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDTjV5QVV3NndVSVk" title="Black Sulfured Wax, fol. 139v (Kang and Lores-Chavez)"/>
        </annotations>

        <heading>
            Casting wax to mold an animal that one has not got
        </heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="wax casting"/>
        <block>
            Take some <material>white wax</material> which is much more
            appropriate for this kind of work than anything else, because it is much firmer and does
            not leave as much filth, as much as you need to cast the animal that you propose, and no
            more. And [take] a half quantity of ground <material>coal</material> and neatly sieved
            through a <tool>cloth</tool> or <tool>coal sleeve</tool>, using it to give some color to your <material>wax</material>,
            that would otherwise be transparent and you will not be able to see your lines as
            clearly. Put your <material>wax</material> on the coal fire to melt. And when it is well-melted and
            well-liquified, have, for a full <tool>eared-porringer</tool> of melted wax, as much
                <material>sulphur</material> as a large walnut. Pulverize it. Melt it over a slow
            fire and when it is melted, do not leave it on the fire because it will become too hard.
            But take it off and keep stirring it with a little stick and when it has finished
            bubbling and is as liquified as water, cast it into the wax that you will have
            previously removed from the fire. And mix and stir both of the them so that they join
            together. After stir in little by little while continuously mixing, the charcoal that
            has been repeatedly ground, and in this way it will be very well incorporated. This is
            how you will know that your wax has gone beyond its ideal heating point, it will release
            no more smoke, it will start to have lines appearing on the side and not in the middle,
            and those lines will be close to each other. If you cast too hot, you will not be able
            to separate your <material>wax</material> from your mold and it would stick to the cast. When it is at the
            right state, stir it with a little stick so that the pulverized
                <material>charcoal</material> is well mixed in and has not fallen to the bottom of
            the mixture. And in this way, throw it in your mold bit by bit and not in one go,
            because <material>wax</material> is not runny </block>

        <block position="left-top" purpose="advice"> This <material>black sulphured wax</material>
            is for fashioning round figures that do not come out of the mold. And they need to be
            burned in the moule au <material>noyau</material> rather than be opened like the ones
            that have something jutting out or an intertwining of legs and arms. And this <material>wax</material>,
            thanks to the <material>sulphur</material>, will melt with little heat and leave without leaving any filth.
            If by some misfortune the crushed charcoal remains in ashes, when you open the mold and
            blow on it, it will come clean. </block>

    <block position="left-bottom" purpose="advice"> To make wax <animal>serpents</animal> or other things to
            affix to candles, it is necessary to cast them with <material>esbaucher wax</material>
            of all colors. </block>



    <folio number="140r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f285.image"/>


        <!-- in the block below there is a mention of preceeding recipes, how far back in terms of recipes does such a reference go; how do we reference these other recipes here? -->

        <block identifier="p139v_a1" purpose="making"> not like other things. And for this one, you
            can cast two or three times until your mold is full. Now, concerning this mold of
            pulverized <material>white plaster</material> &amp; reheated in the manner of the <material>sand</material>
            from the preceding recipes, you should have made it long ago because it is used many
            times. But, before using it, soak it for a good hour in cold water, &amp; at a minimum,
            at least as long in hot water that at first is so hot that you can't hold your finger in
            it. And note that it absorbs no more, but that it appears very wet overall without water
            seeping into it. In removing it closed from the hot water, cast your <material>wax</material> in such a state
            of heat as has been described. And neither the first nor the second casting will readily
            come out well, hardly, until the mold is soaked. Let it cool down before opening it so
            that the cast thing not break. You will know that the casting is good when the <material>wax</material>
            coming back out of the mold is thin and even. Remember to make several castings along
            the whole length of the mold so that in this way the wax runs better. Make the
                first<figure identifier="fig_p140r_1"
                url="https://drive.google.com/open?id=0B9-oNrvWdlO5NFdsdU4tVFgxOTg"/>casting twice
            as large as other molds. And if, in the first casting, your work fills with bubbles and
            in so doing does not come out neatly, it's all the same, because you have to face the
            fact that the three or four first do not readily come out well. Firstly, you will know
            whether there are a few barbs that keep it from stripping well. And you will remove them
            if, on their own, they do not remove themselves in the two or three first castings. And
            the more that you cast, the more you will do it neatly. And your mold will serve you
            more than one hundred times if it Is well governed. But it is good to soak it one night
            or one day before casting so that it be well soaked. The same must be done for fruits
            made from sugar. This <material>wax</material> is very soft &amp; friendly &amp; pliant, like <material>copper</material>. And if
            it is hard [this is] because of <material>sulfur</material>, which makes it melt more
            easily than than other [wax], so much that you can see evidence on a hot slate. And the
            <material>sulfur</material> that you put inside will be found the second time that you melt it, [as] cracks
            on the bottom. Having in this way passed through wax, it will not catch fire at all when
            put to a candle. And in this case, I believe that it will cast quite the medal
            [illegible]. One uses the same wax in place of varnish to [illegible]. </block>

        <!-- in the above block I used an image-tag -->

        <block position="left-middle" purpose="making"> When your animal is cast, cut away the froth
            &amp; superfluous things with a hot <tool>pen knife</tool>. And if you want, plait and wrap it around
            some stick or candle, put it in some hot water to soften and hold it in turning it
            around. </block>

        <block position="left-middle" purpose="making"> Lower the protrusions of the castings so
            that they be even &amp; that the wax has more <material>silver</material> so that it can
            run all in one go without turning through the windings of the <animal>snake</animal>. </block>



    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>

        <block purpose="making"> to engrave on <material>silver</material> &amp;
                <material>copper</material> with <material>aqua fortis</material>. With this [wax]
            too, one fills the cavity of a relief, &amp; then casts in this cavity, with moistened
                <material>sand</material>, which immediately takes the relief very neatly. And then
            you can cast its cavity on it in <material>copper</material>, <material>gold</material>, and <material>silver</material>, and make really singular
            seals. </block>

        <block position="left-top"> Seals </block>


</entry>
<entry identifier="p140v_1">

    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDflhIMDlEVnBRZU4xcnNFVTVQcURmNzdqUHJGTDNFdzk1MEdld2Jsenk0bDA" title="Sulfur and Additives"/>
    </annotations>

        <heading>To cast in <material>sulfur</material></heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting with sulfur"/>
        <block purpose="making"> To cast neatly in <material>sulfur</material>, arrange the pith of
                <tool>bread</tool> under the <tool>brazier</tool>, as you know. Mold whatever
            you want into it &amp; let it dry &amp; you will have very neat work. </block>

        <block position="left-top" purpose="advice"> Try <material>sulfur</material> passed through
            melted <material>wax</material>, because it will no longer ignite &amp; and make
            eyelets. </block>

    
</entry>
<entry identifier="p140v_2">
    <folio number="140v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f286.item.r="/>

    <heading>Molding and shrinking a large shape</heading>
    <purpose type="making"/>
    <activity type="handling large shapes"/>
    <block> Mold it with the pith of <material>bread</material> just out of the
        oven, or like that aforementioned, &amp; in drying out it will shrink &amp; consequently so
        will the medal that you will cast. By these means - lengthening out or enlarging the
        imprinted <material>bread</material> - you can vary the shape &amp; from one face make
        several different ones. The <material>bread</material> straight from the oven is best. And
        the one which has been heated twice contracts more. You can cast <material>sulfur</material>
        without letting the imprint on the bread dry, if you want to cast it as large as it is. But,
        if you want to let it shrink, let it dry to a greater or lesser extent. </block>

</entry>
<entry identifier="p141r_1">
    <folio number="141r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f287.image"/>

    <heading>Casting a crayfish</heading>
    <purpose type="making"/>
    <activity type="casting"/>
    <activity type="casting animals"/>
    
    <block purpose="making"> The <animal>crayfish</animal> is one of the most fantastical to cast,
        but also <!-- <activity type="reference"> -->provides an example for casting
            other difficult things<!-- </activity>  -->. You can distinguish males and female by the eggs that
        the females carry, and by the four little white back legs that males have in their tails
        after behind main eight legs. It is good to dry them out a bit so that the bumps come out
        more hard and beautiful, because none of what is made of shell shrinks. It is true that
        should you dry the little inside legs for too long, they become diminished and have no body.
        If they are too dry, the flesh separates from the scales. Be sure then to maintain the mean.
        They have certain hairs between the legs and at the end of the tail. And because all hair is
        difficult to cast, because it gets mixed up in the sand and does not release, you can burn
        it by putting a <tool>hot iron</tool> on the <animal>crayfish</animal> so that it the hair cannot be seen. As
        for animals that have hair or feathers, you must grease the hair with <material>wheat
            oil</material>, which is very dry and which will make the hair lay flat and straight. In
        this way, you will have form of your animal and you will have the hair. Should it the hair
        be wavy, it can be repaired. If your crayfish has eggs, which are delicate, and which will
        be difficult to take out of the mold without breaking, you would do better to make the first
        cast with the crayfish on its belly and eggs. In this way, you will open the mold with it
        the <animal>crayfish</animal> on its back, which will be hard and easy to manipulate. And the belly and the
        eggs will remain in the mold. And rather than opening your mold for the second time, you
        will have to burn it with them in it. This way, it will open easily, and what has been
        burned will come away cleanly. In this way, the second casting, which is done on the first
        one that has successfully taken hold, separates easily from the first, after having been
        refired. This is a singular secret for similar moldings. </block>

    <block position="left-top" purpose="making"> The casting is made by the very thin tail. </block>

    <block position="top" purpose="advice"> If some little thing is missing, you can reattach it or
        else fill it with <material>goldsmith's cement</material>. </block>

    <block position="left-top" purpose="advice"> Do not forget to rub with
            <material>spirits</material> before you mold. </block>

    <block position="left-top" purpose="making">
    <!--   <activity type="reference"> -->
        <animal>Stag beetles</animal>, <animal>crayfish</animal> and <animal>crabs</animal> are
        molded in the same way.
    <!--    </activity> -->
    </block>

    <block position="left-middle" purpose="advice"> If your <animal>crayfish</animal> has no eggs, mold the back on
        top and the belly on the bottom. You can give it some. </block>

    <block position="left-middle" purpose="advice"> It the <animal>crayfish</animal> can be molded hollow for the
        body, but not for the legs. And for a good result, take note that the <animal>crayfish</animal> is rather
        fantastical to mold hollow, this ought to be reserved for <animal>turtles</animal>. </block>

    <block position="left-bottom" purpose="making"> When you open your mold, you will find the
        <animal>crayfish</animal> has white bones, but they will not be powder. And without opening it, the mercury
        will not have affected the process. </block>

    <block position="bottom" purpose="making"> Apply very <material>light oil colors</material>. </block>

    <block position="bottom" purpose="making"> To paint it, boil it with <material>wine</material> and a bit of
            <material>salt</material> so that they become very red and use this as a model. Paint
        the back with <color>vermillion</color> mixed with <material>laquer</material>, and the
        sides and the underside of the belly and the legs with <color>vermillion</color> and
            <color>yellow ochre</color> and <color>white</color>. </block>



    <folio number="141v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f288.image"/>

    <block purpose="making"> Let your crayfish dry a little in the sun, by itself. If it has spawns,
        they will shrink while drying, and be all the more beautiful for it. Make your paste out of
        yellow <material>potter's earth</material>, just like for the other representations. Lay
        your <animal>crayfish</animal> on it, the back side down, and the other parts which are more tricky to mold
        -- legs, belly, eggs - side up. Drive in the back side in the <material>clay</material> paste up to the legs,
        which is about the half part of the crayfish's body. Fix the body with a pointy <material>iron thread</material>
        in the middle and, if you feel you need it, you can also drive another one at the edge of
        the tail. And in order that the big legs be lower than the head, which is lower because it
        is linked from below, add a little <material>clay</material> under the head. Then add a bit
        of <material>clay</material> under the <material>jacket</material> in order to raise it. Hide the feelers under
        the clay and under the crusher claws, then arrange it as you like. Stretch out the walking
        legs to the joints, and for the first cast, bend the second part of the walking legs. Fix
        the joints of the legs with <material>wax</material> and a warm <material>wire</material> so they will not move. If you want to mould
        something fancier, fix the end of one walking legs on the body or on a crusher claw , using
        the same <material>wax</material>. If the female has spawns, bent half the tail over the
        spawns, and keep the shape by fixing the tail with a <material>wire</material>. Be sure that you will be able to
        clean this part. Finally rub your <animal>crayfish</animal> with <material>spirits</material>, and cast your <material>sand</material>. Once the sand
        is hardened, uncover the back side, the head, the eyes, and the small legs close to the
        crusher claws, and the walking legs all along. One must uncover these parts as much as
        possible. Then bend and cover the spawns again. The other animals </block>

    <block position="left-top" purpose="making"> Fix what may raise the two padded edges on each
        side of the mouth with melted <material>wax</material> under them. </block>

    
        <figure identifier="fig_p141v_1" position="left-middle"
            url="https://drive.google.com/open?id=0B9-oNrvWdlO5R0NIbHoyNTNQRlk"/>
    
    <!-- ![fig_p141v_1] (https://drive.google.com/open?id=0B9-oNrvWdlO5R0NIbHoyNTNQRlk)
-->

    <block position="left-middle" purpose="making"> Uncover as many parts as possible, but be sure
        the channels you make are well stripped. </block>

    <block position="left-middle" purpose="making"> Incline your mould to the thickest side of the
        animal. </block>

    <block position="left-bottom" purpose="making"> To paint the <animal>crayfish</animal>, one paints the middle of
        the back with <color>vermilion</color>, mixed with a bit of <material>lacquer</material>.
        The sides, the belly, and below the legs with a mixture made of <color>vermilion</color>,
            <material>ceruse</material>, and a bit of <color>yellow ochre</color>. As with all
        things, always keep the real one in front of you in order to copy it as realistically as
        possible. </block>
    <block position="left-bottom" purpose="making"> Lay the feelers on the crusher claws, or solder
        this part with a wire made of bleached brass. </block>
    <block position="bottom" purpose="making"> When you arrange the legs, be sure that they do not
        get over the belly, and that they are well set against the belly otherwise [illegible] </block>



    <folio number="142r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f289.image"/>

    <block purpose="making"> are not so uncovered. But since <animal>crayfish</animal> are troublesome to burn &amp;
        clean, you have to uncover them as much as you can, even the little legs just until the
        tips, because they are troublesome &amp; if, in order to not alter them, you have to take
        them out, you could break something of the mold. Having uncovered it with the point of a
            <tool>knife</tool>, like an <tool>engraving stick</tool> or another fitting thing, clean
        off the <material>sand</material> at the joints &amp; elsewhere with your little brush
        really very scrupulously. And if something is loosed from the <animal>crayfish</animal>,
        attach it with <material>wax</material>, as is discussed. And also attach the horns this
        way. And also do the casting the length of the extremes of the little legs with <material>wax</material>. And
        refill the holes that have been made with the needles of <material>iron wire</material> with
        it. And everything being quite clean &amp; having uncovered more than half of it, <material>oil</material> your
        mold after having soaked the back side in water, &amp; do not forget to <material>oil</material> all the fine
        parts that are between the legs and the little beaks; then rub the <animal>crayfish</animal> with <material>spirits</material>.
        And do your second casting after having made the first mold even, so that the cramp-irons
        join better. Your mold must be larger on the side with the impression than on the back. Do
        not open your mold after the second casting, so that it not become clayed &amp; reheated
        &amp; that which is inside not be burned. Do not forget to mix <material>crocum</material> throughout your sand
        when you mold the <animal>crayfish</animal>, because you must really reheat it &amp; the
        <material>crocum</material> withstands this marvelously. To mold a <animal>crab</animal> &amp;
        to mold a <animal>crayfish</animal> are exactly the same. When you have uncovered
        your <animal>crayfish</animal> on one side do not delay at all before doing the second casting, because
        <animal>crayfish</animal> dry out. It is not enough to uncover the <animal>crayfish</animal> such that you see the whole half
        the half you uncover, but take heed that your mold, even when you are uncovering, be good
        and stripped, because if the <animal>crayfish</animal> gets well burnt, you will not be able to open your
        mold without breaking it. </block>

    <block position="top" purpose="making"> Restore it with a <tool>pen knife</tool>, little <tool>chisels</tool>, or
            <tool>engraving sticks</tool>. </block>

    <block position="left-top" purpose="making"> As you see here, but a wax casting all around &amp;
        at the end of the tail, where you will do the principal casting, two or three more. 
    </block>
    <figure
        identifier="fig_p142r_1"
        position="left-top"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5Qkh2MDhvUkFnUW8"/>


    <!--
![fig_p142r_1] (https://drive.google.com/open?id=0B9-oNrvWdlO5Qkh2MDhvUkFnUW8)
-->

    <block position="left-middle" purpose="making"> Make the casting with <material>candle
            wax</material> shaped in a thread like a large packthread, the whole length from the end
        of the claws to the extremity of the tail. If there is also some claw end or other part that
        is extended past the rank of the others or is raised up higher or turned up all alone, make
        a wax casting for it from its end just barely not joined to the body or to one of the large
        claws or to some other place where lots of metal will be wedged in. </block>

    <block position="left-bottom" purpose="making"> Having uncovered it, attach &amp; secure the two
        little bearded horns of the crayfish, and anything else that is not secured, with wax. </block>



</entry>
<entry identifier="p142v_1">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  
  <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDfkJmS2RybjBpTmpsVFhDQVo1RVZKMjRGY0d6QlNTYVhqS1VsYi13a0FkLUU" title="Too Thin Things"/>
  </annotations>
  
  <heading>Molding grasshoppers and things too thin</heading>
  <purpose type="making"/>
  <activity type="casting"/>
  <activity type="casting animals"/>
<activity type="casting things too thin"/>   
  <!-- <related-block>  -->
    <block purpose="making"> If you have to mold a piece of written-on paper that
          is too thin, after you have done the first cast and it has set, give
      a little thickness to the reverse of your paper with <material>melted butter</material>, which
      is the most appropriate means there is, &amp; for strengthening the wings of either a
      <animal>butterfly</animal> or a <animal>grasshopper</animal>, or any delicate part of an animal to which you need to
      give thickness. But take heed to apply this melted <material>butter</material> under the wing or
      in whichever place it will not be seen. For giving thickness to a <plant>pansy</plant> or other
      flowers, <material>butter</material> is not good, but rather <material>wheat oil</material>, which is
      soon dry &amp; holds firm. <material>Wax</material> would not be appropriate here for it is
      too hot once melted, and it makes the thing to which it is applied contract. But butter is
      amiable and handleable. </block>

  <block position="left-top" purpose="advice">If you write on <material>paper</material> or on common <material>carton</material> and your
      letters are made with <material>gum</material>, the moisture of the <tool>clay plate</tool>
      (?) or the wet (?) <material>sand</material> for a <material>noyau</material> will moisten
      your letters and undo them. Write therefore with <material>cinnabar</material> mixed with <material>oil</material>,
    on oiled &amp; stamped (?) <material>paper</material>. </block>
  <!-- </related-block>  -->

  <block position="left-middle" purpose="advice"> + Reheat your molds with
      <material>charcoal</material> firstly lit in the forge, so that the fire is not too hot and
    does not break the molds. And do not fire as strongly where the mold is thin as where it is
    thick. </block>

</entry>
<entry identifier="p142v_2">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  
    <heading>Molds</heading>
    <!--this entry seems to be about advice on handling molds-->
  <purpose type="making"/>
  <activity type="maintenance"/>
  
    <block purpose="advice">Make some notches in them the molds that enter more into the inside of
      the mold than the outside because in this way, they have more strength. Take care to keep from
      reheating them suddenly in a burning hot fire, because this will make them break. </block>

    <block position="right-middle" purpose="advice"> Do not keep them molds in a humid place, nor an
      enclosed place if they are not well dry, because they will mold. The same with dried animals. </block>

    <block position="left-middle" purpose="advice"> It is not at all necessary to reheat the molds
      two times when the animal can pull away without burning, as do <animal>toads</animal>, which can very well be
      molded hollow like all thick animals. However, it is always good to redden the mold once. </block>
  
</entry>
<entry identifier="p142v_3">
  <folio number="142v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f290.image"/>
  <heading> Lute for luting your molds </heading>
  <purpose type="making"/>
  <activity type="luting"/>
  <block purpose="making">I have not found a <material>lute</material> that is made more quickly than this one, nor a
    better one. Take some of the <material>lean earth that artillery founders and bell founders use</material>
      to make their trusseaulx and molds, which is lean and sandy. Soak it moderately
      like a very thick <material>mortar</material>. Mix into it about one half of <material>horse manure</material> and
    then beat it well. Afterwards mix in one third of <material>cloth waste</material> or <material>cloth
      shavings</material> and beat it again quite strongly. You can reheat your mold as soon as the
    <material>lute</material> is ready. </block>
</entry>

<entry identifier="p143r_1">

    <folio number="143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>

    <heading>Moulding turtles and tortoises</heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> The <animal>turtle</animal> the one that lives in water is more beautiful to mold because it has prettier
        scales and straight legs. And the <animal>tortoises</animal> have crooked ones. They eat a lot. To get ready
        to kill them, open their mouth and pass a long <tool>penknife</tool> through all the intestines. And then
        make it swallow some <material>vinegar</material> mixed with <material>spirits</material> or <material>urine</material>, as one does for <animal>snakes</animal>. It is
        necessary to mould them in several pieces, and even the back sometimes because the sides of
        certain ones are narrower than others and in this instance do not release from the cast. To
        make them die, you must not boil them, because they come apart, even the shell, in the hot
        water. They the shells come out better when hollowed because their great thickness spoils
        the mold. <animal>Turtles</animal> are more lively. The <animal>tortoises</animal> are leaner, slower, and more sleepy. If you
        scratch <animal>turtles</animal> on their shells, no matter how sleepy they are, they move; <animal>tortoises</animal> do not. </block>

    <block position="left-top"> They <animal>turtles</animal>/<animal>tortoises</animal> die rather quickly in <material>vinegar</material> mixed with a little <material>spirits</material>
        or <material>urine</material>, as with all other animals. </block>

    <block position="left-top"> They <animal>turtles</animal>/<animal>tortoises</animal> keep their eyes closed in the winter, and appear as dead,
        having been numbed by the cold. They hide in the earth or under balls of grain or warm
        manure, and survive only on the dampness of the earth. </block>

    <block position="left-middle"> You must not mold them too soon after they die because they are still stiff.
        But on the day after, you will be able to manipulate them and bend their legs as you wish. </block>

</entry>


<entry identifier="p143r_2">
    <folio number="p143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>
    <heading>
        <profession>Moulders</profession> from Foix</heading>
    <purpose type="observation"/>
    <activity type="making sand"/>
    <block> Those who mould from across the way make their <material>sand</material> from
            <material>crocum ferri</material> and <material>calcinated slate</material>, but
            <material>slate</material> always retains its bumpiness and swells because it is a
        fatty. In the <material>noyau</material>, it is not good; in <material>sand</material>, it
        can be put to use. They the <profession>moulders</profession> from <place>Foix</place> sieve
        their sand, grind it on porphyry, and soak it in water, and they keep the finest bits which
        are on the top, then they reheat it. </block>


</entry>

<entry identifier="p143r_3">
    <folio number="143r" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f291.image"/>
    <heading>Toad</heading>
    <purpose type="making"/>
    <activity type="casting animals"/>
    <block> Having been molded, you can take it out it without burning it, because it releases
        easilyfrom the mold. Choose the biggest and the lumpiest <animal>toads</animal>. Because they contain a lot
        of metal, it is best to mold them hollow, since they turn out better. You could make your
        cast in one great piece, but it would be troublesome to cut. It is best to do it in three or
        4 parts, which will be thicker close to the animal, and include the most amount of edge that
        is close to the cast/mold. Make as well some casting conduits all the way from the end of
        the cast,</block>

    <figure identifier="fig_p143r_1" position="left-bottom"
        url="https://drive.google.com/open?id=0B9-oNrvWdlO5cnJFVXFaRURaY3c"/>

    <block position="left-bottom"> Let the mold cool rather than opening it, even for thick things. </block>

    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>

    <block> from one leg to another, so that the spread out limbs are in connection with one another
        due to the aforesaid casting conduits, which you will start in the waxless round parts that
        you have put at the edge of the legs to attract the metal. In this way, because you are
        casting in <material>wax</material>, there is no danger chipping any part of the molded animal. It's quicker to
        make the wax casting conduits thus, because in this way you can cast the second mold after
        the first, rather than wait to do them the conduits after the mold has been recooked,
        because then, if possible, you will need to have everything ready. You need to heat well,
        and even redden the molds where there are wax conduits so that they melt and leave nothing
        inside. </block>

</entry>

<entry identifier="p143v_1">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading>Openwork carcanets </heading>
    <purpose type="making"/>
    <activity type="embellishing"/>
    <block> You can mold them "en <material>noyau</material>" like <animal>crayfish</animal>, first
        with one side being made higher with <material>clay</material>, which is hollow, and then
        you open it from the other side and make the second casting. You can just as well cast them
        "en chassis", provided that they release well. If they do not, you can do a rough cast in
            <material>wax</material>, or you can fill up the cavities which do not release well with
            <material>wax</material> or <material>clay</material>. </block>

</entry>

<entry identifier="p143v_2">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading><material>Iron filings</material></heading>
    <purpose type="making"/>
    <activity type="maintenance"/>
    <block> Because usually filings are mixed with impurities, it is good to heat them over fire to
        burn the filth and then wash them in clear water. In this way, the dirt will rise to the top
        of the water, which you will throw out, and the good <material>filings</material> will go at the bottom. </block>
</entry>

<entry identifier="p143v_3">
    <folio number="143v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f292.image"/>
    <heading><plant>Carnations</plant></heading>
    <purpose type="making"/>
    <activity type="casting plants"/>
    <block> Because those that you usually cast are generally quite big, they are heavy. And so for
        these, you make them with <material>silver leaf</material> or <material>slivers</material>. </block>
</entry>
<entry identifier="p157v_1">
<folio
number="157v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f320.image"/>

<heading>Ashes in the moulds</heading>

<block><purpose type="advice">You must let the mold cool down rather than blow into it to try to get the ashes out.  Because when the mold is hot, the ashes stick to it, and when it cold, they separate from it more easily, and will exit by blowing with le vent a vapeur.</purpose></block>
</entry><entry identifier="p157v_3">
<folio
number="157v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f320.image"/>

<heading>Po{ur} f{air}e h{…} vin f{…}rs [?]</heading>

<block><foreign language="Latin">Prenez un chausson du pied droid t qui ait este porte et le faictes

tremper en eau et de leau q{u}i en sortira la f{air}e boyre au mesme

ou autre et v{er}rez merveilles</foreign></block>
</entry><entry identifier="p158r_a1">
<folio
number="158r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f321.item.zoom"/>

<heading>Mercury in molds, for cleaning</heading>

<block><purpose type="making">Take heed that your mold be quite cold when you blow in order to get the ashes out. And afterwards put in <material>☿</material> in order to finish the cleaning. Because if the mold is hot, the <material>☿</material> will go inside; seek out the conduits in escaping, will leave its own odor, which will aggravate the tin or other metal that you will cast, such that it will break in touching the mold at all. The heat of the mold also retains some little grains of <material>☿</material> that will make lumps; stick to the sides of the molded leaves and attach to them; make them frangible. The <material>☿</material> cleans ashes well. Likewise flat things where there are not delicate traces that it could break with its weight. And therefore, if you can cast neatly without putting it in, don't use it at all. But if you have need of it, mix your <material>crocum sand</material> so that it withstands fire well. And after having put in the <material>☿</material>, evacuate it, bouncing the end of the mold from below while moving it. Afterwards reheat your mold gently so that the <material>☿</material> is gone from everywhere. In this way I cast a branch of periwinkle leaves; flowers very neatly. Having put a branch of melted [illeg] in the flower, on the back of the <material>flower</material> [illeg].</purpose></block>

<block position="left-bottom"><purpose type="advice">Reheat your <material>mold</material> until it is good and red before casting, so that the <material>☿</material> evaporates well.</purpose></block>

</entry><entry identifier="p158v_1">
    <folio number="158v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>
    
    <annotations>
        <annotation url="https://drive.google.com/drive/folders/0BwJi-u8sfkVDSU1RN3ExeW5WclU" title="Color for Green"/>
    </annotations>
    
    <heading>Colors for green leafs</heading>

    <block>
        <purpose type="making">One usually paints them with <material><foreign>oil</foreign> colors</material>, because
            distemper colors do not stay on. For <material>marigold flowers</material>, lightly
            ground <material>minium</material> for some of them; for more yellowish ones, mix in a
            bit of <material>massicot</material>. For green, the <material>vert-de-gris</material>
            is dark and too somber. If it is a yellowish-green, you can mix with the
                <material>vert-de-gris</material> a bit of yellow ochre and scudegrum. If the green
            is dark, mix in some coals made from peach pits, which makes a greenish-black, in the
            same way than the bone of an ox foot bone makes a bluish-black. And in such a manner, by
            judgement and discretion, put the color on the natural flower or leaf to see whether it
            is similar to the original. But paint it on very lightly so as not to cover the features
            of the work.</purpose>
    </block>
</entry>
<entry identifier="p158v_2">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>Large molds</heading>

<block><purpose type="advice">Because of the heaviness of the metal, it is necessary to put them in a press so that they do not open.</purpose></block>
</entry><entry identifier="p158v_3">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>Candle smoke</heading>

<block>It allows the piece to be taken out more easily, and even if it is slightly thick, it does not stick because it has no substance. I have perfumed my <material>core molds</material> this way for <material>tin</material> and <material>lead</material>, and I have casted in a <material>cold mold</material>, but drying it well beforehand, and the piece came out quite cleanly. It is true that lead mixed with half the quantity of tin, because the medal was very thick, was very hot.</block>
</entry>








<entry identifier="p158v_4">
<folio
number="158v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f322.image"/>

<heading>casts</heading>

<block><purpose type="advice">If the <material>medal</material> is very thick, do not pour a cast that is as thick; the cast just needs to be half as thick as the <material>medal</material>. But if it is thin, make a cast that is of the same thickness. Do not forget to make vents in the cast or the whole matter will fill with bubbles.</purpose></block>

<block position="left-bottom">Never forget to oil the cast with wax when you cast herbs or flowers, otherwise it will break and cannot be taken out.</block></entry><entry identifier="p159r_a1">
<folio
number="159r"

url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Portraits in Wax</heading>

<block>If you do not mix your wax with any <material>color dye</material>, and if you paint some <material>colors</material> on the <material>wax</material>, these <material>colors</material> would fade if you cast it en noyau. But the representation is not damaged, rub it very lightly with <tool>spirits</tool> diluted with hot <tool>water</tool>. If your representations are varnished, repeat the molding process two or three times in order to remove this varnish which sticks to the mold. When the <material>varnish</material> is removed, your mold is very clean. If your representation is set on <material>wood</material>, it is necessary to pour very hot <material>melted wax</material> on the <material>wood</material>, otherwise the mold sticks to the wood. It is much better to mix your white wax with <material>white lead</material> than <material>ceruse</material>, because <material>white lead</material> is whiter and more firm.</block>
</entry><entry identifier="p159r_a2">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Chasing tool</heading>

    <block><purpose type="advice">If a <material>chasing tool</material> has passed through any part of the representation, it is necessary to rework the whole thing and follow it all again. Otherwise it would look like an additional piece.</purpose></block>
</entry><entry identifier="p159r_a3">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Fish glue</heading>

<block>Beat it very finely and thinly on a <tool>well-cleaned anvil</tool>, then dilute your <material>glue</material> with <material>spirits</material>, put the mixture on <tool>hot ashes</tool>, and on a <tool>low fire</tool>, it will melt very soon. If the <material>glue</material> is not strong and thick enough, add <material>spirits</material> in greater quantity. <purpose type="advice">Do not melt it in a fatty pot, but in a new pot if possible. It melts on fire and dries very quickly on fire.</purpose> When your <material>glue</material> sets on the work, heat it away from fire, it will stick very strongly. One reworks <material>flowers</material> and delicate things made from <material>silver</material>, <material>gold</material>, <material>tin</material> and other <material>metal</material> with this glue which will not spoil your work.</block>
</entry><entry identifier="p159r_a4">
<folio
number="159r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f323.item.r="/>

<heading>Tin and lead</heading>

<block><purpose type="making">They must be beaten out very finely and <material>tin</material> will not get brittle or break, <material>lead</material> is a bit fatter. But that is why it is necessary to reheat it under hot ashes, and to beat several <material>leaves</material> together.</purpose></block>
</entry>
<entry identifier="p159v_a1">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Cleaning files</heading>

    <block><purpose type="advice">Sometimes they get fat from the grease of lead, which is naturally fat, or also filings corrode them. And you will be able to clean them with hot charcoal or a wire brush made from brass.</purpose></block>
</entry><entry identifier="p159v_a2">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Carnation</heading>

<block>Mold a carnation like a <material>rose</material>, <material>marigold</material>, and all other <material>flowers</material> as discussed, that is to say cast the <material>flowers</material> in one mold, and the <material>leaves</material> in two parts in order to solder them onto the <material>flower</material>, this is the better way. But you could <material>mold</material> the flower and the leaves together in one single closed mold. <purpose type="advice">I tried one which came out well from the mold. But the sand must be very thin, and you must blow very strongly.</purpose></block>

<figure identifier="fig_p159v_1"
position="left-middle"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5LXNkdWdBLXZ1RVk"/>
</entry><entry identifier="p159v_a3">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Molds</heading>

<block>Try to make one side as thick as the other, that way the two parts will be equally reheated. You can open this kind of mold in order to clean it, when you mold some animals, like crayfish, which burn. When your mold is reheated, do not wait too long before casting again, because it gets damp and loses its strength.</block>
</entry><entry identifier="p159v_a4">
<folio
number="159v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f324.item.r="/>

<heading>Unmixed plaster</heading>

<block><purpose type="advice">If you reheat <material>plaster</material> as a stone it would crumble into water, but if you grind it before reheating it, it will not crumble into water, on the contrary it will harden in water, if it is good plaster like the one from Paris or from Spain which is as hard as a stone, and which is found through poor and dry earths, and which looks like white salt. German people use this plaster to make statues for their fountains, even if the statues are varnished they will not be damaged with water. On the contrary harden this <material>plaster</material> with water. When this sand is unmixed it sets much sooner. <tool>Oil</tool> very lightly your <material>shapes of metal</material> or of other materials otherwise you will not be able to strip <material>plaster</material> from the <material>mold</material>. And dip your <material>mold</material> into hot water in order to open it, if it does not open in hot water, it could open into boiling water.</purpose></block></entry><entry identifier="p160r_1">
<folio
number="160r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f325.item.r=.zoom"/>

<heading>Presses for large moulds</heading>

figure identifier="fig_p160r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5ZDNJT25PWjlUbGM"/>


<figure identifier="fig_p160r_2"
position="right-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5MEUzMjhxUVl1ZTA"/>

<block>It is made of two sheets of <material>iron</material>, fasten with four small <material>iron pillars</material>, in such a way that the upper sheet is able to move and run freely along the pillars, while the lower one is fixed. A <material>St André cross</material>, made of <material>iron</material>, stops at the end of the pillars; there is a screw in the middle of the cross, which squeezes the sheets against the molds placed between them.</block>

<block>For <material>small molds</material>, we make a <material>frame</material>; having put the mold between two metal sheets, we squeeze it in the frame with  for  small moulds, put the mould between two iron sheets, and squeeze it  with <tool>wedges</tool>.</block>

<block><tool>Big wooden presses</tool>, with a <tool>screw</tool>, apart from being heavy to move to the furnace for casting, make it difficult to see when they squeeze too much, and they often break the molds.</block>

<block>The <tool>screw</tool> is fixed to these <tool>nuts</tool> which are nailed down the upper plate, <purpose type="advice">this way it raises and presses the mould.</purpose></block>
</entry><entry identifier="p160v_a1">
<folio
number="160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Moulding a foot or a hand</heading>

<block><purpose type="casting">Mix <material>resin</material> to the <material>wax</material>. Once well blended, soften the <material>mixture</material> in <material>hot water</material> or <material>urine</material>. Then press <material>[the foot or the hand]</material> in the <material>mixture</material> in order to get an impress, then pour <material>plaster</material>; the <material>cast</material> will which will be clean and come off easily.</purpose></block>
</entry><entry identifier="p160v_a2">
    <folio number="p160v" url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

    <heading>Fine work made of gold or silver</heading>

    <block>You can <activity type="molding">mold <material>flies</material> by <tool>hand</tool>,
            without casting; the <material>wings</material> and the <material>feet</material> can be
            soldered, which you could not do with fine works of <material>lead or tin</material>,
            because they would melt. You can enamel the work made of gold.</activity></block>
</entry>
<entry identifier="p160v_a3">
<folio
number="p160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching crayfishes</heading>

<block><activity type="catching">On the end of a <tool>stick</tool>, attach <unit>pieces</unit> of <material>liver</material> or <material>lung</material>, from <material>beef or mutton</material>. Then hang a <tool>basket</tool> to the <tool>stick</tool> with a <tool>little string</tool>. Put the <tool>basket</tool> into water where crayfishes eat; they will soon aggregate on the flesh. Pull very gently your stick out of the water; the crayfishes which will try to return to the water will fall into the basket.</activity></block>
</entry><entry identifier="p160v_a4">
<folio
number="p160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching passerines</heading>

<block><purpose type="advice">If they sleep in the farmyard, like they commonly do, close to the house, let the closest window open, and put a lighted candle close to the window. The candle itself must be hidden, only its glimmer must be seen through the room and through the window; all the passerines will then lock themselves into the room. But the night must be very dark, without any moonlight.</purpose></block>
</entry><entry identifier="p160v_a5">
<folio
number="160v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f326.item.r="/>

<heading>Catching birds</heading>

<block>During winter, when <material>birds</material> have molted, skin them and fill them with cloth and stuffing, or dry them well in an oven. Then arrange your <material>birds</material> on <material>trees</material>, have some [look like they are] singing, [look like they have assembled] and are numerous.</block>

<block>the <tool>oven</tool> must not be too hot. <purpose type="advice">This [method] is good in the summer, because flies would set into the eyes and make works before they [birds] could dry. You can work on the birds more easily in the winter, because they dry by themselves.</purpose></block>
</entry><entry identifier="p161r_1">
<folio
number="161r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f327.item.r="/>

<heading>Preparing sand for box molds</heading>

<block position="left-top"><activity type="molding">After your <material>sand</material> [which is made] of gip de lateribus and alumen jameni is moulded as a core, gather the left-over pieces of your mold, and break them up on a <tool>long table</tool> with a big metal block until they are very well crushed. And for an even better result, sieve them neatly. Place them in the <tool>oven pots of tile-makers</tool>, in a <tool>bread oven</tool>, [firing them] several times, when it is well heated so that they become very red. When cooled down, rebreak them if you need to and sieve them. After, put them in a vaisse, a semal or a vessel that is appropriate and clean. And then wet it with clear water. And crush it and mix it with a big stick until it is very well-moistened and rinsed, and the dirty parts rise to the surface of the water. Keep stirring in this way the dulled gip, that one prepares to gilt burnished gold over five or six days, until it is in no way lumpy. And each time your stir it, leave it to rest and cull the clear water that will be on the top by tipping the pot, or with a porringer, or with a sponge. And put in some new clean water and in this way wash and stir until it is refined and purged of all filth. Then leave to drain a little bit and to dry and make of it some balls, soaked in <material>sal ammoniac</material>. Having been thus dried, put them to be recooked in very high heat in a <tool>reverberatory furnace</tool> for a <unit>good amount of time</unit>, where they will become very red. Having been recooked in this way, crush them and try to mold something in a <tool>box mold</tool>, having moistened your crushed powder with <material>water of sal ammoniac</material>. And reheat and redden you box mold, and if your sand comes away, then you must crush it again and moisten it again with water of sal ammoniac. Remold it in two balls and recook it and redden it and continue this for as many times as necessary until it does not come away from the box mold when the box mold is reddened. <purpose type="advice">The main thing is for it to be well recooked, because otherwise the sal ammoniac will not calcinate well and will make the sand coarse. And for this reason, you should not put in too much sal ammoniac.</purpose></activity></block>
</entry><entry identifier="p161v_a1">
<folio
number="161v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f328.item.r="/>

<heading>Crocum ferri</heading>

<block>It can be made quickly if you put very filings that are very neat and have been washed in an <tool>iron drum</tool> that is only <unit>two fingers high</unit>, and cover it, and redden in a <tool>reverberation furnace</tool>, having washed it in <material>good vinegar</material> for a whole day. And it will be very well burnt and clean, mixed and crushed on a <tool>marble slab</tool>. Having been well crushed and when well mixed, the <material>vinegar</material> will corrode it easily and will redden it quickly and bind it. Wet it with the strongest one you can find and burn it after. And after three or four wettings and burnings it will be ready. This one will be the color of columbine and is considered firmer for casting than the one that is redder and more beautiful in color, done with rusty filings and has more color in it. <purpose type="advice">Some burn the filings many times on a shovel of red iron, watering each time with vinegar.</purpose></block>
</entry><entry_group identifier="p162r_a1">
<folio
number="162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>For La Boutique</heading>

<block>According to <name type="person">Herodotus</name> <name type="people">the Portuguese</name> did not invent [deep sea] navigation as they put about. At the beginning of the first book entitled <name type="book">Clio</name>, he says that the <name type="people">Phoenicians</name> used to come navigating straight across from the <name type="place">Red Sea</name> to the <name type="place">Greek coast</name>, mainly to <name type="place">Argos</name>, where they would bring merchandise from <name type="place">Egypt</name> and <name type="place">Assyria</name>, which they usually sold out within 6 days.</block>

<block>According to <name type="person">Herodotus</name> <name type="people">the Portuguese</name> did not invent [deep sea] navigation as they put about. At the beginning of the first book entitled <name type="book">Clio</name>, he says that the <name type="people">Phoenicians</name> used to come navigating straight across from the <name type="place">Red Sea</name> to the <name type="place">Greek coast</name>, mainly to <name type="place">Argos</name>, where they would bring merchandise from <name type="place">Egypt</name> and <name type="place">Assyria</name>, which they usually sold out within 6 days.</block>

<heading position="left-top">Navigation, commerce</heading>

<block><name type="person">Herodotus,</name> <name type="book">page 1 of Clio</name>, says that the <name type="people">Greeks</name> traveled in a long ship to the <name type="place">coast of Colchis</name> and to the <name type="place">River Phasis</name>, where they carried off <name type="person">Medea</name>.</block>

<heading position="left-top">Galleys.</heading>

<block><name type="person">Herodotus</name>, <name type="book">page 3</name>, says that <name type="person">Gyges</name> offered to the <name type="place">temple of Delphi</name><q><foreign language="latin">"pateras aureas sex pondo 30 talentorum".</foreign></q></block>

<heading position="left-bottom">Gold vases</heading>

<block><name type="person">Halyattes, the father of Cresus</name>, <q><foreign language="latin">"pateram ex ferro compactilem apud Delphos dedicavit spectatu dignam inter omnia quae sunt Delphis donaria, opus Glauci Chii qui solus omnium compactionem ferri excogitavit."</foreign></q> Compactile ferrum means made by assembling separate parts.</block>

<heading position="left-bottom">Iron vase assembled and soldered</heading>

<block>As small peddlers lay open small wares in order to buy more precious ones to make more and more profits, I also, from a desire to learn, am laying open the little that is in my boutique in order to have through receive through a common commerce des lettres much rarer secrets from my benevolent readers.</block>
</entry_group><entry identifier="p162r_a2">
<folio
number="p162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>Aes ustum</heading>

<block>When <material>it [Aes ustum]</material> is finely ground it <activity type="molding">moulds</activity> very cleanly. It has a certain fatness that makes it bind better than filings, <purpose type="observation">I believe that it may not be ill suited for casting.</purpose></block>
</entry><entry identifier="p162r_a3">
<folio
number="162r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f329.item.r="/>

<heading>Rotten wood</heading>

<block><activity type="casting"><material>Wood</material> that is white, being <unit>light as a sponge</unit>, <purpose type="advice">if burnt in a close fire, may be used for casting lead in a box and molds very cleanly, but these things [such material] do not withstand [open?] fire.</purpose></activity></block>
</entry><entry identifier="p162v_1">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Peach trees</heading>

<block><purpose type="advice">Because they cast and blossom from the outset, and so are caught by the frost. We expose their roots during winter so that the cold slows them down, and they blossom later, which benefits their flowers.</purpose></block>
</entry><entry identifier="p162v_2">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Olive trees</heading>

<block><purpose type="observation">In <name type="place">Spain</name> they expose their roots during winter and in spring they earth they up again.</purpose></block>
</entry><entry identifier="p162v_3">
<folio
number="162v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Foot of bittern</heading>

<block><activity type="molding">To mold it it is better to extend its fingers and nails on something flat and let them dry this way for a few days, because in drying the scales will be rougher and the nerves and and tendons will be more apparent, and so the molded foot will be more artistic.</activity></block>
</entry><entry identifier="p162v_4">
<folio
number="162v_4"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f330.item"/>

<heading>Molds of things which have not been pelted</heading>

<block><material>Animals</material> who have not been pelted can only be molded in a double mold, which can only be opened after they have been refired and after the <material>enclosed animal</material> is completely burnt. <material>Animals with bones or scales</material> which are not reducible to powder thus remain in calcined pieces which will never removed from the cast, however much bellowing or whatever amount of <material>quicksilver</material> is put in, or by using a <tool>feather pipe</tool> while molding to make a gate. This is why you mold in two halves: so that once the mold is opened after having been refired, the thing you've burnt can be cleaned out. <purpose type="advice">But I advise letting it cool so that in taking off the clamps (being hot) nothing cracks while it is still fragile. While it is hot the crust and cinders which it leaves and which stick to the mold can be more easily removed when it is cold. Also note that on the side of the lower mold when you reheat the animal, which in boiling leaves a crust, in this case, always mark on the mold where the back of the animal is so that in reheating it is to the top and above and will by this method stay cleaner.</purpose></block>
</entry><entry identifier="p163r_1">
<folio
number="163r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f331.image"/>

<heading>Perfume-makers</heading>

<block>They readily make their perfumes with <material>half amber</material> and <material>half musk</material>, and a <material>little civet</material>, because the scent of <material>amber</material> is stronger than the scent of <material>musk</material>.</block>

<block><purpose type="observation">To save using amber, <name type="corporate">perfume-makers</name> readily add add a <unit>small quantity</unit> of <material>musk</material> to the white layers, in order to get a stronger scent. But to remove or hide the blackness of musk, they add a bit of <material>starch from England</material>, which is perfectly white.</purpose></block>

<block>To give off a scent of white amber, in the same way that the <name type="corporate">Portuguese</name> do, take a <material>chunk of amber</material> that you have broken up into pieces. Having put in a small <tool>silver porringer</tool> a <unit>spoon</unit> of <material>flower oil</material>, should you not have some, <material>linseed oil</material>. That is to say, use the type of <tool>silver spoon</tool> one might use at the table. Pour into this your <material>ambergris</material>, then place it on a low fire, it will melt quickly if your <material>amber</material> is of good quality, and there will be no lumps. Having melted it all, put in a small bit of civet, and melt it all and blend it well together. Then take your gloves which you have cleaned and dried properly, and lightly dip the <tool>edge of your finger</tool> around the edge of the oil, with patience slowly spread the oil along the glove, and rub the glove between your <tool>hands</tool> and trace along the fingers and its stitches, one after the other. Leave it to dry. Then repeat the previous procedure until you have used up all of the <material>amber</material>.</block>
</entry><entry identifier="p163r_2">
<folio
number="163r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f331.image"/>

<heading>Spirits</heading>

<block><purpose type="observation"><material>Spirits</material> are excellent for making molds clean, in such a way that where you do not apply some, <material>common sand</material> will attack the figure. But it needs to be passed three times. And because it does not take well on oiled things, I believe it may be best to put some into the <material>water</material> with which you have moistened your <material>sand</material>.</purpose></block>
</entry><entry identifier="p163v_1">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Crayfish</heading>

<block>The <material>hairy little horns</material> that the <material>crayfish</material> has under its snout tend to come out lumpy and unclear because, after they are burnt, it is difficult to remove and clean away their ash, which, staying in the mold, prevents the metal from running well. And for this reason, one makes a small gate of <material>wax thread</material> at the tips of them, in order both to hold them up and to blow away the cumbersome ashes from inside.</block>

<block position="left-top"><purpose type="advice">Do not spare any <material>pins</material>, placing them not only in the middle of the body, but also on the big legs, and two or three on the tail, according to the positioning that you want to give it.</purpose></block>
</entry><entry identifier="p163v_2">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Crocum</heading>

<block><purpose type="observation">That which has become rusty by itself, having been doused with <material>water</material>, <material>salt</material>, and either <material>vinegar or urine</material>, and then well-dried and reddened by heating, is deep red when crushed on porphyry and is of the color of bol de levant, almost like minium. But that which is doused with <material>urine</material> and dried acquires a deeper color and almost like crushed aes ustum or like vermillion. But the first one, finely crushed, acquires a bright red color like cinnabar when placed in spirits. And the one and the other, when prepared as said above, finely ground and made very hot, produce a red smoke like an acid vapor if, being thus hot and fine, one throws vinegar, urine or spirits on top. The <material>urine</material> makes a lot of color and the <material>spirits</material> as well.</purpose></block>

<figure identifier="fig_p163v_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5anJvd0FQQ3BkRFE"/>
</entry><entry identifier="p163v_3">
<folio
number="163v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f332.image"/>

<heading>Repairing</heading>

<block><purpose type="advice">It is much better to only lightly repair your work with a <tool>burin called an "onglet"</tool> or the one called <tool>"chaple"</tool> or with a <tool>small file</tool>. Above all, avoid touching your work, but touch only the burr or lumpy parts that will have occurred during the casting. While reworking, moisten and rub your work with a <tool>small bristle brush</tool>.</purpose></block>
</entry><entry identifier="p164r_1">
<folio
number="p164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Casting</heading>

<block><purpose type="advice">When you make a cast of delicate animals, like <material>snakes</material>, start by casting the belly side, or the under-tail, for this side has straighter lines which are easier to rework than the back side, which is more veined and is more marked.</purpose></block>
</entry><entry identifier="p164r_2">
<folio
number="164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Repairing burrs</heading>

<block>Remove burrs very carefully with the point of a <tool>chaple or a burin</tool>, then scrape the burrs with the side of a <tool>burin</tool>, or carefully with a <tool>small file</tool>, and rub with <tool>willow coals</tool> and small brushes. Continue, also, with the lines not interrupted by burrs.</block>
</entry><entry identifier="p164r_3">
<folio
number="164r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f333.item"/>

<heading>Leaded silver</heading>

<block>A lot of <material>silver</material> is wasted because of the lead which is mixed with it, as occurs in cupellation, and makes it leap in small bits onto the edges of the crucible and onto the charcoal which covers it and is also gross. And by this means, it is good to melt <material>silver coins</material>, like reals and others, and make them into ingots prior to casting lizards or animals, for it comes out better. I cleanly molded a small, <material>silver viper</material>, like in the first recipe above. And at the end of the line of <material>4 reals (of 20 S of Spain)</material>, and <material>one coin of 20 S from France</material>.</block>
</entry><entry identifier="p164v_1">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Molds</heading>

<block>For <material>molds</material> wherein something must be burned (away), and do not open before being reheated: do not cast before refiring/reheating. <purpose type="advice">For large molds that produce large and wide casts, it is necessary to score it with strong notches so that the pitch of the metal does not run as forcefully. These will not make many burrs if they are pressed.</purpose> Prior to doing so, place between the <material>mold</material>and the press <material>pieces of thick felt for mittens</material>, which will fill the cavities and protect the mold from cracking. The clamps should be placed prior to heating or drying.</block>

<block position="top-left"><purpose type="advice">When the ground from which you are making your <tool>earthen base</tool> to lay out your animal is too soft, the <tool>pins</tool> you place come out easily when you cast the sand and so the mold is spoilt and the design is defeated. Therefore when you know that your slab is too tender and soft, spread some <tool>hot cinders</tool> over it and blow with the bellows.</purpose></block>
</entry>


 <entry identifier="p164v_2">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Sable</heading>

<block>If you don't add enough <material>alum de plume</material> or <material>crocus</material> your mold will easily crack when heated. But if your <material>sand</material> is mixed as it ought to be, the mold will sustain itself. You'll know it's of good quality when, while still hot after casting, it immoderately soaks up the water when dipped and breaks easily, because the <material>alum</material> and the <material>crocus</material> render it spongy. To the contrary, <material>bad sand</material>, which is composed of <material>plaster</material> and <material>brick</material> and is not well mixed with alum, breaks easily in fire and hardens in water. If possible, cast all at once.</block>
</entry><entry identifier="p164v_3">
<folio
number="164v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f334.item"/>

<heading>Molds</heading>

<block>When you cast <material>lead</material>, your <material>molds</material> must be very dry, even if the <material>molds</material> are large. The outside of the molds must be reddened, and it is necessary to keep them in continuous <tool>heat</tool> until they do not smoke anymore inside. Do not reheat your <material>molds</material> several times, but continue when you have begun and do not let them cool in the cold because they will crack. Let them cool near the fire. When your molds are still as warm as above, remark, you can put your finger into the casting gate without burning your skin. If your <material>mold</material> is large, it takes more time to cure and to dry, and you must also cast warmer.</block>
</entry><entry identifier="p165r_1">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>To repair</heading>

<block>If in your cast, there appear some little hole, fix it with <tool>black or gray filling <material>gum wax</material></tool>.</block>
</entry><entry identifier="p165r_2">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Lacquer</heading>

<block><purpose type="observation">If, having been ground, you let it dry without keeping it in <material>water</material>, it will dry out and it will be quite difficult to crush it as before.</purpose></block>
</entry><entry identifier="p165r_3">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Stretching a canvas portrait</heading>

<block>If it is crumpled or folded from when it was rolled up, moisten the back side with a <tool>wet sponge</tool>. Then stretch it very evenly without damaging it.</block>
</entry><entry identifier="p165r_4">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Plaster for molding</heading>

<block position="left-middle">When it is long to set and dry, it means that it is too fat and moist, which is what makes it shrink away from the fire and crack. [This is] where burrs come from. The one that comes from lean earth is better. You must not store your moulds made of <material>fat plaster</material> for a long time, because they resemble fat earth, which when drying, cracks. The best is to reheat them soon after they have been made and cast. Moulds made of <material>good plaster</material> can be stored a long time.</block>

<block><purpose type="advice">It is necessary to oil it well, because it is more difficult to separate the two halves of these moulds than when it is mixed.</purpose></block>
</entry><entry identifier="p165r_5">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Dragon's blood</heading>

<block>You can imitate dragon's blood with <material>lacquer</material>, which surpasses it in beauty, if [when] diluted in <material>oil</material>, you use it to ice <material>gold or silver</material>. <purpose type="advice">Diluted with varnish, it fades.</purpose></block>
</entry><entry identifier="p165r_6">
<folio
number="165r"
url="http://gallica.bnf.fr/ark:/12148/btv1b9059316c/f336.item"/>

<heading>Repairing snakes and lizards</heading>

<block>You could make some marks according to the form of their scales, making some bigger ones and some smaller ones, according to the shape of the neck, the body and the tail. If there is something broken, you can attach it with small <material>iron or steel nails</material>, and glue it with some <material>mouth glue</material>, then cover the whole thing with gray or black <material>wax</material>. But it is necessary to let the <material>glue</material> dry for one day without touching it.</block>
</entry><entry identifier="p165v_1">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Positioning animals</heading>

<block>Not only with <material>iron pins</material>, but also with <material>melted wax</material>, are animals secured to the <tool>plate of earth</tool>. Wash them first in clear water, after they have died in the mixture of <material>vinegar</material> and <material>urine</material>. And with a <tool>sponge </tool>clean off their mouth, eyes and head of the froth coming out, because the <material>sand</material> would never set well there and would become lumpy.</block>

<block position="left-top">If you want to keep their mouths open, insert a little bit of <material>harpsichord string</material>, which will not take up much space.</block>
</entry><entry identifier="p165v_2">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Keeping animals</heading>

<block>Having molded them once, if you want to keep them for molding again, put them back into the mixture of <material>urine</material>, <material>vinegar</material> and <material>spirits</material> where you killed the others, and they will keep for a long time without decaying. <purpose type="advice">If you have a cut on your hand, take care that this mixture does not touch it.</purpose></block>
</entry><entry identifier="p165v_3">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Molds</heading>

<block>After molding them do not keep them for long, but use them as soon as you can, because when kept for a long time, they are prone to spoiling.</block>

<block>When your <material>molds</material> are reheated, the thing comes out better.</block>
</entry><entry identifier="p165v_4">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Lute</heading>

<block>When reheating, you might as well use common <material>lute</material>, But when you want to cast, strip it from the <material>mold</material> and, using a <tool>brush</tool>, quickly apply a layer of plaster <material>lute</material> that has been used for molds, because it will be dry as soon as it settles, and cast. This <material>lute</material> should be mainly placed on the joints.</block>
</entry><entry identifier="p165v_a5">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Silver</heading>

<block><purpose type="observation">When it quivers after melting, that is a sign that it is very hot. And since it commonly contains much lead, it is good to throw in some <material>lime mortar</material> because that attracts and gathers in the lead.</purpose></block>
</entry><entry identifier="p165v_a6">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Fly wings</heading>

<block>So that they come out best, place <material>wax sprues</material> from the gate up to the tips of the wings. Also make sure there is enough <material>wax</material> under the belly, because that is what makes the cast succeed.</block>
<figure identifier="fig_p165v_1"
position="left-middle"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5UmhqY1RkWFRhYzg"/>
</entry><entry identifier="p165v_a7">
<folio
number="165v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f336.image"/>

<heading>Attaching a fly wing or something similar</heading>

<block>They can be attached with <tool><material>fish glue</material> mixed with <material>spirits</material></tool> over slow heat, heating also the work. Then that is covered with <material>wax "à ébaucher"</material>, that should be grey.</block>
</entry><entry identifier="p166r_a1">
<folio
number="166r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f337.item.r="/>

<heading>For the Workshop</heading>

<block><purpose type="observation">If anything has been omitted: the <name type="corporate">harvester</name> is not blamed for leaving some corn ears.</purpose></block>

<block><purpose type="observation">If some <name type="corporate">craftsmen</name> complain that their craft secrets are being discovered, as the goddesses of Eleusis complained to N… the Pythagorean that their mysteries were disclosed, excuse yourself in the words of the ancient Hebrews quoted by Josephus.</purpose></block>

<block><purpose type="observation">As a hen will carefully search the rubbish thrown out of a house for a crumb or a seed to distribute to her chicks, so will the orphans receive whatever has been discovered in those arts that are considered vile and despicable.</purpose></block>

<block><purpose type="observation">Tablet of Cebes: idle. But The Workshop represents all things active.</purpose></block>

<block><purpose type="observation">If the jealous will disapprove picking up these things and taking them from others, reply that since "Nullum est jam dictum quod non dictum aut factum sit prius" and it is commonly believed that all arts were invented within a thousand years, do not imagine you could invent anything new but rather rediscover the long-buried, unknown and forgotten <name type="book">books of Numa</name> in order to reveal them to those who are ignorant of them; and that, just as the day before teaches the day after, you also needed to learn from those before you in order to teach those after you. The <name type="corporate">Latins</name> learnt from the <name type="corporate">Greeks</name>, as Cicero did from <name type="person">Plato</name> and <name type="person">Virgil</name> from <name type="person">Homer</name> (Aulus Gellius). <name type="person">Valerius Maximus</name> only reawakened various authors who had written previously, and Livy's 23rd book [revived] the 2nd or 3rd book of Polybius. Among the Egyptians, <name type="person">Serapis</name> was deemed the inventor of agriculture, but among the Sicilians, it was <name type="person">Ceres.</name> <name type="person">Pythagoras</name> and others from Tyana learnt during their travels those disciplines which, back in their countries, they claimed to have invented. Does one not call a <name type="corporate">weaver</name> the maker of his precious cloth or fabric, even though he did not himself dye and twine [the yarn] nor wind and prepare the reels and balls of thread? Is a <name type="corporate">mason</name> not the builder of the house, for picking up ready-made stones? "Apollo a Chirone medicari didicit &amp;tamen deus medicinae habitus." "Homerus Orphei poema imitatus est, nam cum Orpheus sic prius exorsus esset, 'Iram cane dea Cereris frugiferentis', ita reddit Homerus, 'Iram cane dea Pelidae Achillis'". In Justino martire, Circa princip.</purpose></block>
</entry><entry identifier="p166v_1">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>[art and learning]</heading>

<block><purpose type="observation">In addition to <name type="corporate">Greek</name> examples, there is a <name type="book">psalm of David</name> mentioned by <name type="personal">Saint Athanasius</name> in the <name type="book">Synopsis</name>. It begins "Parvus eram" and in the second verse the royal prophet says, "Manus meae fecerunt organum et digiti mei aptarunt psalterium."</purpose></block>
</entry><entry identifier="p166v_2">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Keeping chestnuts</heading>

<block><purpose type="advice">They must be left in their burs until you want to eat them. And in their burs, store them in a humid place, or in the drain of some roof.</purpose></block>
</entry><entry identifier="p166v_3">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Scented candle from Le Mans</heading>

<block>They melt in with<material>wax</material> and <material>candles</material> <material>rosin</material> that is called in <name type="place">France</name> [rosin] from <name type="place">Burgundy</name>, which is white and not as rough or dry as the other <material>rosin</material>. They also perfume the <material>wick</material> and the end of the wick.</block>
</entry><entry identifier="p166v_4">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Softening gold</heading>

<block>Dissolve some <material>caput mortuum</material> in distilled <material>vinegar</material>. Filter and congeal in <material>salt</material> and <material>cement</material> the <material>☉</material> with this, and it will soften wonderfully.</block>
</entry><entry identifier="p166v_5">
<folio
number="166v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f338.image"/>

<heading>Improving the color of gold</heading>

<block>Put some <material>aqua fortis</material> made with <material>vitriol</material> on <tool>hot embers</tool>. Cover the bottle, that is, the vent, with a tile. Then uncover it and a thick smoke will come out in which you put the <material>gold</material> and it will take on an excellent color.</block>
</entry><entry identifier="p167r_1">
<folio
number="167r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f339.image"/>

<heading>Mortars</heading>

<figure identifier="fig_p167r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5QTU2dDJtWHU5Nmc"/>

<block><material>Mortars</material> are made of the best alloy of <material>"métal"</material> and the finest possible <material>rosette</material> so that they do not burst, that is to say one part "métal" and two [parts] fine rosette or <material>old caudron</material>, which is even better. Some of them are of <unit>fifteen or seventeen lb.</unit> and are loaded with <unit>two and a half lb.</unit> of <material>grain powder</material>, and they are put on common windows and doors. Others are of a weight of <unit>25 to 27 lb.</unit> and are loaded with <unit>eight lb.</unit> of <material>powder</material>. And in such a way, they are made according to the stress they have to resist. On the outside, they are all the same shape, but in the inside, they are made like a crucible</block>

figure identifier="fig_p167r_2"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5OUZCVWpfdmlzbWc"/>

<block>narrower on the inside of the bottom and getting wider towards the mouth. And this is to reinforce the bottom, given the quantity of <material>powder</material> they hold, and so that they do not burst. Those of <unit>4 s. lb.</unit> are eight lines thick at the bottom, and get thinner in the inside towards the opening, which is of 4 lines. They have <unit>xiii "poulsses"</unit> long and <unit>seven in diameter</unit> at the mouth and opening.</block>

<folio
number="167v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f340.image"/>

<block>The ones weighing about <unit>27 lb.</unit> are <unit>ix "pousses" long</unit> and the mouth is <unit>6 [pousses]</unit> in diameter. At their bottom, they are <unit>6 "lignes"</unit> thick, and <unit>3</unit>for the mouth. The ones weighing <unit>17 lb</unit> are <unit>8 "poulsses"</unit> long and the mouth is <unit>five</unit>. They are all covered together, all the <material>forks</material>, <material>rods</material>, and tools which one uses, with a big <tool>canvas</tool> or big <tool>cloth</tool> so that they do not make any noise. It is good that they sit loaded for a while. After the <material>powder</material> has been put in, it is grinded very hard and then tightly pressed paper is put in, then a cake of well pressed <material>wax</material> and, on the wax, another slab of <material>cork</material> that fits in very snugly and that you have to force in. In this way, the powder remains well packed and gives much greater force, and if you wish, you can put on the cork slab one of <material>wood</material> pierced in the middle, if the mortar has a pierced bottom, which is believed to be the easiest and which makes a greater hole because it cannot recoil. And for these that have a pierced bottom, one must have a good gimlet to first make the hole so that the rod, which is made by the point of the gimlet, has before and without noise attached the mortar. And for these, one must cover the button, which is quite sharply filed, with waxed canvas, or add <material>wax</material> to it so that it completely plugs the hole in the bottom. But because the doors are sometimes iron and the <material>iron rods</material> cannot pierce it, an iron fork made like pincers and another iron stick made with three claws, like you see painted, are use. And in this way, the mortar stays in place well and is immediately steadied. The iron rods must come out of the mortar from every point made by the gimlet, namely by <unit>three or 4 finger lengths</unit>, which all enter in the door. When the mortars are placed, the touch-hole is filled with good powder and inserted in it is a feather shaft filled with tightly pressed powder and moistened with <material>vinegar</material>, or if needed, the powder is firmly pressed with the palms of the hands and, having wet it with some saliva, you shape it like a cocoon or</block>

<folio number="168r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f341.image"/>

<figure identifier="fig_p168r_1"
position="left-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5RUdzVWVNM3l6QVU"/>

<block>rod that we put into the touch-hole, and then, with a <material>rope</material> wrapped around the end of a <material>baston</material>, we ignite it and promptly retreat to take cover. The small mortars of <unit>16 or 17 lb.</unit> are attached promptly with a short, hooked rod made like a wimble, and if it is of a good alloy, we can ignite it by hand. It is done in this way for mortars of <unit>27 lb.</unit>, but then we only put <unit>three lb.</unit> of powder. The door really needs to be strong so as not to be blown off for <unit>seventeenth lb.</unit> mortars. Some people use little bells worn by oxen or mules as an door for the mortars. Others load two canons of <material>guns</material> and, with a <material>gimlet</material> and a string, tie them with the opening against the door. If the mortars are good and do not explode, they only recoil and cannot harm if one is next to them.</block>

<list>
<item>A is a <material>small rod</material>, hooked like the hinge of a door and made as a <material>biron</material> on one end in order to quickly attach a small mortar with handles of fifteen or xvii lb. for a common door or window.</item>

<item>B is a <material>small mortar</material> with handles.</item>

<item>C is a <material>common mortar</material> of <unit>27 or 30 lb</unit>. pierced at the bottom, where a large iron rod passes, button-like on one end made like a biron on the tip so as to quickly hang the mortar against a door that will not be covered with iron plates.</item>

<item>D These are slabs of <material>wax</material>, <material>cork</material> and <material>wood</material> for loading the mortar and well packing the powder.</item>

<item>E <tool>iron fork</tool> made in the form of pincers as tall as a man, used to quickly set the mortar without a rod. It must be of soft iron so that the sides fold easily, if needed, and to accommodate the height or width of the door.</item>

<item>F is another <tool>iron fork</tool> of the same height that supports the fork made as pincers and also sustains the mortar, and with its low claw prevents the pincers from recoiling.</item>

<folio
number="168v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f342.image"/>

<item>G <material>mortar with handles</material> placed with its rod.</item>

<item>H knife-like <tool>saws</tool> to cut, if needed, a <tool>portcullis</tool>.</item>

<item>J the <tool>big iron rods</tool> that cross and tie the mortar.</item>

<item>K are like <tool>iron rods</tool>, all round and covered with cloths, like all the rest, so as to make the big iron rods, pierced close to the button, turn.</item>

<item>L <tool>axes</tool> that one must always carry to chop and to break, in the fortuitous case that the mortar has left anything entirely.</item>

<item>M a large wood <tool>mallet</tool> for knocking down what was begun and weakened by the axes and "birons".</item>

<item>N are big <tool>wheelwright augers</tool> and <tool>birons</tool> for easily cutting a door or window by making large holes close to one another.</item>

<item>O <material>crutches</material> as tall as a man that must be carried to put under a portcullis immediately after the canon has been shot and to prevent the portcullis from falling.</item>

<item>P are small <tool>iron pincers</tool> for putting any low mortar against the bolt of a door.</item>
</list>
</entry><entry identifier="p169r">
<folio
number="169r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f343.item"/>

<heading>[List of making procedures]</heading>

<list>

<item>Molding a tortoise</item>

<item>Furry animals</item>

<item>Birds</item>

<item>Leaf of vine - put</item>

<item>Of the strawberry</item>

<item>Piece molding</item>

<item>Molding a vase in a chassis</item>

<item>Molding capilli veneris</item>

<item>Molds that need to be supported by nets</item>

<item>Molding a bouquet</item>

<item>Rose carnations</item>

<item>Hollow molding</item>

<item>Hollow gilded silver</item>

<item>Molding wort plant put</item>

<item>+ Crayfish put and seen</item>

<item>Grasshoppers</item>

<item>Barbots</item>

<item>Butterflies</item>

<item>Flies</item>

<item>Bats</item>

<item>Enameling thin gold</item>

<item>Molding in sugar</item>

<item>Molding fish</item>

<item>Molding in sulfur put</item>

<item>Cardboard</item>

<item>+ Wax put</item>

<item>Roughing out</item>

<item>Stamped medals full of lead</item>

<item>Molding large carved wooden pieces</item>

<item>Molding and making casts of metal animals</item>

<item>+ Wheat oil put and seen</item>

<item>Stag beetle</item>

<item>Foot of a bittern molded</item>

<item>Thickness of a medal</item>

<item>Very hard wax</item>

<item>Molding the engraving on a ring</item>

<item>Molding pieces of carcanets</item>

<item>Things that do not release from the mold … </item>

<item>Fountains</item>

<item>Grottoes</item>

<item>Sundry mosses applied</item>

<item>Molding in three chassis</item>

<item>Tempering iron in order to engrave it</item>

<item>Etching on silver and iron</item>

<item>Stamping</item>

<item>White enamel, softening it with black calcinated river pebbles</item>
</list>
</entry>
<entry identifier="p169v_2">
<folio number="169v"
 url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f344.image"/>
<heading>Reducing a round form into a hollow one</heading>

<block><purpose type="making">You must firstly mold it with <material>plaster</material> as has been said before, and in the <material>plaster</material> throw in some <material>wax</material> from which will come a relief that you will repair very neatly, and will shape at your pleasure.  Then you will <activity type="molding">mold</activity> this <material>wax relief</material> once more in <material>plaster</material>, or even better with your <material>tempered sand</material>, #, as if for a <material type="foreign_word">noyau</material>.  And in the latter throw in some lead and from this you will have a very neat relief, and if it is not, <activity type="repair">repair</activity> it on <material>cement</material> or a similar material, and beware that it should always release well.  And this one will always serve you as a model for making as many hollow molds as you would like.  In this way, place <material>half of your lead figure which you have oiled</material>, and moisten it with spirits as we have seen above, on your <material>clay base</material>, then <activity type="molding">mold</activity> this half with a <material>white plaster</material>.  Having taken hold, and having smoothed and flattened the <material>plaster</material>, take your <material type="mixture">black wax mixed with sulphur</material> as we have seen before, because it leaves nothing in the mold and melts quicker.  Dip it in <material>hot urine</material>, and once it is softened enough, make an imprint with it on your <material>half figure in lead</material>.  And you will have a very neat hollow mold.  Then adapt your wax hollow mold into a square shape, as it pleases you, as long as you have sufficient thickness, and make sure it is well even on all sides, and then mold this hollow wax; and having it imprinted on one side, and having it flat and even on the other, in the same way that you would mold a flat medal in wax or metal in a <material>noyau</material>.  And the <material type="foreign_word">noyau</material> mold will give you, whether in <material>silver</material> or any other metal you wish, a figure similar to the wax one, which is to say, flat and even on one side, and hollow on the other.  And having cleaned this hollow, and having put it in the <material>bleach</material>, if it is made of <material>silver</material>, you can put into it some sugar work</purpose></block>

<block position="left-top"><purpose type="making">Having made a hole in your <material>clay base</material> and having placed there your <material>half figure</material> in <material>wax</material>, oil it a bit so that it comes out more easily.</purpose></block>

<block position="left-middle"><purpose type="advice">Transparent <material>wax</material> is not good as opposed to one that has body, for making good imprints.</purpose></block>

<figure
number="fig_p169v_3"
position="left-bottom"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5MGtBY2MyYTNKTUE"/>


<block position="left-bottom"><purpose type="making">Because you have molded one of your halves with <material>plaster</material> and <material>wax</material>, you can do the same thing to the other half.</purpose></block>

<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>
 <block><material>perfume</material> and similar things. But be sure that the <material>black wax</material> with which you cast is hard, so it will come off rapidly when dry so you can see if it has been stamped correctly. It can be made harder by adding more <material>melted sulphur</material> in the <material>melted wax</material>, and a bit of <material>resin.</material></block>
</entry>


<entry identifier="p170r_1">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Common medals</heading>

<block><material>Relief awls</material> are made of <material>untempered steel</material>, and then it is tempered. With it we beat on a <tool>matrice</tool>, not red hot on the fire as some people think, but on some <tool>steeled iron</tool>, reheated and adoulcy, that is then tempered.</block>
</entry>









<entry identifier="p170r_2">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Casting</heading>

<block>Do not cast all at once because in doing so, the <material>metal</material> overflows and gets cold instead of going to the bottom [of the mold]. Rather, cast it bit by bit, and gently.</block>
</entry><entry identifier="p170r_3">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Iron clamps</heading>

<block>When you put them for the second time, make sure that the <material>mold</material> does not wobble.</block>
</entry><entry identifier="p170r_4">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Molds</heading>

<block>Those with <material>noyau</material>, when reheated, should be placed on half lit <material>charcoal</material>, without being in contact with the air; like the <material>frame molds</material>, they need to dry in the open, and uncovered.</block>
</entry><entry identifier="p170r_5">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>Thick tin pieces</heading>

<block><activity type="casting">They should not be casted with <material>lead</material> or red <material>tin</material>, like thin and fragile things. It is enough if they are well melted and hot. <material>Fragile things</material> need to be red hot and made of red tin.</activity></block>
</entry><entry identifier="p170r_6">
<folio
number="170r"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f345.image"/>

<heading>How to clean closed molds</heading>

<block>You have to leave them cool down rather than blow inside to clean them, because they hold the ashes when they are hot. Once cooled, they are easier to clean. Have a find <material>brass wire</material> or <material>steel wool</material> to thoroughly clean the <material>guene</material> because it is through it that you cast. Blow into it and siphon, bringing it to you. Give it volume before casting the <material>tail</material> with <material>wax</material>, then cut it.</block>

<figure identifier="fig_p170r_2"
position="left-top"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5amQ1YVRWWnFGWUE"/>

<figure identifier="fig_p170r_1"
url="https://drive.google.com/open?id=0B9-oNrvWdlO5S3FNaEt0QmN1alU"/>

<block>make a tail by soldering a <material>latten wire</material>. The grains of a flower are quite little, so they can be removed with the chaple, but the leafs need to be peeled off correctly, then the <material>paint</material> will cover everything.</block>
</entry><entry identifier="p170v_1">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>

<heading>[dues and payments of the heirs of late Sr. Ouvryer]</heading>

<block>In the year fifteen hundred seventy-eight, the second of July, the heirs of the <name type="person">late Sr. Ouvryer</name> received (two hundred and five ecus), the rent of Saint-Frajou, amounting to twelve hundred and thirty livres.</block>

<block>They have also received, as part of the revenue of the year fifteen hundred seventy nine, three hundred forty three and one third ecus.</block>

<block>And for the first year, they remain [to be paid] eighty livres and fifteen sous, | and for the second settlement, they have not yet received anything.</block>
</entry><entry identifier="p170v_2">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>

<heading>Against plague</heading>

<block><purpose type="advice">Against pestilential fever or poison or plague, take an ecu's weight of your <material>opiate</material> soaked in <material>scabious</material> or <material>bugloss extract</material>, or heavily diluted <material>wine</material>, if you are already ill. After taking it, you must make yourself sweat.</purpose></block>
</entry><entry identifier="p170v_3">
<folio
number="170v"
url="http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f346.item"/>


<heading>To preserve oneself</heading>


<block><foreign language="latin">Acetum paratum ex ruta baccis juniperi simul tusis Eoaceto extinguantur lateres igniti. Et vapor excipiatur ore naribus.</foreign>  <material type="mixture">Rue vinegar</material> together with <material>crushed juniper berries</material>. Pour the <material>vinegar</material> over <tool>red hot bricks</tool> and inhale the vapor through the mouth and nostrils. <purpose type="advice">This is to preserve oneself when going into noxious air: a garment can be perfumed with this vapor in order to remove infection from a room, house, etc. And if you find yourself in a place where you do not have this preparation, carry <material type="mixture">rue and berries crushed together</material>, then, if need be, boil them in <material>vinegar</material> and use as described.</purpose></block>

<list>
<foreign language="latin">
<item>Ottonis episcopi | Frisigensis | Ab orbe condito</item>

<item>Abbatis | Urspergensis | Chronicon</item>

<item>Hieronymus | Mercurialis, | Variarum</item>

<item>Rerum Scoticarum Historia, Georgio Bucanano authore</item>

<item>Rembertus Dodonæus, Mechliniensis medicus, | De stirpium historia</item>

<item>De L'Orme, De l'invention de bien bastir, and other works</item>

<item>Telesius, De coloribus, Vascosan</item>

<item>Marbodius, De lapillis prætiosis</item>
</foreign>
</list>
</entry>