From 90f7d78fdbba270318b6243a31851811ddf51bb5 Mon Sep 17 00:00:00 2001 From: tcatapano Date: Wed, 18 Dec 2019 13:43:06 -0800 Subject: [PATCH 1/5] revise entry extract xsl and generate allFolios xml --- allFolios/xml/all_tc.xml | 501 +++--- allFolios/xml/all_tcn.xml | 746 ++++----- allFolios/xml/all_tl.xml | 2544 ++++++++++++++++--------------- xslt/entry-extract-metadata.xsl | 2 +- 4 files changed, 1938 insertions(+), 1855 deletions(-) diff --git a/allFolios/xml/all_tc.xml b/allFolios/xml/all_tc.xml index b9231b638..eca1bb1ac 100644 --- a/allFolios/xml/all_tc.xml +++ b/allFolios/xml/all_tc.xml @@ -5,12 +5,10 @@
- Liste de noms - Mestre Nicolas Coste a la rue de la heaumerie a limage sainct claude / mirouers @@ -29,8 +27,8 @@ boucherie courroyeur essayer fleur de
-
+
Liste @@ -40,26 +38,24 @@ boucherie courroyeur essayer fleur de Le moissonneur laissant quelques espis nest repris -Sacra Eleusinæ deæ propalare nefas +Sacra Eleusinæ deæ propalare nefas Trompettes voy le livre des funerailles
-
+
- Liste de livres et d'autheurs - Vuolfangus lazius Petrus appianus Mathematicus -Ingolstadiensis Comment. urb. rom. +Ingolstadiensis Comment. urb. rom. Hieronimo Ruscelli @@ -67,7 +63,7 @@ Hermolaus barbarus Angelius Bargæus de aucupio et venatione -Nicolaus Damascenus +Nicolaus Damascenus Caresariensis de rebus persarum @@ -80,7 +76,15 @@ Eupolemus historicus gentilis qui de rebus davidis & salomonis -scripsit monsieur +scripsit +           +           +           +           +           +           +           +monsieur - Cathalogue des villes @@ -108,86 +112,87 @@ Des præceptes dagriculture et de la royne mere - + + - Alexander Aphrodisæus +Alexander Aphrodisæus - Polydorus vergilius +Polydorus vergilius - Appianus +Appianus - Athenæus +Athenæus - Pausanias +Pausanias - Statius Thebaidos +Statius Thebaidos - Servius in Aeneidem +Servius in Aeneidem - Macrobius +Macrobius - Aulus Gellius +Aulus Gellius - Alexander ab Alexandria +Alexander ab Alexandria - Festus +Festus - Nonius +Nonius - Magius miscellanea +Magius miscellanea - Pollux onomasticon +Pollux onomasticon - Higinus +Higinus - Berosus +Berosus - Suetonius +Suetonius - Valerius maximus +Valerius maximus - Cornelius tacitus +Cornelius tacitus - Xenophon +Xenophon - Seneca +Seneca - Dionisius Halicarnassensis +Dionisius Halicarnassensis - Sabellicus +Sabellicus - cum permultis +cum permultis - aliis Iulius Capitollinus +aliis Iulius Capitollinus - Budæus +Budæus - Spartianus +Spartianus - Blondus +Blondus - Volaterranus +Volaterranus - Herodotus +Herodotus - Paulus Manutius +Paulus Manutius - Strabo +Strabo - Iulius firmicus +Iulius firmicus - Quintus Curtius +Quintus Curtius - Dion +Dion - Cornelius Nepos +Cornelius Nepos - Flavius Vopiscus +Flavius Vopiscus
-
+
Liste de livres @@ -200,7 +205,8 @@ salviano typhernate authore Romæ
-
+ +
@@ -358,7 +364,11 @@ mace a este de vert Jaulne Coral contrefaict -+ + +            +            + + + Il fault premierement faire les branches de boys ou @@ -911,7 +921,7 @@ le doncq dans une descouvert - + En cinq ou six lb dhuile @@ -927,7 +937,7 @@ noir Mays il se noircist au foeu - + @@ -3547,7 +3557,7 @@ la grise qui semble sarment -
+
Fonte de fer doux @@ -3583,6 +3593,7 @@ sorte quil y aye un pan de gueule de four sur la tuelle & un pan dessouls + @@ -3600,16 +3611,13 @@ rond en tient deulx quintals -
- - - - - - - +
+ +
+ +
+
 - Les minerons pour fayre @@ -3627,7 +3635,9 @@ Et cela rend le fer merveilleusement ductible & courant +
+
Il fault aussy que la tuelle entre jusques au milieu de la gueule du fourneau @@ -3726,8 +3736,8 @@ sont plus subgectes a rompre -
+ @@ -5867,8 +5877,8 @@ mettent que la balle -
-
+
+
 pouldre Estant pleine la saulssisse trempe la bien dans @@ -6092,30 +6102,33 @@ nuict recognoistre le lieu le plus commode pour faire la batterie - + + + - Scaches les magasins +Scaches les magasins - de france pour lartiglerie +de france pour lartiglerie - + - Il est bon que la plateforme +Il est bon que la plateforme - penche un peu sur le devant +penche un peu sur le devant - pourceque la piece est plustost +pourceque la piece est plustost - mise en batterie & tient +mise en batterie & tient - plus coup & bat plus roide +plus coup & bat plus roide
-
- -& sil ne voit bien on donne une faulse alarme affin que + +
+ +& sil ne voit bien on donne une faulse alarme affin que ceulx de dedans jectent des flambeaulx Bien souvent on @@ -6147,37 +6160,37 @@ quelque fause alarme dun aultre coste Et plustost on ha
-
+ +
- Canons a chambre - +Canons a chambre + - sont ceulx qui ont un renfort +sont ceulx qui ont un renfort - par dedans en tout lespace +par dedans en tout lespace - qui contient la pouldre Et +qui contient la pouldre Et - la balle ne peut a rouler +la balle ne peut a rouler - que jusque a lentree de +que jusque a lentree de - ladicte chambre Ceulx cy +ladicte chambre Ceulx cy - ne font pas si grande +ne font pas si grande - faulcee & sont fascheux +faulcee & sont fascheux - a charger Mays il ne +a charger Mays il ne - seschauffent pas si tost
+seschauffent pas si tost
-
+
- tire quelque volee aulx deffenses Les gabions les pionners @@ -6207,31 +6220,34 @@ tranchees pour aller aux pieces Mays on mect force gabions qui sont hault & on y en courant aulx grand
- -
- + + +
- Lumiere dacier - +Lumiere dacier + + - se pose en Ancrau dans +se pose en Ancrau dans - les canons pourcequelle ne +les canons pourcequelle ne - se gaste poinct en tirant +se gaste poinct en tirant - comme font bien tost les aultres +comme font bien tost les aultres - Mays ces ancraus sont +Mays ces ancraus sont - subgects a saulter & porter +subgects a saulter & porter - domaige au canonier Il ny +domaige au canonier Il ny - ha que duser de la lumiere +ha que duser de la lumiere - propre
-
+propre
+ + +
places on faict trenchees Il y a tousjours dans les @@ -6251,8 +6267,8 @@ part
- Lumiere a ras + de @@ -6360,11 +6376,7 @@ ce faisant tu esbranles plusieurs pierres
 - - - - - + Aulcuns mettent des petites roues dune piece & de quelque table espece au bout @@ -7508,7 +7520,7 @@ pluye Mays celuy qui est faict dhuile de noix blanche comme tu la -fais tient a la pluye t est fort +fais tient a la pluye t est fort cler & beau & bien tost sec Cest pourquoy on use diceluy aulx banieres & enseignes @@ -7944,12 +7956,12 @@ pas a ses -X Pour rallumer une chandelle estainte +X Pour rallumer une chandelle estainte entre les mains sans soufler
-X Ayes un petit baston douzier entre bien +X Ayes un petit baston douzier entre bien sec et en couppe une petite piece comme un curedant & la m mects lun bout @@ -8138,7 +8150,7 @@ tiens pres du # au front tu lempescheras de sortir dune chambre -XFais luy embrasser la quenoille du +X Fais luy embrasser la quenoille du lict ou chose semblable & que du mesme bras il tienne le doigt au @@ -8150,7 +8162,7 @@ lict ou chose semblable -XGaiger a quelqueun que se +X Gaiger a quelqueun que se promenant jusques a tel lieu et en revenir il ne @@ -8158,7 +8170,7 @@ jusques a tel lieu et en revenir il ne dira point quattre fois de suite botte sans esperon -XSil sessaye de le dirae mays il +X Sil sessaye de le dirae mays il fault quil parle hault quand il sera alle & revenu tu luy @@ -8177,9 +8189,8 @@ botte sans dire esperon car ta gageure est telle sans y fayre trou -X -Fais le tenir par un vallet contre la +X Fais le tenir par un vallet contre la muraille
@@ -8188,12 +8199,12 @@ sans y fayre trou -XNe casser point un verre +X Ne casser point un verre dune busche ou dun gros baston -XTu en coupperas un petit loppin gros comme un +X Tu en coupperas un petit loppin gros comme un curedent & ainsy luy donneras dune busche ou dun gros @@ -8341,7 +8352,7 @@ ne coulle enseigneras une chose quil ne scait pas -ne toy aussy +ne toy aussy Ayes une fisselle ou petit baston et prens la mesure @@ -8780,9 +8791,9 @@ laquelle un aultre coupe le bout puys le soufleur en tournant laplatise & en touchant sur un plan qui est a terre -A puys la met a recuire Ainsy le milieu par ou elle se +A puys la met a recuire Ainsy le milieu par ou elle se -commance demeure tousjours +commance demeure tousjours @@ -9282,7 +9293,7 @@ fort beau fruit Planter abres On dict que rarement labre plante le jour de -Saint paul +Saint paul fault a prendre & pour couvrir les ampeaulx la fiente de @@ -9297,7 +9308,7 @@ comme la terre -Marchant +Marchant Ceulx qui vendent par le menu les velours & es aultres @@ -9409,9 +9420,9 @@ La terre avecq des palles fer comme les pour semer quelques herbes potaigeres On le seme communement a la -saint Anthoine de +saint Anthoine de -Janvier on en faict huict racoltes Les premieres sont +Janvier on en faict huict racoltes Les premieres sont meilleures Le meilleur pastel de lauragues est celuy de @@ -11015,7 +11026,7 @@ de lancre qui si est deseche Il ne la fault que tremper dans lhuile de soufre Et incontinent elle sera blanche -& nette Urb. +& nette Urb.
@@ -12350,7 +12361,7 @@ deulx planche puys daultre papier & enfin ung aultre -foeultrePuys passe entre +foeultre Puys passe entre les rolleaulx Et tu peulx imprimer une douzaine de pieces @@ -14562,7 +14573,7 @@ couleurs
- Huile daspic +Huile daspic @@ -17294,7 +17305,7 @@ neantmoings son asperite areneuse sans embouer les doigts comme lardille Il se deseiche legerement au -foeu puys se pile & passe + foeu puys se pile & passe subtillement par un double tamis ou une manche de linge puys @@ -18307,7 +18318,7 @@ poser sans le boys -Pour Couleur dorange +Pour couleur dorange Prenes de leau ou la chault aura trempe Et Mectes du terroy @@ -18415,7 +18426,7 @@ Remues fort Jusques a ce quil soit en pouldre -Pour le Coucher +Pour le coucher Prenes de la colle de partenay ou parchemin Et lapliques @@ -18469,7 +18480,7 @@ daspic -Couleur de Cuyvre bruny +Couleur de cuyvre bruny Prenes une once de sel armoniac avecq une once de @@ -22135,7 +22146,7 @@ despouiller
-Sable mineral +Sable mineral La couleur de blanc et de jaulne nimporte Le tout est quil soict @@ -22451,7 +22462,7 @@ chose fort platte
-Que tout sable se peult rendre bon +Que tout sable se peult rendre bon Les artisans qui travaillent en grands ouvraiges & qui ont besoing @@ -23172,7 +23183,7 @@ vessie Le meilleur bistre est celuy gras & luisant des cheminees des grandes cuisines Il est -difficille a broyer & crie sur le mabre +difficille a broyer & crie sur le mabre
@@ -23354,8 +23365,8 @@ peu tiede Car si elle estoit trop chaulde elle cuiroit & gasteroit la peau Elle se coust avecq fil noir -
-
+
+
 @@ -23478,23 +23489,31 @@ des fourreaux
- -
-
a
-
b
+
+
+ +
+a +
+ +
+b +
-
+
D le baston -a felinder
+a felinder +
-
+
c le flin ou pierre -de fouldre
+de fouldre +
@@ -23844,7 +23863,7 @@ Un fourreau encire vault bien xxx sols un de vache xx sols - + @@ -26419,7 +26438,10 @@ pour aller voir ce que tu auras faict Et voyant des vers il entrera - + + + + Aulcuns les vendent sur @@ -28819,9 +28841,6 @@ de la gorge sarrestan entrant dans le test superieur
- - - bout qua pour les ten retirer au besoing Et advise quil fault que ces @@ -29014,11 +29033,13 @@ bien avecq du cotton car le sable qui y - + +
Leau de vye de trois passes
+ toucheroit seroit grumeleux si cest dessus lanimal @@ -29146,21 +29167,8 @@ derechef et retranche le superflu avecq un grand cousteau luy || donnant forme longue de mandorre Rasche + -Rascle & coupe aussy le derriere du moule qui -est tousjours le plus - -foible Et laproprie proprement ainsy Et noublie de - -fayre autour des coches affin que le second gect si encre - -& lye mieulx - -
-
- -sans varier - @@ -29243,7 +29251,7 @@ se deseichent promptem de leau meslee - +
@@ -29272,26 +29280,43 @@ ta cuillere ou tu le destrempes +
- -Leau de sel armoniac nest pas +
+ +Second gect +
+ + +
+Rascle & coupe aussy le derriere du moule qui +est tousjours le plus + +foible Et laproprie proprement ainsy Et noublie de + +fayre autour des coches affin que le second gect si encre + +& lye mieulx + +
+
+ +sans varier + + + + +Leau de sel armoniac nest pas + necessaire aulx petits moules qui ne requierent pas grand ne long foeu pour estre recuits - + touteffois quand tu y en mettras il ne sera que mieulx - - - -
- - -
-Second gect +
-
@@ -29771,7 +29796,7 @@ avecq de petits ciseaulx
-
+ Si tu veulx qui sera asses @@ -29849,6 +29874,9 @@ de fil de fer de ceste forme +
+
+ ilz empeschent que les molles @@ -29858,16 +29886,24 @@ ne se gaulchissent en recuisant +
+
+ +
+Cest la forme des crampons +
+ +
-Faire le gect recuire les moules &c +Faire le gect recuire les moules &c Advertissement sur tout ce -que dessus|-| +que dessus |-| Si ton serpent a este long temps sans manger il advient que quand @@ -29946,9 +29982,6 @@ prise est si ferme que pour cela lempraincte ne se gastera poinct -
-
-
@@ -29976,11 +30009,6 @@ recuit pourveu quil demeure rouge par dedans quand tu gecteras -
-Cest la forme des crampons - -
-
@@ -32047,7 +32075,10 @@ Et de larsenic
-
+ +
+
+
@@ -33729,7 +33760,7 @@ Silence loreille justement & tu
-
+
Et leau chaulde @@ -35131,7 +35162,7 @@ ton ouvraige sera sec Mays couche cler -Pour santonique +Pour santonique Ce blanc blafart de ceste herbe se faict de vert de terre @@ -35181,7 +35212,7 @@ plaine de aiguillons fort veneneulx -+ ++ Mects un peu de @@ -35353,9 +35384,17 @@ encoche & grumeleux pour retirer la furie du metal
+
+ + + + + +
+
@@ -35412,22 +35451,13 @@ le bout des pattes les adaptant avecq le bout des petites molettes Fays le semblable du bout des petites corniches de liraigne -Retourne - -🜊 - - - - - -
+Retourne 🜊 + -
- Pour faire le gect de liraigne sur la @@ -36018,10 +36048,10 @@ lestaim trop de plomb il ne court pas bien tanvre Et pour le scavoir -sil lestaim crie fort cest signe quil ny ha pas trop +sil lestaim crie fort cest signe quil ny ha pas trop de plomb -Sil crie lentem cest a dire quil y en ha +Sil crie lentem cest a dire quil y en ha trop Advise bien @@ -36667,11 +36697,11 @@ seche & se retire plustost que faire crouste sur le ou moisissure - + -+ ++ Quand tu moules de @@ -37766,7 +37796,7 @@ Laisse courra merveilleusement - + @@ -38403,7 +38433,7 @@ tanvre -+ ++ Note que si tu les veulx gecter @@ -39807,7 +39837,9 @@ imprime -+ Recuits tes moules ++ + +Recuits tes moules avecq charbons allumes @@ -40518,7 +40550,7 @@ boit lhuile -+ ++ Sil y a du crocum @@ -40747,7 +40779,7 @@ Aultrement il viendra grumeleus - + Pourceque tu ne @@ -41103,7 +41135,7 @@ il te le fault departir en trois comme tu vois Scavoir tu mectras un entre deulx dardille dessus la gorge & un -aultre sur le bort de la coquille de la queue # Et +aultre sur le bort de la coquille de la queue # Et ayant huile et la coquille du ventre & layant frotee @@ -42209,12 +42241,13 @@ et le raporter avecq souldure - + -X Note quapres que -ton +X + +Note quapres que ton noyau est gecte Il est @@ -42707,7 +42740,7 @@ animaulx moule quil ne soict recuit & le rat brusle -+ ++ Le rat pourcequil @@ -43321,7 +43354,7 @@ pource quil est forgeant il saigrist - + Aulcuns souldent @@ -43814,7 +43847,7 @@ cave en relief medaille & tu auras un cave dans lequel tu pourras gecter -en noyau un relief de ton sable sur lequel tu feras un cave +en noyau un relief de ton sable sur lequel tu feras un cave de plomb ou destain dans lequel tu gecteras un relief de cire @@ -44112,7 +44145,7 @@ gect a la mouche
-+ ++ Sil vient quelque default aulx aisles @@ -44292,9 +44325,9 @@ le reste est bien brusle
-Mousches +Mousches -Elles se moulent +Elles se moulent mieulx sur une @@ -46000,7 +46033,7 @@ Les crampons se doibvent mectre plustost que le recuire ou deseicher - + @@ -46454,9 +46487,9 @@ espis nest pas repris Si quelques artisans se plaignent quon descouvre les secrets -des arts et que les desses Eleusines se plaignent -comme a N -pytagorien de ce que on ha divulgue leurs mysteres Excuse +des arts et que les desses Eleusines se plaignent +comme a N +pytagorien de ce que on ha divulgue leurs mysteres Excuse toy sur le dire des anciens hebrieulx recite par Josephe @@ -47448,7 +47481,7 @@ couvre tout
-Première page d'origine +Première page d'origine (1578–1579) Lan mil cinq cens septante huict le deuxiesme de Juillet a este diff --git a/allFolios/xml/all_tcn.xml b/allFolios/xml/all_tcn.xml index d7fcd4e94..90c87fa2f 100644 --- a/allFolios/xml/all_tcn.xml +++ b/allFolios/xml/all_tcn.xml @@ -5,10 +5,9 @@
+Liste de noms -Liste de noms - - + Mestre Nicolas Costé, à la rue de la Heaumerie à l’image Sainct Claude / Mirouers. @@ -26,51 +25,63 @@ Boucherie, courroyeur. Essayer fleur de
-
+
-Liste +Liste -
Le moissonneur laissant quelques espis n’est repris. + + +
Le moissonneur laissant quelques espis n’est repris. -Sacra Eleusinae deae propalare nefas. +Sacra Eleusinae deae propalare nefas. Trompettes, voy le livre des funerailles.
+
+Liste de livres et d'autheurs -Liste de livres + -Vuolfangus Lazius +Vuolfangus Lazius Petrus Appianus, mathematicus -Ingolstadiensis, Comment. urb. rom. +Ingolstadiensis, Comment. urb. rom. -Hieronimo Ruscelli +Hieronimo Ruscelli Hermolaus Barbarus Angelius Bargaeus, De aucupio et venatione -Nicolaus Damascenus +Nicolaus Damascenus -Caresariensis, De rebus +Caresariensis, De rebus Persarum -Isidorus +Isidorus -Osorius +Osorius Eupolemus, historicus gentilisqui de rebus Davidis & Salomonis -scripsit - -- Cathalogue des villes +scripsit +           +           +           +           +           +           +           +monsieur + +- Cathalogue des villes Calendrier des bergiers @@ -96,30 +107,10 @@ Des præceptes d'agriculture et de la royne mere -
- -
+ -Liste de livres -Aquatilium animalium historiae, Hypolito - -Salviano Typhernate authore, Romae 1554 - -
- -
- - -Liste de livres et d'auteurs -Les Annales de Normandie - - - - - -Alexander -Aphrodisaeus +Alexander Aphrodisaeus Polydorus Vergilius @@ -193,9 +184,29 @@ Strabo Flavius Vopiscus -Monsieur +
+ + +
+ +Liste de livres + + +Aquatilium animalium historiae, Hypolito + +Salviano Typhernate authore, Romae 1554 + +
+ + +
+ + + +Les Annales de Normandie
+ @@ -340,7 +351,11 @@ La mace a esté de vert, jaulne Coral contrefaict -+ + +            +            + + + Il fault premierement faire les branches de boys ou @@ -902,7 +917,7 @@ le doncq dans une descouvert. - + En cinq ou six lb d’huile, @@ -918,7 +933,7 @@ noir, mays il se noircist au foeu. - + Voy cy aprés @@ -3555,7 +3570,7 @@ la grise qui semble sarment. -
+
Fonte de fer doux @@ -3608,16 +3623,12 @@ rond en tient deulx quintals. -
- - - - - - - - -
+
+ +
+ +
+
 @@ -3636,7 +3647,9 @@ Et cela rend le fer merveilleusement ductible & courant. - +
+ +
Il fault aussy que la tuelle entre jusques au milieu de la gueule du fourneau, @@ -4836,7 +4849,7 @@ si la balle de celle de metal -poise lx lb. +poise lx lb Aussy prend on @@ -5607,7 +5620,7 @@ prés l’unge de l’aultre & on faict des coches en ceste sorte: -
. +
& par ces coches on passe le @@ -5890,8 +5903,8 @@ mettent que la balle. -
-
+
+
 pouldre. Estant pleine la saulssisse, trempe la bien dans @@ -6047,7 +6060,7 @@ l’empliras de bonne pouldre pilée dans un mortier & destrempée legerement avecq -de bonne eau de vye ou de fort vinaigrequi semble. Et +de bonne eau de vye ou de fort vinaigre qui semble. Et comme. Cela ce faict pour alantir la pouldre. Et pour sçavoir si @@ -6091,7 +6104,7 @@ costeau. -
+
@@ -6114,8 +6127,35 @@ de la place qu’on veult battre, le canonier va de nuict recognoistre le lieu le plus commode pour faire la batterie, + + + + + + +Sçaches les magasins + +de France pour l’artiglerie. + + + + +Il est bon que la plateforme + +penche un peu sur le devant + +pour ce que la piece est plustost + +mise en batterie & tient + +plus coup & bat plus roide. -& s’il ne voit bien on donne une faulse alarme affin que +
+ + +
+ +& s’il ne voit bien on donne une faulse alarme affin que ceulx de dedans jectent des flambeaulx. Bien souvent on @@ -6145,6 +6185,40 @@ pendant que par derriere ilz emplissent avecq leurs pales les gabions de terre. Et pendant qu’on faict cela, on donne quelque fause alarme d’un aultre costé. Et plustost on ha + + +
+ + +
+ +Canons à chambre + + + +sont ceulx qui ont un renfort + +par dedans en tout l’espace + +qui contient la pouldre, et + +la balle ne peut a rouler + +que jusque à l’entrée de + +ladicte chambre. Ceulx cy + +ne font pas si grande + +faulcée & sont fascheux + +à charger, mays il ne + +s’eschauffent pas si tost.
+ + +
+ tiré quelque volée aulx deffenses. Les gabions Les pionners @@ -6174,6 +6248,37 @@ tranchées pour aller aux pieces, mays on mect force gabions qui sont hault & on y va en courant. Aulx grand + +
+ + +
+ +Lumiere d’acier + + + +se pose en ancrau dans + +les canons pource qu’elle ne + +se gaste poinct en tirant + +comme font bien tost les aultres. + +Mays ces ancraus sont + +subgects à saulter & porter + +domaige au canonier. Il n’y + +ha que d’user de la lumiere + +propre.
+ + +
+ places on faict trenchées. Il y a tousjours dans les @@ -6185,88 +6290,18 @@ en garde pour la deffence des pieces. On tient le petit magasin de pouldres de trois ou quattre caques a part, - - - - -Sçaches les magasins - -de France pour l’artiglerie. - - - - - -Il est bon que la plateforme - -penche un peu sur le devant - -pour ce que la piece est plustost - -mise en batterie & tient - -plus coup & bat plus roide. - - -
-
-Canons à chambre - - -sont ceulx qui ont un renfort - -par dedans en tout l’espace - -qui contient la pouldre, et - -la balle ne peut a rouler - -que jusque à l’entrée de - -ladicte chambre. Ceulx cy - -ne font pas si grande - -faulcée & sont fascheux - -à charger, mays il ne - -s’eschauffent pas si tost.
- -
- - -Lumiere d’acier - - -se pose en ancrau dans - -les canons pource qu’elle ne - -se gaste poinct en tirant - -comme font bien tost les aultres. - -Mays ces ancraus sont - -subgects à saulter & porter - -domaige au canonier. Il n’y - -ha que d’user de la lumiere - -propre.
- -Lumiere à ras - +Lumiere à ras + + + de la culasse est la meilleure @@ -6373,11 +6408,7 @@ ce faisant tu esbranles plusieurs pierres.
 - - - - - + Aulcuns mettent des petites roues d’une piece & de quelque table espece au bout @@ -7534,7 +7565,7 @@ pluye. Mays celuy qui est faict d’huile de noix blanche, comme tu la -fais, tient à la pluye et est fort +fais, tient à la pluye et est fort cler & beau & bien tost sec. C’est pourquoy on use d’iceluy aulx banieres & enseignes @@ -7853,7 +7884,7 @@ se vend xxx ou 40 lb. D’aultre dont les fondeurs usent se vent xii ou xv lb. Le quintal de metal, six -lb.Le met +lb. Le met @@ -7976,14 +8007,14 @@ pas à ses
-X Pour rallumer une chandelle estainte +X Pour rallumer une chandelle estainte entre les mains sans soufler
-X Ayes un petit baston d’ouzier entre bien +X Ayes un petit baston d’ouzier entre bien sec et en couppe une petite piece comme un curedant, & la m mects l’un @@ -8174,7 +8205,7 @@ baisser la teste au au front, tu l’empescheras de sortir d’une chambre -XFais luy embrasser la quenoille du +X Fais luy embrasser la quenoille du lict ou chose semblable, & que du mesme bras il tienne le doigt au @@ -8186,7 +8217,7 @@ lict ou chose semblable, -XGaiger a quelque’un que se +X Gaiger a quelque’un que se promenant jusques à tel lieu et en revenir, il ne @@ -8194,7 +8225,7 @@ jusques à tel lieu et en revenir, il ne dira point quattre fois de suite botte sans esperon -XS’il s’essaye de le dirae, mays il +X S’il s’essaye de le dirae, mays il fault qu’il parle hault, quand il sera allé & revenu, tu luy @@ -8213,9 +8244,7 @@ botte sans dire esperon, car ta gageure est telle. sans y fayre trou -X - -Fais le tenir par un vallet contre la +X Fais le tenir par un vallet contre la muraille.
@@ -8224,12 +8253,12 @@ sans y fayre trou -XNe casser point un verre +X Ne casser point un verre d’une busche ou d’un gros baston -XTu en coupperas un petit loppin gros comme un +X Tu en coupperas un petit loppin gros comme un curedent, & ainsy luy donneras d’une busche ou d’un gros @@ -8385,7 +8414,7 @@ ne coulle. enseigneras une chose qu’il ne sçait pas -ne toy aussy +ne toy aussy Ayes une fisselle ou petit baston et prens la mesure @@ -8827,9 +8856,9 @@ laquelle un aultre coupe le bout puys le soufleur en tournant l’aplatise & en touchant sur un plan qui est à terre, -A puys la met à recuire. Ainsy le milieu par où elle se +A puys la met à recuire. Ainsy le milieu par où elle se -commance demeure tousjours. +commance demeure tousjours. @@ -9335,7 +9364,7 @@ fort beau fruit. Planter abres On dict que rarement l'abre planté le jour de -Saint Paul +Saint Paul fault à prendre, & pour couvrir les ampeaulx, la fiente de @@ -9350,7 +9379,7 @@ comme la terre. -Marchant +Marchant Ceulx qui vendent par le menu les velours & es aultres @@ -9433,7 +9462,7 @@ d’argent avecq le salpestre, il se vitrifie au fonds du creuset un esmail rouge. Je ne sçay si le cuivre meslé parmy -l’argent en est cause. +l’argent en est cause. Essaye pour l’esmail. @@ -9463,9 +9492,9 @@ comme les jardiners. Aprés avecq des pour semer quelques herbes potaigeres. On le seme communement à la -Saint Anthoine de +Saint Anthoine de -janvier. On en faict huict racoltes. Les premieres sont +janvier. On en faict huict racoltes. Les premieres sont meilleures. Le meilleur pastel de Lauragués est celuy de @@ -11078,7 +11107,7 @@ de l’ancre qui s’i est deseché, il ne la fault que tremper dans l’huile de soufre. Et incontinent elle sera blanche -& nette. Urb. +& nette. Urb.
@@ -14616,7 +14645,7 @@ couleurs.
-Huile d’aspic +Huile d’aspic @@ -17373,7 +17402,7 @@ grande, retenant neantmoings son asperité areneuse sans embouer les doigts comme -l’ardille. Il se deseiche legerement au foeu, puys se +l’ardille. Il se deseiche legerement au foeu, puys se pile & passe subtillement par un double tamis ou une manche @@ -20446,7 +20475,7 @@ y gectent plomb. On peult faire -moule de plomb. +moule de plomb, & pour y gecter @@ -21482,7 +21511,7 @@ de metal sont plus sonans pour les apothiquaires. -Les grenades doibvent estre de fin metal +Les grenades doibvent estre de fin metal.
@@ -22165,7 +22194,7 @@ de corps On trouve par experience que le greffe qui est ha son entrée -dans l’insition du costé du soleil prend bien peu souvent, quand il +dans l’insition du costé du soleil prend bien peu souvent quand il est aussy tortu. @@ -22242,7 +22271,7 @@ veulent estre f assés humides pour bien despouiller.
-Sable mineral +Sable mineral La couleur de blanc et de jaulne n’importe. Le tout est qu’il soict @@ -22598,7 +22627,7 @@ chose fort platte.
-Que tout sable se peult rendre bon +Que tout sable se peult rendre bon Les artisans qui travaillent en grands ouvraiges & qui ont besoing @@ -23332,7 +23361,7 @@ vessie. Le meilleur bistre est celuy gras & luisant des cheminées des grandes cuisines. Il est -difficille à broyer & crie sur le mabre. +difficille à broyer & crie sur le mabre.
@@ -23518,8 +23547,8 @@ gasteroit la peau. Elle se coust avecq fil noir. -
-
+
+
 @@ -24036,7 +24065,7 @@ Un fourreau enciré vault bien xxx sols, un de vache xx sols. - + @@ -25686,7 +25715,7 @@ en vinaigre. 7 cornues -2 lb. de ☿ +2 lb de ☿ Une mesure de gros sel @@ -25700,7 +25729,7 @@ Une mesure de gros sel 3 ou 4 lampes -2 lb. de cotton +2 lb de cotton Un payre de petits ciseaulx @@ -25736,7 +25765,7 @@ Un fusil Ciment royal -Une lb. & demye de vitriol +Une lb & demye de vitriol Aultant de salpestre @@ -26649,7 +26678,10 @@ pour aller voir ce que tu auras faict, et voyant des vers il entrera. - + + + + Aulcuns les vendent sur @@ -27247,7 +27279,7 @@ Et celuy, blanc que v en pouldre, que vendent les est bon. Il se subtilie mieulx su dans le mortier en pilant & -trainant le pinon, ainsy tu le rendras fort subtil. +trainant le pinon, ainsy tu le rendras fort subtil. Le crocum ferry doibt estre embrasé dans la fournaise @@ -29061,9 +29093,6 @@ de la gorge, s’arrestan entrant dans le test superieur,
- - - bout qua pour les ten retirer au besoing. Et advise qu’il fault que ces @@ -29199,14 +29228,6 @@ erement la teste puys le reste. - - - - -L’eau de vye - -de trois passes. - @@ -29264,6 +29285,12 @@ bien avecq du cotton, car le sable qui y + + +
L’eau de vye + +de trois passes.
+ toucheroit seroit @@ -29398,19 +29425,8 @@ derechef, et retranche le superflu avecq un grand cousteau, luy || donnant forme longue de mandorre. Rasche - -Rascle & coupe aussy le derriere du moule qui -est tousjours le plus - -foible, et l’aproprie proprement ainsy. Et n’oublie de - -fayre autour des coches, affin que le second gect s’i encre - -& lye mieulx - -
-
sans varier. - + + @@ -29493,7 +29509,7 @@ se deseichent promptement de l’eau meslée. - +
@@ -29522,26 +29538,42 @@ ta cuillere ou tu le destrempes. - - - -L’eau de sel armoniac n’est pas - -necessaire aulx petits moules, qui ne requierent pas grand ne -long foeu pour estre recuits, - -touteffois quand tu y en mettras il ne sera que mieulx. - - -
- - + +
Second gect
+ + +
+ +Rascle & coupe aussy le derriere du moule qui +est tousjours le plus + +foible, et l’aproprie proprement ainsy. Et n’oublie de + +fayre autour des coches, affin que le second gect s’i encre + +& lye mieulx + +
+
sans varier. + + + +L’eau de sel armoniac n’est pas + +necessaire aulx petits moules, qui ne requierent pas grand ne +long foeu pour estre recuits, + +touteffois quand tu y en mettras il ne sera que mieulx. + + +
+ @@ -30015,7 +30047,7 @@ avecq de petits ciseaulx.
-
+
si tu veulx, qui sera assés, @@ -30093,6 +30125,9 @@ de fil de fer de ceste forme. +
+
+ Ilz empeschent que les molles @@ -30102,6 +30137,13 @@ ne se gaulchissent en recuisant. +
+
+ +
+C’est la forme des crampons +
+
@@ -30112,7 +30154,7 @@ en recuisant. Advertissement sur tout ce -que dessus|-| +que dessus |-| Si ton serpent a esté long temps sans manger, il advient que, quand @@ -30194,9 +30236,6 @@ prise est si ferme que pour cela l’empraincte ne se gastera poinct. -
-
-
@@ -30223,11 +30262,6 @@ recuit, pourveu qu’il demeure rouge par dedans quand tu gecteras. -
-C’est la forme des crampons - -
-
@@ -32307,6 +32341,10 @@ et de l’arsenic
+ + +
+
@@ -32315,76 +32353,79 @@ et de l’arsenic
estat toute l’année - -+ - -Les fleurs se gardent aussy en leur mesme beaulté dans le vinaigre -distillé vdans un vase - -bien sellé qui ne prene aulcun vent, qui soit bien sellé de -cire & mastic. Les oeillets & -roses, - -la resideure du vinaigre commun les faict -pourrir. - -Si le sable faict poulssiere & tient - -sur les fleurs, & qu’aisement avecq un - -pinceau il ne s’oste, il n’est pas bon. - -Le plus maigre est le meilleur. - - - -Le sable de riviere lavé - -par le courant des eaulx est - -bon, estant passé par un linge - -pour - -secouer - -la pou - -dre.
 - C’est un rare secret & qui donne du plaisir pour orner - + les tables, chambres & cabinets hors de saison quand l’hiver - + desnie des fleurs. Advise doncq de les ce cueillir lorsqu’elles - + sont en leur parfaicte vigueur & qu’elles croissent. Car si tu les - + prenois quand leur saison passe ou qu’elles commancent à fanir, - + elles ne se garderoient point. Les ayant doncq ainsy choisies, - + ayes du sable le plus maigre & aride que tu pourras trouver, - + qui soict fort subtil comme celuy duquel les orfevres usent se servent pour - + user l’esmail ou comme celuy d’estampes. Mays il ne fault pas sur - + tout qu’il fasse poulsiere, ne qu’il demeure sur la main ou y - + laisse marque quand tu l’y as pulverisé & puys versé. Car c’est + + + +Le sable de riviere lavé + +par le courant des eaulx est + +bon, estant passé par un linge + +pour + +secouer + +la pou + +dre.
 + + + ++ + +Les fleurs se gardent aussy en leur mesme beaulté dans le vinaigre +distillé vdans un vase + +bien sellé qui ne prene aulcun vent, qui soit bien sellé de +cire & mastic. Les oeillets & +roses, + +la resideure du vinaigre commun les faict +pourrir. + +Si le sable faict poulssiere & tient + +sur les fleurs, & qu’aisement avecq un + +pinceau il ne s’oste, il n’est pas bon. + +Le plus maigre est le meilleur. + + + @@ -32411,7 +32452,8 @@ couvre & garde en lieu sec. - + + Que Il ne fault pas mectre @@ -32421,8 +32463,8 @@ car quand on tire un il fault tirer tout. - + Advise bien de ne coeuillir pas tes fleurs @@ -35401,8 +35443,8 @@ l’argent bas. à gomme point trop espesse ou car l’huile est long à seicher -et coule s’il est couché cler, comme les herbes requierent, -et si tu +et coule s’il est couché cler, comme les herbes requierent. +Et si tu veulx encores avoir promptement faict, destrempe ta couleur avecq de @@ -35418,13 +35460,13 @@ ton ouvraige sera sec. Mays couche cler. -Pour santonique +Pour santonique Ce blanc blafart de ceste herbe se faict de vert de terre, de blanc de plomb ou ceruse, d’un peu de massicot -et scudegrun +et scudegrun, et de cendré d’azur. Mesle & compose ta couleur selon une @@ -35442,7 +35484,7 @@ branche naturelle que tu auras. C’est le plus beau serpent qui se puisse mouler, à cause qu’il ha -fort belles escailles & rudes & transparentes. Sa couleur +fort belles escailles, & rudes & transparentes. Sa couleur naïfve se faict avecq de bon verdegris fort broyé avecq de bon @@ -35453,7 +35495,7 @@ en quelque endroit plus obscur, parfume ceste premiere couleur de soufre, -comme tu sçais. Et s’il fault esclarcir et blanchir +comme tu sçais. Et s’il fault esclarcir et blanchir, comme soubs la gorge, frotte d’un linge rude. Le masle gecte @@ -35464,13 +35506,13 @@ comme une demy balle d’harquebus faicte en genitoires et toute -plaine de aiguillons fort veneneulx +plaine de aiguillons fort veneneulx. -+ ++ Mects un peu de @@ -35526,7 +35568,7 @@ aulx fleurs de caprier. Plantes les sur une plastre de terre, les disposant avecq -des poinctes de fil de fer comme si tu les +des poinctes de fil de fer, comme si tu les voulois mouler et ilz les seiche au four aprés que le pain est tiré. @@ -35547,7 +35589,7 @@ Note qu’il leur fault donner leur plant & les -mectre dans le sable +mectre dans le sable, comme les fleurs, @@ -35569,7 +35611,7 @@ bien chau sec, car aultrement il seroict puant. -Toutesfois advise +Toutesfois, advise que le four ne soict @@ -35612,7 +35654,7 @@ de mesme. Advis sur le gect -Ne Prens garde de ne faire ton gect gueres espés et +Ne Prens garde de ne faire ton gect gueres espés, et n’oublie pas d’y faire dans le conduit d’iceluy deulx ou trois trous @@ -35643,7 +35685,13 @@ encoché & grumeleux, pour retirer la furie du metal.
 - +
+ + + + + +
@@ -35657,14 +35705,14 @@ pour retirer la furie du Les fort grandes ont communement les pieds velus, qui est fascheulx -à mouler si tu ne les couches ou fais flammer avecq une +à mouler si tu ne les couches, ou fais flammer avecq une bougie, -ou les affermis & couches, avecq de les +ou les affermis & couches avecq de, les oignant de huile de fromant. -Fais les mourir dans le vinaigre & urine -comme les serpents +Fais les mourir dans le vinaigre & urine, +comme les serpents, & ou dans l’eau de vye, et puys fais leur plant @@ -35703,22 +35751,14 @@ le bout des pattes, les adaptant avecq le bout des petites molettes. Fays le semblable du bout des petites corniches de l’iraigne. -Retourne - -🜊 +Retourne 🜊 - + -
- - - -
- Pour faire le gect de l’iraigne sur la @@ -35729,7 +35769,7 @@ que le sable ne couvre l’iraigne par dessoubs le ventre, munis le bout de la queue & le bas du corps d’un peu de cire fondue & -apliquée avecq le fil de fer chault comme tu +apliquée avecq le fil de fer chault, comme tu sçais. En ceste sorte, la foeille se bruslant & la @@ -35753,7 +35793,7 @@ racle le superflu avecq la poincte d’un -trancheplume, affin que +trancheplume affin que le bout des pattes @@ -35763,11 +35803,11 @@ pose le cercle de terre aultour & gecte ton -sable destrempé comme +sable destrempé, comme des aultres. En ceste -maniere il te fauldra +maniere, il te fauldra brusler la foeille de @@ -35826,7 +35866,7 @@ fer ainsy, il les faut pendre l’eschine en bas. En ceste sorte ils prenent &d leur ply & -se seichent & le ventre s’estroissist & la queue demeure +se seichent, & le ventre s’estroissist & la queue demeure hauste ou avec le reply que tu luy auras donné. Estant par ce moyen un peu secs, on leur contourne @@ -35914,11 +35954,11 @@ Les pieds pelus des grosses yraignes, comme tout poil d’animal, ne se moule pas bien s’il n’est -couché l’ayant oint +couché, l’ayant oint avecq de l’huile de -froment qui l’afermist, +froment qui l’afermist & est bien tost sec. @@ -35949,7 +35989,7 @@ premier moule. Ayant faict prise, descouvre le dos revers & fais -le second gect, lequel estant prix tu peulx retirer la foeille. +le second gect, lequel estant prix, tu peulx retirer la foeille. Et ne te faudra recuire ton moule qu’une fois, pource qu’il n’y aura @@ -35986,7 +36026,7 @@ ains à deulx gects comme les serpents, qui sont bien en despouille, on enleve ceste croste, non avecq vif argent qui -n’y feroit rien, aprés +n’y feroit rien, aprés qu’il est ouvert, avecq une forte subtile poincte de trancheplume avecq @@ -36036,7 +36076,7 @@ point besoing de le tremper, car estant -recuit il souvrira +recuit, il souvrira de luy mesme. @@ -36087,7 +36127,7 @@ s’emboiroit & ne seroit pas si propre que le beurre. à brusler dans le moule -Moule les à deulx ou trois gects, qui estant recuit s’ouvriront +Moule les à deulx ou trois gects, qui estant recuit s’ouvriront, & il te sera plus aisé à retirer le charbon de dedans. @@ -36223,7 +36263,7 @@ mects rien en ta cire que tu præpareras pour cet effect sino de -toutes ses drogues, sinon y gecter du soufre fondu +toutes ses drogues, sinon y gecter du soufre fondu, comme elle est fondue, & de la fumée de chandelle. Le @@ -36313,10 +36353,10 @@ l’estaim trop de plomb, il ne court pas bien tanvre. Et pour le sçavoir, -sil l’estaim crie fort, c’est signe qu’il n’y ha pas +sil l’estaim crie fort, c’est signe qu’il n’y ha pas trop de plomb. -S’il crie lentement, c’est à dire qu’il y en ha +S’il crie lentement, c’est à dire qu’il y en ha trop. Advise bien @@ -36969,11 +37009,11 @@ seche & se retire, plustost que faire crouste sur le ou moisissure. - + -+ ++ Quand tu moules de @@ -37101,7 +37141,7 @@ eviter de mectre des poinctes, qui ne se doibvent pas mectre sinon à l’eslevement de la teste, aulx plus espés endroits du -corps, & des +corps & des simples & deliées au milieu des pieds des lesards, les ongles @@ -38075,7 +38115,7 @@ Laisse courra merveilleusement. - + @@ -38286,9 +38326,9 @@ que tu pourras pvers la medaille, -& l’embrasse bien. +& l’embrasse bien, -Que l’entrée du +que l’entrée du gect soict ample, @@ -38627,7 +38667,7 @@ c’est deulx ℥ d’estaim fin sur une lb de sophistiqué. Le moule se faict du sable susdict commun -à tous metaulx, comme il est recuit le laisser froidir +à tous metaulx; comme il est recuit le laisser froidir jusques à ce que tu puisses tenir le doigt sans læsion dans le @@ -38716,7 +38756,7 @@ tanvre. -+ ++ Note que si tu les veulx gecter @@ -40096,7 +40136,7 @@ imprime. -+ ++ Recuits tes moules @@ -40820,7 +40860,7 @@ boit l’huile. -+ ++ S’il y a du crocum @@ -41051,7 +41091,7 @@ aultrement il viendra grumeleus. - + Pource que tu ne @@ -41406,7 +41446,7 @@ il te le fault departir en trois comme tu vois. Sçavoir tu mectras un entre deulx d’ardille dessus la gorge & un -aultre sur le bort de la coquille de la queue, #. Et +aultre sur le bort de la coquille de la queue, #. Et ayant huilé et la coquille du ventre & l’ayant frotée @@ -41615,7 +41655,7 @@ qui peult tenir. ☾ qui est comme soubdure fort basse / -ard +ard et vieulx K et quelque R sur xii @@ -41759,7 +41799,7 @@ Mays le letton aigre de chandelier vient jaulne & la -pas venu si cler que je desirois. Je l’ay encore recuit, +pas venu si cler que je desirois, je l’ay encore recuit, laissé froidir, remis au blanchiment & grattebroissé. Il est @@ -42349,7 +42389,7 @@ ne gecter pars par le milieu du trou, ains par le costé, -car, à cause que le moule desja faict, boit & succe +car, à cause que le moule desja faict boit & succe l’humeur du nouveau. Le nouveau que tu gectes qui, est bien tost sec sur le bort du moule, estant bien @@ -42513,9 +42553,9 @@ et le raporter avecq souldure. - + -X +X Note qu’aprés que ton @@ -42645,7 +42685,7 @@ paressent gueres, & par consequent les baves sont fort petites & tanvres. Tu peulx reparer & par le trou du ventre tirer -la terre du noyau, le laissant long temps tremper,
 +la terre du noyau, le laissant long temps tremper;
 @@ -43022,7 +43062,7 @@ animaulx, moule qu’il ne soict recuit & le rat bruslé. -+ ++ Le rat, pource qu’il @@ -43639,7 +43679,7 @@ pource qu’il est forgeant il s’aigrist. - + Aulcuns souldent @@ -44056,7 +44096,7 @@ letton, l’estain, estant ainsy tanvre, est fascheux à soulder, et se -peult fondre quelque foeuille. Et qu’aussy les fleurs +peult fondre quelque foeuille, et qu’aussy les fleurs gectées & principallement la rose ne sont pas belles sans estre @@ -44134,7 +44174,7 @@ cave en relief medaille, & tu auras un cave, dans lequel tu pourras gecter -en noyau un relief de ton sable, sur lequel tu feras un cave +en noyau un relief de ton sable, sur lequel tu feras un cave de plomb ou d’estain, dans lequel tu gecteras un relief de @@ -44430,7 +44470,7 @@ gect à la mouche.
-+ ++ S’il vient quelque @@ -45745,7 +45785,7 @@ en six jours il avoient debité. Navigation, -marchandise. +marchandise
@@ -45783,7 +45823,7 @@ presenta au temple de Delphe -Vases d’or. +Vases d’or
@@ -45809,7 +45849,7 @@ raportées. Vase de fer -raporté et souldé. +raporté et souldé @@ -45836,7 +45876,7 @@ beaucoup plus rares secrets des benevoles lecteurs.
Estant pulverisé subtillement, il moule tres net & ha une -certaine graisse qui luy donne liaison |, plus qu’au +certaine graisse qui luy donne liaison, | plus qu’au Crocum, & croy qu’il ne seroit point mal propre au gect. @@ -45990,7 +46030,7 @@ principalle senteur sur le musc. Pour espargner l’ambre, ilz mectent volontiers aulx couches -blanches un peu de musc & pour l qui donne +blanches un peu de musc & pour l qui donne senteur plus violente. Mays pour oster la ou cacher la noirceur @@ -46273,8 +46313,8 @@ lingot plustost que le fondre pour gecter les moulé net comme le principal ainsy une petite -vipere d’argent, et fis la ligue de 4 -realles, +vipere d’argent, et fis la ligue de 4 +realles, de 20 sols d’Espaigne, & une piece de xx sols de @@ -46351,7 +46391,7 @@ Les crampons se doibvent mectre plustost que le recuire ou deseicher. - + @@ -46808,9 +46848,9 @@ espis, n’est pas repris. Si quelques artisans se plaignent qu’on descouvre les secrets -des arts et que les deesses eleusines se plaignent -comme à N. -pytagorien de ce que on ha divulgué leurs mysteres, excuse +des arts et que les deesses eleusines se plaignent +comme à N. +pytagorien de ce que on ha divulgué leurs mysteres, excuse toy sur le dire des anciens Hebrieulx recité par Josephe. @@ -47809,7 +47849,7 @@ couvre tout.
-Première page d'origine +Première page d'origine (1578–1579) L’an mil cinq cens septante huict le diff --git a/allFolios/xml/all_tl.xml b/allFolios/xml/all_tl.xml index 2ebf7781e..f91d09382 100644 --- a/allFolios/xml/all_tl.xml +++ b/allFolios/xml/all_tl.xml @@ -6,15 +6,15 @@
-List of names +List of names - + -Mestre Nicolas Costé, in the -Rue de la Heaumerie, at the +Mestre Nicolas Costé, in the +Rue de la Heaumerie, at the sign of St Claude / Mirrors. -Mestre Jehan Cousin, who resides in +Mestre Jehan Cousin, who resides in the Faubourg Saint-Germain, knows of the master. @@ -24,55 +24,65 @@ Escrivains by St Jacques de la Boucherie,
-
+
-List +List - +
The harvester that leaves some ears is not -blamed. +blamed. -Sacra Eleusinae deae propalare -nefas. +Sacra Eleusinae deae propalare +nefas. Trumpets, see the book of funerals.
+
+List of books and authors -List of books + -Vuolfangus Lazius +Vuolfangus Lazius -Petrus Appianus mathematicus +Petrus Appianus mathematicus Ingolstadiensis, Comment. urb. -rom. +rom. -Hieronimo Ruscelli +Hieronimo Ruscelli Hermolaus Barbarus -Angelius Bargaeus, De aucupio et +Angelius Bargaeus, De aucupio et venatione -Nicolaus Damascenus +Nicolaus Damascenus -Caresariensis, De rebus +Caresariensis, De rebus Persarum -Isidorus +Isidorus -Osorius +Osorius -Eupolemus, historicus gentilis qui de rebus Davidis & -Salomonis -scripsit +Eupolemus, historicus gentilis +qui de rebus Davidis & Salomonis +scripsit +           +           +           +           +           +           +           +monsieur -- Cathalogue des +- Cathalogue des villes Calendrier des bergiers @@ -97,29 +107,10 @@ Des præceptes d’agriculture + Mestre Bernard Palissi, inventor of rustic figulines to the -king and the queen mother - -
- -
- - -List of books -Aquatilium animalium historiae, Hypolito -Salviano Typhernate authore, Romae 1554 - -
- -
- - -List of books and authors -Les Annales de -Normandie - - +king and the queen mother + Alexander Aphrodisaeus @@ -195,9 +186,25 @@ Strabo Flavius Vopiscus -Monsieur +
+ + +
+ +List of books +Aquatilium animalium historiae, Hypolito +Salviano Typhernate authore, Romae 1554 + +
+ + +
+ +Les Annales de +Normandie
+ @@ -207,7 +214,7 @@ Strabo -For easing the belly +For loosening the belly Prunes of Saint Antonin, & if you like you want put among them leaves of mallow & @@ -218,7 +225,7 @@ little cinnamon for the stomach. broth. The fresh kind is more mollifying. Beating syrup of sweet jujubes with water & -taking it in the morning eases the belly. +taking it in the morning loosens the belly.
@@ -319,7 +326,11 @@ salt 4 ℥, sparkling Counterfeit coral -+ + +            +            + + + One needs to first make the branches of wood or take a bizarre thorn branch, then melt a lb of the most @@ -608,14 +619,14 @@ is dangerous if it catches fire, if it goes over the top, and is hard to extinguish. Make this therefore in a courtyard or an open space. - + In five or six lb of oil, one must put one lb of galipot, which costs 4 sous, & some peeled garlic cloves. This varnish in and of itself is not black, but it blackens over the fire. - + See below, around the 3rd part of this book, after sands, in the chapter on furbishers. @@ -764,7 +775,7 @@ size. After, place the concave face of the mirror toward the hole, & it will represent to you all those who pass by in the street on the sheet of paper. Similarly with the pierced door of a closed room. You can make wavy ones -& triangular ones, in the fashion that Ptolomée describes, & +& triangular ones, in the fashion that Ptolemy describes, & Archimedes. The concave one also sets fire to straw from quite far away, and lights a candle with the sun. Also, it heats through the reverberation of fire. @@ -803,7 +814,7 @@ or green or blue Ceruse & lead white is not appropriate for polished white nor for burnishing because it is fatty, but it is quite good for or mat which is made with oil, mixing it with yellow -ochre & mine po & tempering +ocher & mine po & tempering all of it with oil. And this or mat thus applied keeps in the rain like gilded lead work & similar things. Therefore for burnished gold take good chalk, quite white, @@ -2194,7 +2205,7 @@ the kind which is under the grey one which resembles a small branch. -
+
Founding of soft iron @@ -2223,17 +2234,13 @@ contains one & a half quintal, & the pan of the round furnace holds two quintals. -
- - - - - - - - - -
+
+ +
+ +
+
 + @@ -2242,7 +2249,9 @@ the melt, two or three handfuls of wallwort when they want to make the melt run, and this renders the iron wonderfully ductile and flowing. - +
+ +
It is also necessary that the blast-pipe enters through to the middle of the mouth of the furnace, which is a principal part of @@ -3277,10 +3286,7 @@ follows. Then one mounts them on a medium thick board close to oneg another & one makes notches on the board this way
- -
. - -& through these notches one passes the hook of the arquebus which + & through these notches one passes the hook of the arquebus which has a hole through which one passes iron pegs from under the board. Then, when one wants to aim it, one mounts the middle one & that on both sides. If you want to make a double row, or triple or @@ -3410,8 +3416,8 @@ ball which exptends beyond the mouth of the petard by two -
-
+
+
 powder. When the sausage is full, dip it well in lightly, to wet the canvas & not the powder, in two @@ -3513,7 +3519,7 @@ a knife. -
+
@@ -3527,7 +3533,24 @@ a knife. & similar things to make gabions on the way. Once one is close to the place one wants to batter, the gunner goes at night to reconnoiter the most convenient place to mount the -battery & if he does not see well, one gives a false alarm in order +battery + + + +Know the magazines of France for the +artillery. + + + + +It is good if the platform is slightly inclined toward the front because +the piece is more quickly mounted for battery & holds the blast +better & batters more fiercely. +
+ + +
+& if he does not see well, one gives a false alarm in order that those on the inside throw torches. Very often, one batters where it is strongest because the assailed, disdaining the battery, do not make repairs there. Commonly, there are not many garrets & other defenses in @@ -3539,7 +3562,22 @@ fortified towns, pioneers bring gabions and behind the gabions to keep the pioneers safe, while behind, they fill the gabions with some earth by means of their shovels. And while one does this, one raises some false alarm -on another side. And before, one has fired a volley at the defenses. +on another side. And before, one has +
+ + +
+ +Fowlers + are those which have a +reinforcement inside, in the entire space which contains the powder, and the +ball can only a roll up to the opening of the said +chamber. These do not penetrate so much & are irritating to load but +they do not heat up as quickly.
+ + +
+fired a volley at the defenses. The gabions The pioneers carry the boards to make a level ground or a platform of four fingers or half a foot thick, and @@ -3550,56 +3588,33 @@ there are more, the platforms touch. The distance which is between the pieces is the width of two gabions. As long as the battery lasts, the gunners sleep & eat close to a cannon. In small spaces, one does not bother to dig trenches to reach the pieces -but one puts plenty of gabions that are high and goes running to them. In large -places one digs trenches. There are always in trenches or behind -barricades some some companions-in-arms on guard duty to defend -the pieces. One keeps the small powder magazine, of three or four -kegs, separately, - - - - - -Know the magazines of France for the -artillery. - - - - - -It is good if the platform is slightly inclined toward the front because -the piece is more quickly mounted for battery & holds the blast -better & batters more fiercely. - - - +but one puts plenty of gabions that are high & goes running to them. In large
- -
- - -Fowlers - are those which have a -reinforcement inside, in the entire space which contains the powder, and the -ball can only a roll up to the opening of the said -chamber. These do not penetrate so much & are irritating to load but -they do not heat up as quickly.
+
- - -A steel touch-hole -is + +A steel touch-hole +is put in the cannons in the manner of a screw so it will not be damaged during firing like the others very quickly will be. But these screws are prone to blow off & cause damage to the gunner. There is nothing for it but to use a proper touch-hole.
+ + +
+places one digs trenches. There are always in trenches or behind +barricades some some companions-in-arms on guard duty to defend +the pieces. One keeps the small powder magazine, of three or four +kegs, separately, +
+ -
+
-A touch-hole at the level - of +A touch-hole at the level + of the breach is the best because in in this way the cannon hardly pushes back.
@@ -3649,11 +3664,7 @@ wall, some say, for that is, as if at an several stones.
- - - - - + Some put small wheels of the piece and a thick board to the end of the carriage of the piece in order that it may be drawn more quickly and @@ -3996,7 +4007,7 @@ and a little six or eight lb of rosette To mold platters & dishes, they make them out of pierre -porte morte, which is +porte morte, which is grais, & they turn & polish around them on the wheel. They melt their tin in an dest iron pot on a charcoal fire, and with an iron spoon that holds @@ -4303,7 +4314,7 @@ they rub with a little putty on leather nailed onto a piece of wood having, and this in such a way that the flesh or grain is on the outside, for if the sharp edge of this plane was not thus rubbed & burnished, it would -not polish & notburnish the tin, +not polish & not burnish the tin, au which would stay white, & not black & burnished like a mirror. Moreover, they repair the work for the second time with this plane as they did with the @@ -4369,7 +4380,7 @@ copper in its residue if you distil the aforesaid things through a Flanders varnish, made with turpentine & oil of turpentine or mastic, can come off and does not hold up in the rain. But that made with white walnut oil, -as you have done, holds in the rain and is +as you have done, holds in the rain and is very clear & beautiful & dries soon. This is why one uses this one for painted banners & signs that one carries in the rain. @@ -4469,7 +4480,7 @@ adjusted in order that the movement may be free. Cuirass bodies must be very evenly beaten & driven with the hammer. Morions from Milan are all in one piece & thus better -than those that are of two. +than those that are of two.
@@ -4580,7 +4591,7 @@ light candlesticks, it is because they turn them by means of per fine coppersmith’s rosette is sold for xxx or 40 lb. Another, which founders use, is sold for xii or xv lb. The quintal of metal, -six lb.Put in +six lb. Put in @@ -4652,7 +4663,7 @@ at his hands. -X For relighting an extinguished candle between your +X For relighting an extinguished candle between your hands without blowing @@ -4666,7 +4677,7 @@ at his hands. -X Take a small stick of well dried between +X Take a small stick of well dried between wicker and cut from it a small piece like a toothpick, & la m put one end between your index finger & middle finger and @@ -4778,7 +4789,7 @@ order to do it well. finger to his forehead, you will prevent him from exiting a chamber -XMake him put his arm around a +X Make him put his arm around a bedpost or something similar, & with the same arm, let him hold a finger to his forehead. @@ -4788,11 +4799,11 @@ let him hold a finger to his forehead. -XWager someone e that walking +X Wager someone e that walking to a certain place and back, he cannot say boot without spur four times in a row -XIf he tries to saya it, +X If he tries to saya it, but be sure that he speaks loudly, once he has been there & back, you will tell him that he has lost, because he needed to say boot four times without saying spur, for that is your @@ -4807,9 +4818,9 @@ wager. For making a candlestick hold to the wall without making a hole in it -X -Make a servant hold it to the + +X Make a servant hold it to the wall.
@@ -4818,10 +4829,10 @@ making a hole in it -XHow not to break a glass with a +X How not to break a glass with a log or a large stick -XYou will cut from it a small piece as thick as a +X You will cut from it a small piece as thick as a toothpick, & thus you will give him something from a log or a large stick with which he will not be able to break the glass. @@ -4912,7 +4923,7 @@ so that it does not slip. For telling someone that you will show teach him something -he does not know, and neither do you +he does not know, and neither do you Take a string or a small stick and take the measurement from the tip of his ear to the tip of his @@ -5040,7 +5051,7 @@ empty & leave it covered. Then you will command that by table a little strongly, & the grain will fall to the bottom & cover the piece of leather. Then lift the hat; the bushel -sembwill be found empty and the bell full +semb will be found empty and the bell full of grain, which you will scrape deftly along with the piece of leather @@ -5114,7 +5125,7 @@ the leather, the ball seems to be the same, although it is the hollow one. Then you cover it again & command it to become invisible. And then, lifting the sheath while pressing it, you will remove it & the ball along with it; & -lputting it aside with the sheath, +l putting it aside with the sheath, & a in its place will be found a thimble for the ladies whose bottom hurts, that is to say, the bottom of the needle. @@ -5180,8 +5191,8 @@ that is whiter & more delicate than that of Lorraine. For from Lorraine. That of plate is blown in a long bubble, of which another cuts the end, then the blower flattens it while turning it & while touching it to a surface that is on the ground, -A, then puts it to anneal. Thus the -middle whence it is begun still remains. +A then puts it to anneal. Thus the +middle whence it is begun still remains. @@ -5351,8 +5362,8 @@ little in it. One finds sapphires that one calls of the trellis, because they are pierced and it is said that a certain king had made from these a certain ornament in the -shape of a trellis, as would perhaps be the Screen of -Charlemaigne, as it is called, in the treasure of Saint Denis, in which the gemstones are +shape of a trellis, as would perhaps be the Screen of +Charlemaigne, as it is called, in the treasure of Saint Denis, in which the gemstones are mounted without leaf, so as to have the enjoyment of the light on one side & the other, & to show their vividness. I have a white one one that seems to be rough & pierced, and is spotted all over with blue @@ -5423,9 +5434,7 @@ color. Try to take the most whitish transparent one, and put it under aquafortis boiling with silver & sal ammoniac. & some cut amber in facets on a wheel of soft wood with putty instead of -emery, & jet also. The salt called by the English de armonic is a mineral salt that -resembles marble stone and is a very hard mineral with large -pieces, like that of Cardona & Monserrat. +emery, & jet also. The salt called by the English de armonic is a mineral salt that resembles marble stone and is a very hard mineral with large pieces, like that of Cardona & Monserrat. @@ -5487,8 +5496,8 @@ Also replant some every year, for the second Planting trees - One says that rarely a tree planted on Saint Paul's -day fails to take, & for covering the bark, cow dung +One says that rarely a tree planted on Saint Paul's +day fails to take, & for covering the bark, cow dung is very appropriate, for it is not undone in the rain like earth.
@@ -5497,7 +5506,7 @@ is very appropriate, for it is not undone in the rain like earth. -Merchant +Merchant Those who sell velvet & es other stuffs by retail do not make double-entry books because selling by @@ -5515,7 +5524,7 @@ double-entry books. Scarlets Because one aulne costs seven or eight -lb. to dye, they use cloths worth seven or eight +lb to dye, they use cloths worth seven or eight francs an aulne. But whoever wants something beautiful se la should buy white cloth worth fifteen francs an aulne & have it dyed with @@ -5567,7 +5576,7 @@ there. For the cultivation of pastel woad, one ploughs the soil with shovels of iron, as gardeners do. Next, one harrows it with rakes, & breaks it up finely as for sowing cooking herbs. One commonly sows it on -Saint Anthoine’s day in January. One makes eight harvests +Saint Anthoine’s day in January. One makes eight harvests of it. The first ones are better. The best pastel woad of Lauragais is the one from Carmail & the one from Auragne. And sometimes the pastel woad @@ -5596,7 +5605,7 @@ kind dyes up to 30 times & commonly up to xxv or 26. silver. It is true that the cut needs to be well hollowed out & rough. Azure in body & the red called gules, white enamel & dense green take to it very well. Having -enamelled, one gilds the fœillages of the +enamelled, one gilds the foeillages of the engraving. Copper has a similar hardness for engraving as fine silver or pistolet @@ -6250,7 +6259,7 @@ cut at according to the caliber of the arquebus. king’s feet long & the ball xviii deniers, the charge vi deniers of powder, its range iiiixx -pans & 3 feet lxi& a half, two +pans & 3 feet lxi & a half, two inches & a few lines, which is the Paris aulne. The medium hackbut, which is the usual one & the @@ -6266,7 +6275,7 @@ easiest, carries a ball of xv deniers, v They mix viii lb or ten of lead, per quintal of tin in cities where they are sworn masters. But elsewhere, they add as much as they can. One -also uses ii lb of looking glass tin to bind it & +also uses ii lb of looking-glass tin to bind it & three lb of debris, that is to say the copper shards that coppersmiths make. This makes the plate more sonorous and it is not as breakable. @@ -6367,7 +6376,7 @@ rare & tested secret.
in olive oil, the whole in a vial glass bottle which you will place in a bain marie for two days and your oil will turn white. If you -rub the sole of your feet with the same, you will soon feel +rub the soles of your feet with the same, you will soon feel like sleeping.
@@ -6598,10 +6607,10 @@ profit. One ought to leave only two buds on the graft. Scribe, Oil of sulfur -If the writer wants to clean his quill promptly +If the scribe wants to clean his quill promptly of the thickness of the ink which has dried on it, one only needs to soak in oil of sulfur. And it will immediately be white & -clean. Urb. +clean. Urb.
@@ -6715,7 +6724,7 @@ The same oil on letters engraved in Sal ammoniac i ℥, rock salt 1 ℥, alum half an ℥. Make water with the retort, and -as soon as you touch the tooth with, the tartar & blackness will go +as soon as you touch the tooth, the tartar & blackness will go away. It is true that it has a bad odor, but you can mix it with rose honey & a little cinnamon or clove oil. @@ -6731,7 +6740,7 @@ with rose honey & a little cinnamon or Antimony oil It yellows quite strongly, even silver, if you put it on it -once heated. +being heated. @@ -6778,7 +6787,7 @@ flat foot. Against diarrhea, it is very good to use preserve of symphytum, also called consolida maior. And if it is against dysentery, you can rub with it the temples, -the hollow of the hands, & the sole of the feet +the hollow of the hands, & the soles of the feet with wax oil & take one drop or two of it with a spoonful of broth. The root of consolida maior, pestled & put between pieces cuts @@ -6950,9 +6959,9 @@ a saulmon, the tin thickens at the bot casting, one does not stir it often. It is best for casting to melt little lead & the or tin & stir to renew it at each melt. The antimony renders -them breakable. The looking glass tin whitens them. +them breakable. The looking-glass tin whitens them. One Pewterers put in on the fine -tin one lb of looking glass tin per one +tin one lb of looking-glass tin per one quintal of fine tin & two lb & a half or three lb of red & soft cauldron copper, which is better than latten. There is fine & soft tin & @@ -7007,7 +7016,7 @@ Those who make very neat lead casts, use puncheon. Pewterers cast in a copper mold. One says that one makes lead take hold on glass with resin. Some put into the lead a quarter of -tin. Looking glass tin renders the work stronger. +tin. Looking-glass tin renders the work stronger. @@ -7050,7 +7059,7 @@ bound with glair of egg. Pewterers They put into one quintal of fine tin one -lb of looking glass tin, which renders the tin +lb of looking-glass tin, which renders the tin thicker. There are two kinds of tin, one of them nearly like lead, which runs better, the other brittle, which becomes thicker. They cast in solid & thick tin molds or, to @@ -7263,7 +7272,7 @@ of bread pith and lettuce seed or The steel that farriers & iron workers commonly use is not refined like that from Germany or Biscay, which is reduced in hardness -p in the bath of a molten iron, but +p in the bath of molten iron, but only in the iron bars which are transported in flat ingots from the forges of Foix & elsewhere, there is a harder & whiter & finer kind than the other, as it @@ -7307,8 +7316,8 @@ if you oil your paper with spike lavender from the left the right on the other side. Then follow these lines with a paintbrush or a quill, then heat the paper & the oil will go away & leave your -paper white. And if you want this not to be known, if, by chance, -you borrowed the piece, moisten the paper and the polishing that +paper white. And if you want this not to be known, if by chance, +you borrowed the piece, moisten the paper, and the polishing that the burnisher has made on the back, which shows what has been done, will not be known. The soap water will turn the piece yellow, but well-gummed water, which has the same effect, does @@ -7348,7 +7357,7 @@ These rollers are good for promptly printing with cut cartons One can place the plates among the linen when the -lye is quite pure, or else in a pot. +lye is quite pure, or in a pot. @@ -7394,14 +7403,14 @@ of a piece of white paper until the of paper applied on top. & having cleaned the plate perfectly, mi rub again with a piece of paper, fold the edges & sides. Next, take a -small smooth table & on this a piece of +small even table & on this a piece of felt, then a few sheets of paper & finally the one you want to print on, which should be moistened between two wet napkins. And on this sheet put your plate then another piece of paper, & finally another felt. Then pass between the rollers. And you can print a dozen pieces consecutively by -always charging the plate with ink & cleaning it as +always charging the plate with ink & cleaning it as you have done. But if you desist from printing, the rest of the ink will dry in the grooves of the plate. Thus you will have to boil it in lye or urine, as already said, to clean it. The @@ -7591,7 +7600,7 @@ very delicately. They come in quite straight if one grafts them. And all trees with pitted fruit, like pavis, -mericotons, alberge, +mericotons, alberges, vie apricots &c, come in best shield grafted on an almond tree. @@ -7640,12 +7649,12 @@ by the ounce, which is commonly sold in Languedoc iii & make more silk. In Spain, from one ounce of silk seed, worms are produced from it which commonly yield ord xv lb of silk. -But l’once from one ounce of seed +But the ounce from one ounce of seed produced in France, only x or xii come out of it. Three ounces of seed are for producing such a quantity of worms, that with them you will be able to furnish a room accomodated with three or 4 levels of large shelves. Willingly -they begin to molt around holy week. And to do +they begin to molt around Holy Week. And to do this, one puts them in a fir box, like those where one puts sweetmeats, warmly among feather cushions. And at the beginning, they molt like f little @@ -7867,7 +7876,7 @@ very hot into this mixture.
put sap & pestled herb which is called semperviva, that is the small one which has leaves like small grains, which some call -vermicularis. And one takes for certain that it +vermicularis. And one holds for certain that it will not die.
@@ -7957,7 +7966,7 @@ for lead. One ought neither to wet nor grind it, but render it subtle by which one ought not to grind with water, nor corrupt its nature. Lead should be but little mixed with tin, only for giving it strength, and two parts -oftinfor lead for of one of +of tin for lead for of one of tin or more.
@@ -7981,11 +7990,11 @@ tepid. & take three or four double handfuls of fatty red earth, soak it & throw it into the cauldron with the said water. Take as much pigeon dung as the said earth, & as much horse -dung & as much iron filings, & soak the -all of it separately, & throw it into the cauldron & leave +dung, & as much iron filings, & mix the +whole separately, & throw it into the cauldron & leave it for two or three days. Then throw it afterward into the said muid and stir the whole thoroughly together. And -the older this tempering bath is, the better it will be. +the older this temper is, the better it will be.
@@ -8163,7 +8172,7 @@ the cracks & chinks of the wood. It has more body than chalk & it has chalk a certain fattiness. One mixes it with the aforesaid chalk or ra with the colors collected from the vessel where one cleans the -paintbrush. It is desiccative and spares colors. +paintbrush. It is desiccative and spares the color. On Once this first imprimatura is made on the wood, one scrapes with a knife to even it. Next, one makes there a second imprimatura of ceruse or of the meanest colors mixed together. In @@ -8460,7 +8469,7 @@ imbibed well. without with walnut oil with which it has been first thinned, without putting in spike lavender oil. And if you want to know if it is dry, breathe on it and it will -not shine, thus appearing to be well-imbibed. If not it will shine. +not shine, thus appearing to be well-imbibed. If not, it will shine. Azur d’esmail imbibed in oil tempered in oil, leaves it & returns to its primary nature if you mix it @@ -8614,7 +8623,7 @@ will be not be able to soften them thoroughly. Also do not layer color on color if they are not similar, such as white on black, but rather flesh color on flesh color, & thus with the others. And leave blank the space for shadow or a different color. -Ains in this way, layering each manner of color +Ains In this way, layering each manner of color on the imprimatura itself, they will not die & you will work neatly.
@@ -8625,7 +8634,7 @@ neatly.
Oil Walnut oil extracted like peeled -almonds is very white. The one of Palma +almonds is very white. The one of palma christi. And when the oil has a little body, the colors soften in it. For if the oil is too clear, the colors run & do not have bond, even those that hardly have any body. Fatty @@ -8689,7 +8698,7 @@ others with white wine, for dust spoils the colors.
-Spike lavender oil +Spike lavender oil @@ -8794,10 +8803,10 @@ Certain colors do not want to be ground, like minium and -Rounding off +Rounding If you want to model relief well, arr soften round -things by rounding them off with the point of the paintbrush +things by rounding them with the point of the paintbrush & the rest with the flat part if it is flat, & thus for the others according to their nature, & lightly with the point of the dry & flattened paintbrush & with @@ -8877,7 +8886,7 @@ things, they use paintbrushes composed of two or three Azur d’esmail in oil -One needs too choose the most beautiful delicate that +One needs to choose the most beautiful delicate that will be possible, for if it is coarse one cannot work with it in oil. And if you do not find any that is subtle enough, you can grind it well, not with water but with oil, & grind it @@ -8945,7 +8954,7 @@ five. -Ochre +Ocher It is put for faces, hair, skulls, and rocks. @@ -8979,7 +8988,7 @@ the charcoal be thin, & in order not to render it dull & blunt soon, drag the tip flat, thus you will constantly sharpen it. Also, hold your charcoal as far at the end as you can, & do it & accustom yourself -af make a light line. For if you accustom yourself +af to make a light line. For if you accustom yourself to drawing delicately with charcoal, you will do likewise with colors. And he who is rough with charcoal is never exquisit with colors. And by a @@ -8987,7 +8996,7 @@ line of charcoal, masters pass judgement on their apprentices. First make the outline of your drawing, that is the contour, lightly & without any too careful work, but boldly. In so doing, you will teach yourself to be an artist, and if you -need to to undo anything, you will not waste as much time as if you had +need to undo anything, you will not waste as much time as if you had elaborated it. Next, re-work all the distinctive lines, & do not keep too close to your panel, but occasionally step away from it to better judge the proportions. Once the first drawing seems good to you, retrace @@ -9119,7 +9128,7 @@ it dries out neither too soon nor too late. The Germans use lead from Flanders because it is very soft. And to cast better they take lead ore & melt -it, & separate what is melted from the from the filth & +it, & separate what is melted from the filth & ore, & pour it into a separate vessel, then the bottom they make their cast with it. For the lead must not have been put to work before, but rather completely new. Some cast into molds @@ -9143,7 +9152,7 @@ in a crucible. In the first one, they purge it of German painters make their shadows on flesh color of men with ground jet, stil de grain yellow -& ochre. +& ocher.
@@ -9288,7 +9297,7 @@ better, since they are not so thick.
-Yellow ochre +Yellow ocher @@ -9326,7 +9335,7 @@ rougher on it. Vermilion -One ought not to keep it in water when soaked +One ought not to keep it in water when tempered ground with oil for it loses its color. It is better to choose whitish vermilion than dark & blackish. For vermilion is commonly mixed with a little lake, without @@ -9468,10 +9477,10 @@ while drying. But oil colors remain the same color. Because blacks make different colors, some a reddish black, others tending toward blue, and others toward green, choose those which tend -toward yellow to make beautiful shadows in oil, for shadow, +toward yellow to make beautiful shadows in oil, for the shadow, especially that of men, is yellowish. And for this effect use very strongly ground jet, which you will mix with a little -yellow ochre & lead white. Or else, after +yellow ocher & lead white. Or else, after you have ground your lead white bro and clean p gathered it with the
@@ -9560,7 +9569,7 @@ color with the paintbrush. All fatty colors, such as ceruse and minium, -massicot, ochre, lead white, are good for making +massicot, ocher, lead white, are good for making gold color. @@ -9739,7 +9748,7 @@ them lightly & not very thick, to soften them well. It is made with massicot, minium, ocre de ru, -& yellow ocher, in order that the composition +& yellow ochre, in order that the composition resembles gold. Gild the day after un jo it is laid down if you in the make the seat for the color in the evening. After having gilded, @@ -9842,7 +9851,7 @@ on the molding, then mix lamp black or soot black with the same glue & let dry. Next they pounce some moresque in the corners & paint it with minium, massicot, & ocre de ru, -and a little yellow ocher, tempered with fatty oil +and a little yellow ochre, tempered with fatty oil in which they clean their paintbrushes for oil, because the three aforesaid colors are gripping & dry immediately. Next they lay down the gold, then varnish on top of all. And it @@ -9979,7 +9988,7 @@ whitish from the root to the middle. When it pleases you, bind b and tighten it very well with a thread in two places, then cut the excess & fit it in a quill of a convenient thickness for it, of a duck or a crow for the -small ones. Good paintbrushes are those that, once soaked +small ones. Good paintbrushes are those that, once dipped in water, do not bulge when you trace on your hand.
@@ -10015,7 +10024,7 @@ some. Bellows furnace Before putting in the metal, it is necessary that it be red -at the bottom, like like a charcoal & well inflamed. Next, +at the bottom, like a charcoal & well inflamed. Next, you fill it & cover the charcoal & adjust the bellows, otherwise the metal on top would melt by means of the bellows & its bottom would be @@ -10084,7 +10093,7 @@ It is the neatest sand that can be found for copper.
-Huiles d’essence +Essential oils Walnut oil mixed with as much of turpentine & distilled through an alembic renders an @@ -10153,7 +10162,7 @@ dried out & does not have as much hold & bond like the fresh one. once calcined & reduced as if to its prime substance. In order to calcine it perfectly, throw your pieces of glass, whichever it be, among the largest possible lit charcoals that you can, if you are -lacking another amenity tof violent firet. +lacking another amenity tfor violent firet. And when it is well red, throw it into water @@ -10264,7 +10273,7 @@ vein of it if, among the greyish rocks or quarries qu that seem to be made of arene, you see, after rainy weather, certain small patches like dust attached to the said rocks, or if due to the -humidity, a small piece of it flakes off, which easily crushed between your +humidity, a small piece of it flakes off, which easily crushes between your hands. You will also find in lean soils some which comes off in lop large lumps like stones of tuf et ne, or among terres @@ -10278,7 +10287,7 @@ is quite granular, & that when cushed between the fingers, it renders itself into very great subtlety, like impalpable, keeping nevertheless its sandy asperity, without muddying the fingers like clay. It is dried slightly on the -fire, then it is pestled & passed finely through a double + fire, then it is pestled & passed finely through a double sieve or a linen sleeve, then is moistened with wine or magistra &c / Verte @@ -10330,7 +10339,7 @@ others, namely with magistra or good pure wine or But very fine sands, like burned linen, which is fatty & soft on its own, want to be applied dry. -All moistened sand wants to be strongly beaten & stirred to +All moistened sand wants to be strongly beaten & stirred, to be ground finely & to flatten out the clods that it makes in itself when it is bathed. @@ -10566,7 +10575,7 @@ it into eau-de-vie, which they use almost as habitually as we use Varnish To a half lb of spike lavender oil, put in -4 ℥ of sandarac & pulverized subtly mastic. +4 ℥ of sandarac & mastic subtly pulverized. And first, boil your oil in a pot on a chafing dish, and then mix in little by little the aforesaid gums, stirring continually with a @@ -10621,8 +10630,7 @@ with wood that is there, they die. This is why some cutlers, because it is only sludge, but rather those of those who grind mold large shears. -Pierres de filieres, with which those who grind -whet, mold very neatly, once scraped, for lead. It is +Pierres de filieres, with which those who sharpen, mold very neatly, once scraped, for lead. It is commonly slate-colored. One frequently brings them to Toulouse from around Carcassonne . @@ -10652,7 +10660,7 @@ and is good for casting in lead. Casting in copper -It is necessary that the frame be quite smooth & that +It is necessary that the frame be quite even & that it fits well also on the board where it is set, so that it holds firm & does not shift when one molds. It is necessary that the sand be clean & well chosen and well reheated, & pulverized very @@ -10705,7 +10713,7 @@ more so than tin. And when it is not hot enough, it makes lines in the medal. It Straw burns in it, however little hot it is. One can make a solder so soft & runny that it can be melted in a tin dish. It is composed of one -part looking glass tin, one part soft +part looking-glass tin, one part soft tin, & another part lead. It runs very neatly and is cast in leaves, but the work is very brittle & breakable. The best solder is the common one for casting well, but is leaves certain points lumpy. Alloy lead with @@ -10725,7 +10733,7 @@ moistened. One ought to pass it through a shirt the piece to mold. One makes a solder with quicksilver -butwhich is white, but it is brittle. Make it so that your frame +but which is white, but it is brittle. Make it so that your frame joins well & that one does not see the light between the joints. The Germans cast their leads very thinly, because it seems @@ -10751,7 +10759,7 @@ To make the lead flow well, one puts in a little -Rub cuttlefish bone on a well smooth table to +Rub cuttlefish bone on a well evened table to flatten it & one against the other & pierce through the two bones with pegs to mark the place. @@ -10994,7 +11002,7 @@ have good vermilion. will put it in a earthen pot, mixed with a crust of bread and three onions, and put it on top of a charcoal fire, and you will cook it on a little fire, so that it -boil for the space of five hours. You will take +boils for the space of five hours. You will take half an ounce of flour glue, & you will make it boil just as before and stir with a spoon. And then, after, you will put in two ounces of well-pestled @@ -11172,7 +11180,7 @@ put them together in a glass vial. Take fine gold & put it on a quite clean -bu marble & put aquafortis & start crushing. Then take saltpetre & sal +bu marble & put aquafortis & start crushing. Then take saltpeter & sal ammoniac, and put it into a shell which should be large & washed, for safekeeping. @@ -11217,7 +11225,7 @@ take the the white of one egg & stir it vigorously. If your gold does not have beautiful enough color, you will take -a partridge feather, & make it burn it in a +a partridge feather, & make it burn in a chafing-dish, and make the smoke go against what you have gilded. @@ -11633,7 +11641,7 @@ with a tooth of a wolf or dog. For making bronze in the color of gold -Take copper filings & ochre & gum & +Take copper filings & ocher & gum & alum, & grind it all together in a stone mortar, and when it is well ground, you will lay it on the work with a paintbrush, then polish it with a tooth of a @@ -11903,7 +11911,7 @@ that the trussed-up length is as long as its straight pipe, They usually cast with solder, even the things that should not come out empty, for the latter require fine & soft tin, which however would not release, & would not come out empty if it -was mixed or had some looking glass tin mix +was mixed or had some looking-glass tin mix in it, just like they put in a little of it in soft tin. They engrave their works on stones of which are made the sharpening stones or files of barbers, which are found in @@ -11971,7 +11979,7 @@ excellent for molding. One can find an excellent one on the little hill of Puy David near Thoulouse for lead, tin & copper. It does not want to be -too reheated much because, drying out all at once, it loses its +too much reheated because, drying out all at once, it loses its bond & burns at the first arrival of metal, which makes the work lumpy & not neat. It is better to reheat from a distance, rather than with a straw flame, which generates @@ -11997,7 +12005,7 @@ very hot so that it runs. And vents. Tanner’s earth, or the one with which potters make a whitening on pots to make lead run better on them & to prevent the lead from being absorbed into -them, is very good for molding the hollow forms of things you want mold in +them, is very good for molding the hollow forms of things you want make in relief. It releases better than plaster or sulfur which become hard once they have set. For the earth being ready, one ought to beat it hard so that it does not crack. If the piece is very @@ -12085,7 +12093,7 @@ brick. It is good to make it with boxwood. Turn it in order to make it even, as this is important for the casting. Lute also, or cover the mouth of the frame with sand in order that the melted -metal, or lead,or copper does not touch the +metal, or lead, or copper does not touch the frame’s iron or latten, because it makes it brittle, & makes it porous. Also make sure that the cast is always higher than the mold. Also guard against the cast being too @@ -12191,7 +12199,7 @@ well hot. -One can make a lead mold. & to cast in it, smoke +One can make a lead mold, & to cast in it, smoke it with candle black. But it is never that neat. @@ -12234,7 +12242,7 @@ true that the crucible risks more danger breaking, but you can to maintain the charcoal between the bellows & the crucible. Also take heed to cast all at once & not in increments & drop by drop, which would stop & plug up the -conduit of the substance. And if you were to make in the cast an +conduit of the substance. And if you were to make in the cast a trough to feed the medal, it would be even better. And in order that the substance heats well at the bottom, stir it, once melted, with a wood stick, for iron only makes it brittle. @@ -12607,8 +12615,8 @@ very g hot, and soft tin. reliefs I took ceruse and crushed it dry on -porphyry, to make it very fine, then I moistened so -much, with well-beaten glair of egg, that it was like a paste, +porphyry to make it very fine, then I moistened so +much with well-beaten glair of egg that it was like a paste, smoothing it perfectly with the dull side of a knife. I left it a little @@ -12639,14 +12647,13 @@ One ought to mix it well with a knife. to rest on a very clean & smooth table, & since it is desiccative, I knew it would dry out lor, which I -let it do in order to reduce it to powder, & molding it with sand, -once broken up with my fingers & the sharp edge of -a knife. I oiled my medal because oil cleans it +let it do in order to reduce it to powder & to mold it with sand, broken up with my fingers & the sharp edge of +a knife. I oiled my medal, because oil cleans it without spoiling it. And And having dried it & cleaned it -with a linen, & very small hog bristle +with a linen cloth & very small hog bristle brushes, I once again lightly anointed it with clear -walnut oil, & gently passed a linen -over it, so that it does not remain too anointed, and I noted that, +walnut oil & gently passed a linen cloth +over it so that it does not remain too anointed, and I noted that, by this means, it would come out better in release, because the ceruse, once moistened with water of glair of egg, would not attach to the oil. This worked very well and I molded a medal of @@ -12655,19 +12662,18 @@ good sands, such as felt, burnt bone & iron dross, had failed to do on the first try. I reheated it & my mold became hard like marble, and by this I knew that sands for molding high relief should be well moistened with some -water, which gives them body & compactness, like glair, +water, which gives them body & compactness, such as glair, gummed water, ea wine boiled -with elm root, &c, and lightly oil the medal, it +with elm root, &c; and lightly oil the medal, it withstands as many castings as you wish, for it is as hard as glass. But even soft lead & brittle tin v want to be cast very hot. Since then I have realized that this sand, even though it is -excellent & endures many castings & molds very neatly, it is -however fat and makes things porous. Thus, soft lead and +excellent & endures many castings & molds very neatly, nevertheless is fat and makes things porous. Thus, soft lead and the does not come out so well. But try to mix it with a lean -sand, such as pumice, flakes, & similar things, to -give them body, & so that they release better. For lean sands +sand, such as pumice, scales & similar things to +give them body & so that they release better. For lean sands barely release well and yet they receive metal well.
@@ -12688,13 +12694,13 @@ away when reheating, for the oil makes it porous. One ought to moisten with glair, then mix it well. And once in -the frame, beat it on top with a pestle, or other -proper thing, for this makes it mold better and release better. +the frame, beat on top with a pestle, or other +appropriate thing, for this makes it mold better and release better. It would be good to fill the frame all at once, for the -mixture, made of several sands with the one of the +mixture that is made of several sands with that of the mine, with which you fill the frame, corrupts it. @@ -12704,8 +12710,8 @@ it. Green varnish for medals of copper -Having casted them very neatly, cover them with sel de -verre that we use for sand, & moisten it, & in three or +Having cast them very neatly, cover them with sel de +verre that we use for sand & moisten it, & in three or 4 days it will be green. Next, oil them & keep them under the dung. @@ -12716,7 +12722,7 @@ them under the dung. Glue The Flemish reglue their earthen pots with -gold color, that is to say minium, massicot, & +gold color, that is to say minium, massicot & varnish.
@@ -12737,8 +12743,8 @@ substance. En noyau for a small work, glair is also good. Rosette, to come out neatly, wants the mold -to be a little hot, & lead, which has also been mixed with the -rosette, similarly for small pieces. +to be a little hot, & lead which has also been mixed with the +rosette, especially for small pieces.
@@ -12754,11 +12760,11 @@ as copper for cauldrons, which is better than danger of breaking if they are of fine copper. And for a private home, they do not ring so much & do not carry as much noise as those of -metal. It is true that those that are +metal. It is true that those that are of metal have more of a ring for the apothecaries. -Grenades must be of fine metal +Grenades must be of fine metal.
@@ -12767,11 +12773,11 @@ of metal have more of a ring for the Sand from the mine It wants to be well reheated for great metals. Some burn it -in the furnace until it is very black, and grind it finely on +in the furnace until it is very black and grind it finely on porphyry. Others burn it with aspalte, but -when it is too burned, it does not mold so neatly, because it does not -have body, and is too lean. You can give some with tripoli or -burned felt. +when it is too burnt, it does not mold so neatly, because it does not +have body and is too lean. You can give it body with tripoli or +burnt felt.
@@ -12784,10 +12790,10 @@ twice, in a skillet, I passed it through a fine sieve, like the apothecaries’ double, without finely grinding it further on the porphyry, as I have done previously. I moistened it with wine boiled with elm -root, and molded with it a large piece of a portrait of -Jésus. I found it easy to release, without having it to knock -on it Jen & molded neatly with one side in -relief, & on the other in hollow, & of the thickness of a +root and molded with it a large piece of a portrait of +Jésus. I found it easy to release, without having it to knock +on it, Jen & molded neatly with one side in +relief & on the other in hollow, & of the thickness of a coin of forty sous. I cast very hot @@ -12819,39 +12825,39 @@ lit charcoals on top of it, that it became as if red. I let it cool and cast. It came out very neatly in relief on one side & in hollow on the other, as well for the figure as the letters. It is true that the material was whitish, almost like metalline, but this was because -of the potin. I made another cast with the material of -a skillet, alone in the same sand, but not so reheated, it did not +of the potin. I made another cast with only the material of +a skillet in the same sand, but not so reheated; it did not come out well. -Since then I molded the bone of oxen feet, burned, -pulverized, & sieved through a double sieve +Since then I have molded the bone of oxen feet, burned, +pulverized & sieved through a double sieve & hum fort moistened with glair of egg or wine boiled with elm root. I knocked -on it moderately while molding. Having undone theopened the +on it moderately while molding. Having undone the opened the frame, I found that the figures had not released neatly & left the molds floury & crumbling. I les moistened the bone sand further, so that -it gives a good hold in the between the +it gave a good hold in the between the fingers, and in this way, I molded neatly with a good release. And even though it seemed to me that the pulverized bone was coarse, if there is some material of a skillet thrown in, my figures came out very neatly. It is true that I had very very reheated -my frame, it withstood only one cast. I find that +my frame; it withstood only one cast. I find that when a sand is so finely grounded that it renders itself dense as ceruse & even, like without knowing it to be arid, rarefied, sandy & rather spongy, that it molds -very neatly, but it does not receive metal so well, as if it were +very neatly, but it does not receive metal so well as if it were porous to absorb the substance. But rather, once fat & even, it becomes porous & does not receive fine features. I believe that the secret to cast well lies in finding a sand that receives the metal well, one for lead, the other for another, for each one has its particular one. Let it be molded slowly & carefully, and leave it for a few days to become compact by itself, if you have the -time for this. And next, reheat it very well not all at once nor over +time for this. And next, reheat it very well, not all at once nor with a large fire, but little by little, otherwise it crumbles & always has some fault. Finally, you ought to cast copper or -latten or other great metals very hot, & if it -possible in large quantities of substance, which contain more heat than +latten or other great metals very hot &, if it is +possible, in large quantities of substance, which contain more heat than small quantities. It is necessary that the frame be cold, & that you cast all at once. Always lute the entrance of your frame, for the metal, touching iron or @@ -12859,7 +12865,7 @@ that you cast all at once. Always lute the entrance of your -This bone wants to be well pestled in a mortar, and does +This bone wants to be well pestled in a mortar and does not want be reheated because it crumbles. @@ -12876,15 +12882,15 @@ not want be reheated because it crumbles. -becomes porous. Most importantly, make that the cast is always +becomes porous. Most importantly, make it so that the cast is always higher than the molded thing, because usually the sand, being reheated, swells & if the par ce in the middle, & in this way, the molded thing remaining higher than the cast, the -metal cannot run into it easily or enter at all. Also make sure +metal cannot run into it easily or enter at all. Also, make sure that the mold & the cast are well reheated. Cast also all at once & out of the wind. And if your medal is really -thin, put a card, or two or three thicknesses of -paper, underneath, when you want to mold it. In +thin, put a card or two or three thicknesses of +paper underneath, when you want to mold it. In this way the mold will be lower than the cast. Cast also at the place where your medal will be more es the least thick & where there will be less relief. @@ -12897,22 +12903,21 @@ thick & where there will be less relief. D -Since then, I molded with burned bone, iron dross -& burned felt, very pulverized & ground finely on +Since then, I have molded with burnt bone, iron dross +& burned felt, thoroughly pulverized & ground finely on marble and well mixed together. I moistened them very well with beaten glair of egg. And having covered the medal with it, as in the others, then filled the frame with sand from the mine, I knocked moderately. I found it to be of very good -release & molded very neatly. I let it sit all -night long. The next morning, I reheated +release & molded very neatly. I let it sit an entire night. The next morning, I reheated it little by little, over the course of seven or eight hours (for if possible, no humidity ought to remain in the frame). I cast twice in copper alloyed with ☾, as old K. The substance -came very beautiful, shiny, & sonorous, & without a +turned out very beautiful, shiny & sonorous, & without a crust, and my sand was not corrupted at all. Since then, I -have cast with it several casts of soft lead & tin, +have cast with it several casts of soft lead & tin that came out better & more neatly than any other that I have ever found. @@ -12928,8 +12933,8 @@ way. -Potin from seringue & other -co works, runs even better than fine latten. +Potin of syringe & other +co works runs even better than fine latten. But I think that it is better half copper & half latten, which have been used & have been in very thin works, such as skillets & other similar things. I have @@ -12948,8 +12953,8 @@ seen this mixture of half and half come out well. -In order to mold well, one ought to cast in a big frame several -medals together, for when there is a lot of substance, & the +To mold well, one ought to cast in a big frame several +medals together, for when there is a lot of substance & the crucible is almost full, it heats more, & then, if one medal does not come out well, the other will be good. @@ -12966,22 +12971,21 @@ that only three days a week are good for melting, namely are unlucky. When you mold, do not knock excessively on the medal, which is in -the sand, because it prevents it from releasing very neatly, & +the sand, because it prevents it from releasing very neatly & shakes loose the mold. Take heed also that the sand does not surpass the edges of the frame, for it makes the molded medal higher than the cast, & in this way, metal will never enter the mold. Therefore, -always make sure that the surface of your cast object directly lines -up with surpasses the mold, and to do this, if it seems good to you, put a +always make sure that the surface of your cast object surpasses the mold in a straight line, and to do this, if it seems good to you, put a piece of carton of whatever thickness you please. Founders, in order to prevent their large cast works from becoming porous, are careful to reheat their molds very well. And -to know if they have been reheated enough, they knock against it with +to know if they have been reheated sufficiently, they knock against it with their finger, & if they start to ring like a pot, -then they are enough. +then they are sufficiently reheated. To cast their cannons neatly, they mix their earth with some fine casting sand, if they can find any.
 @@ -12995,9 +12999,9 @@ with some fine casting sand, if they can find any.
 found in a vineyard near Puy David, but the one which is most excellent is the one is from the Touch, near Sainct Michel & toward Blagnac, in a -vineyard that is quite high up. The latter is thinner, +vineyard that is quite high up. The latter is thinner & a little fatter than the other, & better for small works. It -does not want to be too reheated. +does not want to be reheated too much.
@@ -13009,14 +13013,14 @@ does not want to be too reheated. Sand, slate, and burned earth -Very burnt sand loses its bond. Slate is reheated & molds -neatly. Next, it is true that it often becomes porous, like burned -earth also does, like fat sand also does. +Thoroughly burnt sand loses its bond. Slate is reheated & molds +neatly. Next, it is true that it often becomes porous, as burned +earth also does, as fat sand also does. I find that one ought not to knock on very finely ground sands, for it -shakes them loose, & make prevents them from releasing +shakes them loose & make prevents them from releasing neatly. But one ought to press hard and moisten them sufficiently. @@ -13025,7 +13029,7 @@ neatly. But one ought to press hard and moisten them sufficiently. Magistra Founders take the roots of a young elm -when it is in sap, & boil it in wine, or better yet +when it is in sap & boil it in wine, or better yet vinegar, and keep it all year long in a barrel. @@ -13037,8 +13041,8 @@ when it is in sap, & boil it in wine, or better yet Casting sand coming from the mine, once passed through a double sieve, next put in with melted resin, burns & inflames & becomes all red & inflamed like iron. Once -cold it is completely black and can be ground very finely on -porphyry. Thus having prepared it & rendered it +cold, it is completely black and can be ground very finely on +porphyry. Having prepared it thus & rendered it without asperity on the fingernail, I moistened it with beaten glair of egg & beat it well, until it was not pasty but rather powdery. I found it of very good release, & molded with @@ -13048,19 +13052,19 @@ reheated & at ease. Others beat it well in a mortar, in small amounts at a time, & thus it is pressed together and rendered very fine. Then they reheat it moderately, only to dry it. Next, they grind it dry on -porphyry. And thus it becomes as if impalpable, and not +porphyry. And thus it becomes as if impalpable and not too dried out, it and it retains the body & the bond of the -earth to which it is kin, and is better than when it is so +earth to which it is kin and is better than when it is so burnt. Once moistened with glair of egg passed through a sponge, it releases very neatly M very neatly in low relief, but not for figures in high relief. Therefore, -since then I have experimented lexper with +since then, I have experimented lexper with moistening it only with very strong vinegar. It released a figure which I could not release previously. And I believe that, -moistening the finest in a fashion as with glair & the +moistening the finest in a fashion as with glair, & the coarsest, for filling, with gushes of salt water or wine, that they do not join so well. But as they are of one -nature & are moistened the same, they embrace each other, & hold +nature & are moistened the same, they embrace each other & hold together one with the other. @@ -13104,8 +13108,8 @@ higher. Mortars Fine copper mortars do not throw fire, as long as -the iron pestle is not tempered. If well made, the -metal mortar, because it is +the iron pestle is not tempered. The +metal mortar does the same, because it is sour. One makes, for this purpose, the bottom of large mortars from fine copper. @@ -13115,7 +13119,7 @@ from fine copper. Varnish -Turpentine oil turpentine & good eau-de-vie +Turpentine oil, turpentine & good eau-de-vie to render it desiccative. Heat it without mixing on the chafing dish, so that it mixes pu by itself when melting. Next, test on a very clean knife, & you will know @@ -13128,7 +13132,7 @@ then if it has enough body & if it does not run too much. Grafting One finds by experience that the graft that est -has its entrance into the incision on the sunny side takes very rarely, +has its entrance into the incision on the sunny side takes very rarely when it is also bent. @@ -13138,11 +13142,11 @@ when it is also bent. Baker Dust keeps wheat from becoming infested with weevils. And to clean -it well when it is stained & like rust, pass ashes through +it well when it is stained & as if rusty, pass ashes through the sieve & mix them with the wheat, then boult the whole with a boulting cloth of rough cloth or canvas. The ashes will pass through & your -wheat will stay yellow, clean, & very +wheat will stay yellow, clean & very beautiful. @@ -13167,45 +13171,45 @@ beautiful. The one and the other, once very finely ground on marble, after having thoroughly pestled them dry & beaten in the mortar, I mixed as much of one as the other, and having -reworked them together on porphyry, & passed them +reworked them together on porphyry & passed them through a double sieve or through the sleeve of a shirt to mixs them even better, I put them in paper & put them on a marble in a cellar. In -one night, they had been been moistened enough by +one night, they had been moistened enough by themselves without dampening them further, because rock salt, like -all other salts, dissolves in dampness. I molded very +all other salts, dissolves in the damp. I molded very neatly with it, because both were very finely ground. They want to be f humid enough to release well.
-Mineral sand +Mineral sand It does not matter if the color is white or yellow. Above all it -must be in one piece, & as if taken from a quarry or +must be in one piece & as if taken from a quarry or rock formation, & the deeper one takes it from, the -better. The signs of its goodness is that it is thus amassed, and that -when removing in the form of rock, it comes out in lumps & -qu bricks which demonstrate its bond, & that it +better. The signs of its goodness are that it is thus amassed, and that +when removing itself in the form of rock, it comes out in lumps & +qu bricks, which demonstrate its bond & that it is not too lean. However, it should break apart between your hands & have very small men & delicate grains & of the same nature. If it is not delicate enough, you can pass & grind it finely, either -through water, or through a sieve, & when +through water or through a sieve & when it or on the porphyry, & in this way, from sil lean they become fat & well bound. You can mold with it in sa frame or en noyau without cloth waste, & try it with -lead, for if with this one it does not become porous & casts +lead, for if with this it does not become porous & casts neatly, it will also behave well with copper. Some say that the fat sands do not want the metal to be cast too hot. -Artisans who work on big works & to save time, do not +Artisans who work in large works &, who for profit, do not need to grind & seek the curiosities of artificial sands, -benefit from seeking some ready-made by nature, which has the -finest grain possible, & for small works, they only pass it only +benefit more from seeking some that is ready-made by nature, which has the +finest grain possible, & for small works, they only pass it through a sieve. But those who work in small works, finely grind it & grind it impalpable, because they do not need a lot of it. @@ -13213,7 +13217,7 @@ it. Orberé grain makes a tawny powder, very -delicate & very soft, which once mixed could mix mold +delicate & very soft, which, once mixed, could mix mold very neatly. Try wheat flour burned over a closed fire. @@ -13231,19 +13235,19 @@ fire. porphyry, as much as I could. Then I mixed as much of one as the other & reworked them on porphyry. Next, I moistened it in paper, -folded in a wet napkin, which is rather made in the +folded in a wet napkin, which is previously made in the serain of the night or in the moisture of the cellar. And I have not found anything else which releases more neatly than this one. It wants to be rather humid. And if you want to cast very thin, make sure it is very hot. It came out very neatly in soft tin, like the principal, and withstood several casts. For tin, I believe that it is not necessary to -seek a better one, nor for fine lead also, which comes out almost -as neatly as tin. Tou the bone of the foot +seek a better one, nor for fine lead either, which comes out almost +as neatly as tin. Tou The bone of the foot of oxen is always so lean on its own that, without being -mixed with one or two parts of some fat sand & having bond +mixed with one or two parts of some fat sand & one that has bond, such as tripoli, salts, felt, ashes & -similar things, it would not release, & would not mold neatly for it +similar things, it would not release & would not mold neatly, for it crumbles.
@@ -13275,14 +13279,14 @@ nothing falls in it that could hinder your fusion. Sal ammoniac, well pulverized mou & ground dry on marble, molds very neatly & is of a very beautiful release, & once mixed with alabaster, pulverized similarly, ii ℥ per lb of -alabaster, makes it release well. It suffices to moisten it in +alabaster makes it release well. It suffices to moisten it in a cave or in the serain or, to be done more quickly, in a piece of paper between a wet napkin. Take heed that it does not stay for too long, for it would become so wet that it would not be good for molding -in frame, but rather en noyau, in which you will be -able to use it well as long as dries well at ease & far from the -fire. Otherwise the heat makes it swell, & pushes the salt onto +in a frame, but rather en noyau, in which you will be +able to use it well as long as it dries well at ease & far from the +fire. Otherwise the heat makes it swell & pushes the salt onto the surface, which renders it lumpy. You can in anoint the medal with spike lavender oil, molding en noyau. It is better to put in 4 ℥ of @@ -13290,19 +13294,19 @@ medal with spike lavender oil, molding place for two or three days, & so that when you take fistfuls, it holds together, without, however, attaching itself & being pasted to your hand. You -will with it mold very neatly. But let it dry & reheat really well, -leaving the mold inside, so that it acquires strength by -reheating, for it becomes hard as stone, & in this way is +will mold very neatly with it. But let it dry & reheat very thoroughly, +leaving the mold inside so that it acquires strength by +reheating, for it becomes hard as stone &, in this way, is more certain to release well. Otherwise if you release before having -reheated it, there would be danger of it crumbling in some place, -because of its delicateness & fineness, even if the medal of high +reheated it, there would be danger of it crumbling in some place +because of its delicateness & fineness, even if the medal has a high relief. Once you have molded with it, pulverize it as before and put it -back in dampness. +back in the damp. All sand that releases well has body & gives a good hold. Ammoniac -is fat and a va however, is sandy +is fat and a va is nevertheless sandy, which makes it release well. There is no better bond than salts appropriate for metals, for once mixed in powder, they get moistened together & dry & reheat together. @@ -13314,23 +13318,23 @@ together & dry & reheat together. mine, mixed with sal ammoniac There is found in Cominge, near the town of -Aurignac, a sand, white mai, like -salt, and lean, that glassmakers & -potters use, which renders impalpable crushed on -porphyry & is easy to crush. And once crushed, it +Aurignac, a sand white mai like +salt and lean, that glassmakers & +potters use, which becomes impalpable ground on +porphyry & is easy to grind. And once ground, it resembles calcined alabaster. It molds very neatly, and I have not found any that molds as delicately as this one for lowf relief. It is -excellent to mold en noyau without a frame, having crushed it +excellent to mold en noyau without a frame, having ground it impalpable with gummed or pure water on porphyry, then placing it, thick as mustard or a little more, on the medal, anointed lightly with oil either of olive, walnut, or even better spike lavender. But to do it better mo, let it dry by itself, without fire, for one or two days. Although, if you are in a hurry, you can -heat it well, & it will not crack, if it is not put on too lightly. +heat it well, & it will not crack if it is not put on too lightly. It is true, being thus suddenly exposed to heat all at once, it makes some holes & pustules, which it does not do when dried in the cold or -at ease, rather than being reheated. Once dry, reheat it & it will +at ease rather than being reheated. Once dry, reheat it & it will withstand several casts. @@ -13343,12 +13347,12 @@ withstand several casts. Sal ammoniac and iron dross -I have pulverized sal ammoniac, well dried in the fire & +I have pulverized sal ammoniac, dried well in the fire & in a hot bronze mortar, and passed it through the -double sieve, it became very fine. But to render it even -delicate, I have crushed it dry on porphyry. Then I mixed +double sieve; it became very fine. But to render it even more +delicate, I have ground it dry on porphyry. Then, I mixed it with pulverized & finely ground iron dross, in the same -way, and both mold very neatly things in low relief, without being +way, and both mold very neatly things in low relief without being moistened in the serain, or in the cellar, or otherwise with the napkin, & it releases very neatly. @@ -13365,26 +13369,27 @@ and calcined slate. It is for very flat things.
-All sands can be rendered good +That any sand can be rendered good + -Artisans who work in big works, & who need to further -their profit, by seeking things already prepared in nature, because she +Artisans who work in large works & who need to further +their profit by seeking things already prepared in nature, because she does not sell her wares to her children, and to also save the time they would use for grinding finely & for artificially preparing sands, seek the one of the s mines, which is not too fat, the one that is a kin of earth, not too lean & -consequently without bond, but rather which is pulled from the +consequently without bond, but rather that which is pulled from the depths of the sand-bed in bricks & clods that show its natural compaction, which is quite difficult to break & which has a very small & delicate grain, & which is found soft -when handling it between your fingers. And +when handling it between the fingers. And because the latter is only found near the rocks in mountainous -areas, or lean territories & akin to the +areas or lean territories, & akin to the arene, it cannot be found in in the -surroundings of all the bonnes villes, where -artisans willingly gather themselves. And thus, if they do +surroundings of all the bonnes villes where +artisans willingly gather. And thus, if they do not have it close to their house, they prefer to have it come -from afar, like from Lyon, Venise, Parys near the +from afar, like from Lyon, Venice, Paris near the Sainct Chappelle & similar places, rather than prepare it. However, you can be certain that in all places you can render the sand from a mine @@ -13405,15 +13410,15 @@ However, you can be certain that in all places you can render the good & proper for molding. For if it is coarse, pass it through a sieve, and if it is not yet fine enough, wash it, & when -the water will be a little rested, empty the one which is still +the water has rested a little, empty that which is still troubled in some separate vessel. The coarse will promptly fall down to the bottom of the first vessel, but the one which will have come from the troubled water, set apart, having settled, will be very fine. And then, if it does not have enough -bond, grind it well dry on porphyry, & you will +bond, grind it quite dry on porphyry, & you will render it impalpable, & which will have bond like chalk. -Then, if it seems to you, you will reheat it, & again will grind it & mix it with salts, or linen, or burned -felt or ashes of paper & similarly washed things. +Then, if it seems right to you, you will reheat it & again will grind it & mix it with salts, or linen, or burnt +felt, or ashes of paper & similarly washed things.
@@ -13421,7 +13426,7 @@ felt or ashes of paper & similarly washed things. Terre fondue of potters Grind it in a mortar mustard -mill with some water, & render it impalpable, +mill with some water & render it impalpable, dry it & next moisten it with salt water, which gives strength to u all sands to withstand several casts. @@ -13434,15 +13439,15 @@ casts. In Italy, those who are in the colder regions, like Lombardy, make square wooden cases, a little larger at -the bottom than at the top, and thereon affix buckles on the +the bottom than at the top, and affix buckles on its sides for transporting them with straps, as one carries gout sufferers, because the wheels with which one could make them roll spoil the pathways of the gardens. And every two years, they do not forget to open the sides of the -cases for trimming & dexterously cutting, including the soil, +cases for trimming & dexterously cutting, with the soil, the ends of the orange tree’s roots, because otherwise, as they find the wood, they contract & fold back on themselves & dry at -the tips, & would make the tree die. But as they are trimmed, it +the tips & would make the tree die. But as they are trimmed, it preserves for them new space cosfor expanding, without finding resistance from the wood that hinders them. And know that, for this effect, it would be better to join the sides of the @@ -13461,7 +13466,7 @@ order to not shake the soil when one opens them. Grafting -Every tree that has coarser marrow, the graft is awkward +With any tree that has coarser marrow, the graft is awkward to estre cut well, because there is a danger of wounding the marrow, & if it is wounded at the point of juncture, it takes uneasily, like from the vine, from all @@ -13480,7 +13485,7 @@ tree that is already made & of good size, because being such, it tightens the graft more, & if it is from young wood, it is so compressed that it cannot profit. But old wood resists the compression of old wood than the young better, because it is harder than -the young. But if the graft is all of old wood, it will never hold +the young. But if the graft is all of old wood, it will never hold beautifully, but turns fragile & short & slow to grow.
@@ -13491,26 +13496,26 @@ grow. Molding with cuttlefish bone Guard against keeping them in a damp place, for they are -well prone to getting moist. If your medal is small, cut the bone -in two then even it out with a knife. And on a hooked -rooftile, well dry & well smoothed & covered with -pulverized willow charcoal, rub & smoothed the two +very prone to getting moist. If your medal is small, cut the bone +in two, then even it out with a knife. And on a hooked +rooftile, quite dry & quite smoothed & covered with +pulverized willow charcoal, rub & smooth the two halves of the bones. Thus they imbibe this willow -charcoal, which makes them release well, & guard against removing -anything. Then on a counter bone, that is to say a piece of -brick, evened to the size of your bone, place +charcoal, which makes them release well & guards against removing +anything. Then, on a counter bone, that is to say a piece of +brick evened to the size of your bone, place your medal, & then on this one, place the bone, -& press well with some other piece of the same size above. And for +& press well with some other piece of the same size on the top. And for the second time, mold it, but before, pounce on top with willow charcoal & blow lightly, then press as before, and it will come out neatly. If it is for a spoon handle, one needs two whole bones. All cast work is brittle & subject to breaking, because the metal expands when cast, & retracts -& condenses under the hammer. That is why, one ought to +& condenses under the hammer. That is why one ought to retrace the cast thing with a chisel, & in this way the metal retracts. Let it thus escrouir. If the piece for molding is of high relief, first trace the mold & hollow it -with a penknife, to make way for the medal & then +with a penknife to make way for the medal, & then mold. And if the medal has two sides Before casting, heat the @@ -13537,34 +13542,32 @@ calcines. since the two bones are joined, co cut them evenly all around, & make notches e around it in different places which cross over the -joining of the two bones, in order to recognize well the -place of the first joining. Or else, with little shards of +join of the two bones, in order to recognize well the +place of the first join. Or else, with little shards of wood, pierce them, or ma coat the -joinings with some clay, & dry. Press between them -your hands joined between your two knees; +joins with some clay, & dry. Press, between them +your hands joined between your two knees & not with a press, because the bones would -burst. Mold also at your leisure & two or three times, until you see -that it is well pressed tightly together & well imprinted. And each +crack. Mold also at your leisure & two or three times, until you see +that it is pressed quite tightly together & well imprinted. And each time before replacing the piece, pounce with some willow charcoal, for it makes it release well. When you have cast, rub the medal with oil & with willow -charcoal powder & with a brush, to make it dull. Guard -against your medal being too greasy or oily, when you will mold in +charcoal powder & with a brush, to make it dull. Take care that your medal is not too greasy or oily when you mold in cuttlefish bone. When you have cast, leave it to cool before taking the medal out, for when one takes it out hot, it -brings with it some bone. And, cast moderately hot, -something you will know when the bone is about to change -its good whiteness. But when it is too hot, it really turns -the bone red. The proportion of lead -& tin is as much one as the other. If the piece is difficult -to come out, & of several pieces, make the cast forked with three or +brings with it some bone. And cast moderately hot, +which you will know when the bone is about to change +its good whiteness. But when it is too hot, it turns +the bone very red. The proportion of lead +& tin is as much of one as of the other. If the piece is difficult +to come out & of several pieces, make the gate forked with three or four grooves, and make & direct these grooves to the -place of thickest parts. Also make these grooves around the medal, like -directly on the head, for this attracts the metal & feeds -the figure best. Shake your frame a little when you have cast, +place of the thicker parts. Also make these grooves around the medal, like straight on the heads, for this attracts the metal & feeds +the figure better. Shake your frame a little when you have cast, and thus you will make very neatly several casts. Tin that is too hot pburns the bone, which is corrupted. Also, once taken -out du mohot from the mold, it risks +out du mo hot from the mold, it risks breaking.
@@ -13587,8 +13590,8 @@ breaking. One ℥ de part soft tin, one part fine lead, one part -looking glass tin & one part fixed quicksilver makes an alloy & a -solder, so easy to melt that it can easily be melted in a +looking-glass tin & one part fixed quicksilver makes an alloy & a +solder so easy to melt that it can easily be melted in a dish of fine tin. @@ -13598,18 +13601,18 @@ breaking. 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 frame, & presses it a little so that +it in one half of the frame & presses it a little so that it holds better. And next, you will cast in your frame some solder described above, or another more meltable than fine tin. And thus, the second medal will melt & mold itself on the first one without spoiling it. But to make sure this is done right, mix -some lamp black with water, & with a +some lamp black with water &, with a paintbrush, give a light coat of this to the medal, which remains in the frame, & leave to dry. Thus it will not melt. But if you have a medal of copper or silver, you can -leave it in the cast, if you want to cast with lead or +leave it in the cast 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. @@ -13628,7 +13631,7 @@ that is not shiny as if burnished. Potin, being cast hot, runs & flows like tin. But the medal becomes whitish from this, and immediately casts out the -verd, which a good material does not +verd, which a good material does not do. @@ -13636,8 +13639,8 @@ do. Molding statues -Half founder’s earth, which -founders use, & half clay earth, +Half founder’s earth which +founders use & half clay earth g renders very neatly. @@ -13652,7 +13655,7 @@ do. mussels The long shells that one finds in fresh -water rivers, being calcined, make an impalpable white sand, which +water rivers, once calcined, make an impalpable white sand, which molds very neatly. @@ -13661,23 +13664,23 @@ molds very neatly. Congealing mercury It congeals, just as I tried, by boiling it one or two -hours in a rather large iron pots, +hours in a rather large iron pot, putting in, for an ℥ of ☿, ii ℥ of verdet de and vitriol of -saltpetre, ana, with sufficient quantity of old +saltpeter, ana, with sufficient quantity of old water from farriers. Or else, melt 4 ℥ of tin, & as it cools, purify it of its filth, which is on top, then, make a -hole in it & put in there i ℥ of +hole in it & put in this i ℥ of ☿ & it will come out like tin if you remelt it, but it will be breakable. And if you want to assay if it is tin or ☿, redden a shovel & put a small piece of your ingot on top. If it is tin, it will melt & stay, but if it is ☿, will quickly melt, -then on crackling very strongly, it will evaporate. One ought to congeal it in -a spoon or in a hollow crucible, & make a +then, crackling quite strongly, it will evaporate. One ought to congeal it in +a spoon or in a hollow crucible & make a moderately sized hole. It can also be congealed, as I assayed, in aquafortis which beforehand will have eaten a little silver. @@ -13689,8 +13692,8 @@ This one, mixed, makes tin & lead run. Mixture Fine tin, congealed mercury with the smell of -tin, looking glass tin, fine lead, as much of -one as the other, makes a substance that melts very promptly, but +tin, looking-glass tin, fine lead, as much of +one as the other, makes a substance that melts very promptly but is breakable & white. I think that it would be good for solder. A long time to cool. @@ -13715,7 +13718,7 @@ with the hands, for this makes them spoil. Observation from rustics That when it freezes on Palm Sunday, it -freezes all the months of the year +freezes all the months of the year. That when the first flowers fall les suiv & are lost from the frost, the others are usually lost @@ -13727,7 +13730,7 @@ also. Grafts -It is necessary that the graft not be from old wood for it is never +It is necessary that the graft be not from old wood, for it is never a beautiful tree. One needs to leave only two shoots at maximum on the graft, for when @@ -13735,15 +13738,15 @@ it has more, its strength is weakened. The wind torments it, & it does not have enough strength to bud. Trees which have coarse marrow, like peach trees & all -their kind & the plum trees, do not want grafts in +their kind & plum trees, do not want grafts in freezing weather because the cold damages their marrow, which one also needs to protect from wounding by cutting the foot of the graft. -All grafts must not be made earlier than their tree will be sapping, +All grafts must not be made earlier than their tree is sapping, for the humor grows them quickly. Otherwise -au, they dry too quickly that the humor of -the sap does not grow them. +au, they dry before the humor of +the sap pushes them. @@ -13762,11 +13765,11 @@ neatly. Sand - Ashes well pulverized tallow molds & + Ashes Well pulverized tallow molds & releases very neatly. The one from the kitchens, which is fat & shiny, from the big kitchens, is better. -Finely pulverized quicklime works. The same for broken up +Finely pulverized quicklime works. The same for broken-up flint, which works better in the cavity. @@ -13786,7 +13789,7 @@ the reverse of the face which is on canvas with a wet the shadows, which do not come undone. Next, one lays the flesh color, which does not prevent the already painted shadows from appearing. And again with a more lively flesh color, one touches the more prominent -areas. And with another paintbrush one does the shadows +areas. And with another paintbrush, one does the shadows again by hatching. The shadow strokes do not come undone because they are made of bistre, which stains the canvas like rust. The said bistre is good with for @@ -13795,7 +13798,7 @@ has no body & would not dry but with great difficulty. One mixes in the said bistre, for shadow, ocre de ru & a little sap green. The best bistre is the greasy & shiny kind from the fireplaces of large kitchens. It is -difficult to grind & screeches on the marble. +difficult to grind & screeches on the marble. @@ -13803,8 +13806,8 @@ difficult to grind & screeches on the marble. Azure -Azur d’esmail always wants to be cleaned because the -filth that can be perceive in the wash water makes it die. One needs +Azur d’esmail always wants to be cleaned, because the +filth that can be perceived in the wash water makes it die. One needs to layer it two times, & the first very thick, moving the paintbrush by layering it first lengthwise then across.
It is better used on canvas, where it is imbibed @@ -13823,12 +13826,11 @@ washing it. Violet and lake -It is made of azure & lake which is also assayed -on the palette with white. It is deemed beautiful that -which, on a polished knife or on glass, +It is made of azure & lake, which is also assayed +on the palette with white. The one is deemed beautiful that, on a polished knife or on glass, givesu a clear red color of red rose, tending a little toward violet. -The kind which is blac dark red is not as pleasant. +The one that is blac dark red is not as pleasant. @@ -13845,7 +13847,7 @@ the tail of the sword, what comes next is the ricasso, the rest is the cblade. The sides are the edge & the point. Some blades have a sharp ridger, which has one single elevated ridge in the middle & along the whole -length, and are easy to break. The other +length, and are easy to break. The other blades are called of three edges or three slopes, which do have a rise in the middle, but it is flat as if it were a sharp ridge, but flattened, and s these @@ -13869,8 +13871,8 @@ quillon block, by which the sword tail enters and to which all the branches return & are held, is called the eye of the guard. -Then follows the wood of the grip which one glues, or -according to the most competent, with gummed wax which is of +Then follows the wood of the grip, which one glues, or +according to the most competent, with gummed wax, which is of wax & pitch, because rosin would be too hard. They heat it lightly, then rub the wood of the grip with it in order that the tang or the thread takes hold there. Otherwise, if a @@ -13901,9 +13903,8 @@ or two hours in not quite lukewarm aquafortis, for if it were too hot, it would cook & spoil the skin. It is sewn with black thread. -
- -
+
+
 @@ -13923,7 +13924,7 @@ aquafortis, for if it were too hot, it would cook & spoil the canvas or a different canvas yellowed with chalk. And this canvas is set with glue or the aforesaid gum, this is in order that the thread holds better on it. These are made of -cords like the silk ones & between two cords one sets one or +cords like the silk ones, & between two cords one sets one or two threads to make it show up better. The silver kind is made similarly, and there is not as much trouble as with silk, and even less because it takes more to twist silk, because one @@ -13938,7 +13939,7 @@ furbish it is called the commonly of rowan, which is hard & even. -The lower stick which is folded like a bow is called the +The lower stick, which is folded like a bow, is called the arson. The upper is called the stick of the @@ -13949,13 +13950,13 @@ hard & even. fustée. There are two horns: one is called the oil horn and -the other the emery horn . +the other the emery horn. There is an iron which is made like a halberd point, square, & of very even steel, & well filed, which is called the -grateau which +grateau, which serves to to soften the traces of the file on sword guards & to give an edge to swords after they have been ground, which is better than with a stone or a @@ -13978,8 +13979,8 @@ three fingers in thickness, of of the fustée to furbish. The fresil stick is of willow -wood which is to clean the rust off weapons with -fresil which is the iron scale falling +wood, which is to clean the rust off weapons with +fresil, which is the iron scale falling at the farriers’ forge.
@@ -14039,37 +14040,37 @@ stone
-The furbisher buys his blades by the dozen which +The furbisher buys his blades by the dozen, which are not fully drawn by the tang because he does this himself to adjust them well to the l pommel & guards. Spanish ones are deemed better for being of better steel -& iron but they are not as well-forged as swords from +& iron, but they are not as well-forged as swords from Vienne in pro Dauphiné. The Spanish ones are not as well ground coming from the -forge because they grind them with the -foot & this is what +forge, because they grind them with the +foot, & this is what makes them wavy. Blades from Vienne commonly cost xviii or 19 lb a dozen. The first thing the furbisher does when he gets his new -blades is to draw out their tang, which he does himself, or has done by +blades is to draw out their tang, which he does himself or has done by locksmiths or farriers, giving him some liard for his charcoal. Next, they pass it over a grindstone to make it -cut, then lay it down on the +cut, then lay it down on the chameau, and with some pulverized emery, fine & soft as flour, & mixed with oil to make it hold, they furbish the sword with the stick used to -remove the traces of the grindstone and then the +remove the traces of the grindstone, and then the clean the sword powell with the -emery, and give it a drop or two of oil which +emery and give it a drop or two of oil, which they spread with the finger to give it luster. Having put the oil, they furbish the sword again on the chameau with the -felin which is a +felin, which is a thunderstone mounted in the middle of a stick like the fustée, and this stick is called the baton à felinder. Next, having passed it on the @@ -14086,16 +14087,16 @@ the whole ricasso is held in the hand, one conjectures that it will be just as heavy once mounted. One puts the blade in a vise between two pieces of -wood, then with a file they enlarge the opening of the +wood, then with a file, they enlarge the opening of the guard if it is necessary. Then, to rivet it, one places on the rivet a piece of -& the pommel a piece of wood & with a hammer, +& the pommel a piece of wood, & with a hammer, one beats on it to align & secure the pommel well. Then, with the hammer, one works the rivet when the pommel is well secured & does not wobble. The wood is put there so as not to spoil the pommel. Next, one finishes the rivet with a file or chisel. And some make the b the rivet in a -square diamond-shape but it is not as good +square diamond-shape, but it is not as good as the round one, for, when faceted, the rivet breaks. @@ -14113,13 +14114,13 @@ as the round one, for, when faceted, the rivet breaks. The end is bought ready-made by the -dozen which costs six sous for +dozen, which costs six sous for the small ones, but for the the big ones 2 carolus. The end this is put either -with nails which are put on the sides of the cutting edge, but +with nails, which are put on the sides of the cutting edge, but this only spoils the sword & destroys the scabbard because the water enters through the joint of the nail. It is best to -apply rosin or glue on it, but the rosin is better. +apply some rosin or glue on it, but rosin is better. And it is best when the end is well adjusted & set so hot that the pulverized rosin melts on the end. In this way, it does not fall and cannot be undone unless it is put in the fire. @@ -14128,13 +14129,13 @@ and cannot be undone unless it is put in the fire. Worked -Guttered which is with round moldings +Guttered, which is with round moldings Pearled -Scarfed when the bands are crosswise +Scarfed, when the bands are crosswise -Onioned which is with a flat head +Onioned, which is with a flat head In the King’s manner, which are plain @@ -14146,7 +14147,7 @@ fashion. The first thing the apprentice does is to furbish as said. -And next, to garnish the sword & make a scabbard which is the +And next, to garnish the sword & make a scabbard, which is the height of the art. They buy the wood pieces of @@ -14160,10 +14161,10 @@ very neat & without any knots & are one finger’s thickness across. Then the furbisher puts them on a small bench, called a -scabbard bench and with a e +scabbard bench, and with a e g plane small iron tool similar to that of the joiners’ bench, -they make it hold firmly. Then with ae plane +they make it hold firmly. Then, with ae plane plane which is like a knife with two handles, one works the wood roughly from the top, next one passes the joiner’s @@ -14194,33 +14195,33 @@ Without this scraping, the sword would always cut the scabbard. -The opening of the scabbard is called the mouth & on top is the +The opening of the scabbard is called the mouth, & on top is the shape of the blade. The stop, which is a leather rim set on the edge of the blade -shape is made to stop the hangers. +shape, is made to stop the hangers. -When the estelles are well levelled, one lays the sword on top -& with a black stone one marks the width of the -blade, & the length, & then with a chisel one cuts the +When the estelles are well levelled, one lays the sword on top, +& with a black stone, one marks the width of the +blade & the length, & then with a chisel, one cuts the excess. And one passes a joiner’s plane to even it well, according to the mark. Next, one glues the two estoilles edge to edge and all -around only as far as the shape of the blade extends & not +around, only as far as the shape of the blade extends & not elsewhere. And this is to make the leather or velvet of the scabbard hold. -Then one puts the sword into the estelles. And precisely thus -they set it in the scabbard which is all sewn, and rub what is +Then one puts the sword into the estelles. And precisely thus, +they set it in the scabbard, which is all sewn, and rub what is glued along the shape of the blade with tallow to make it run into the scabbard. @@ -14240,11 +14241,11 @@ one does not leave it there for long. Next, the same worker who made the wood piece has to adjust the scabbard to be well made. It is true that for common people, one may well get ones which are ready made, but they are never carried -as well. When the scabbard is made & sewed with black thread, +as well. When the scabbard is made & sewn with black thread, one rubs it with a piece of boxwood or with a cloth, having daubed it a little in oil. The scabbard of a good cow is better than any and also costs more, except the -velvet kind. Under the velvet one commonly puts plain +velvet kind. Under the velvet, one commonly puts plain canvas or a sheep scabbard or a parchment cover. But the best scabbard of all is a waxed scabbard, of either velvet or calf. It is because one covers the wood @@ -14253,7 +14254,7 @@ in velvet or calf. A waxed scabbard is worth at least xxx sous, a cow one xx sous. - + @@ -14274,7 +14275,7 @@ well, then put them in the fire, & make them pass to blue. And one needs to take good care that they do not pass too far beyond blue, for neither gold nor silver nor any color would take on it. To do this, which is called making them pass, one takes -a cauldron full of ashes which one covers with +a cauldron full of ashes, which one covers with thoroughly lit charcoal, & thus one heats them quite strongly for an hour or two, and when the ashes are very hot, one pulls the charcoal to one side & one puts the guard where the @@ -14284,7 +14285,7 @@ one rotates the guard onto the other side, and in this manner, the grey cannot pass too much, unless some hot charcoal touches it. The grey can be done well in the ordinary fire in the fireplace, but there is a danger that it may pass too much & -produce filth which will prevent it from taking color. Blue is +produce filth, which will prevent it from taking color. Blue is obtained as soon as the ash has heated the guards a little, but it is still grey in some places. After blue comes grey. @@ -14303,9 +14304,9 @@ only in several passes. And if the guards were not warm, the bloodstone would scrape & undo the color. One needs to take heed that the guards do not pass too far beyond grey, for they would throw off filth that would prevent the color from taking. One needs almost one -day for preparing, softening, & setting the +day for preparing, softening & setting the color of water, but as they pass a little beyond blue, it is enough for -grey & another color. Grey is the lesser color after varnish +grey & another color. Grey is the lesser color after varnish, which is of two colors, either yellow or black. @@ -14346,17 +14347,17 @@ where you can see it, that it is made with galipot. Gilding -One prepares the guards thoroughly with a soft, very soft, file such that there is nothing black left on any of the guards, and next heats them, -& passes them as is said. But to gild +One prepares the guards thoroughly with a soft, very soft, file such that there is nothing black left on any of the guards, and next heats them, +& passes them as is said. But to gild & gild with silver, they ought not to pass more than a little -beyond blue. Then while the guards are hot, one attaches them to an vise -& with some tweezers one layers the gold & one +beyond blue. Then, while the guards are hot, one attaches them to a vise, +& with some tweezers, one layers the gold, & one sets it with bloodstone that is quite clean & rubbed with putty. And when the guards are cold, one reheats them, -then one layers the gold as above. And first one gives +then one layers the gold as above. And first, one gives of two layers, until the entire guard is well-garnished. And -next one reheats as at the beginning, & one gives the third covering -of gold. Then one burnishes very thoroughly & with great +next, one reheats as at the beginning, & one gives the third covering +of gold. Then, one burnishes very thoroughly & with great force with a large bloodstone. And But note that to burnish well, the guard always needs to be warm. And to know this, one smells it & brings it close to the @@ -14381,12 +14382,12 @@ fifty or lx sous. li file, a little coarser for than for gold. And one makes them pass beyond grey, as for gilding. And when they are hot, one needs to double the -silver foil, then separate it with a knife, next apply +silver foil, then separate it with a knife; next, apply it to the guard with a small tweezers -& a small burnisher. And then reheat & apply until they +& a small burnisher. And then, reheat & apply until they are all gilt with silver. Next, one needs to cover them for the third time with the doubled foil, as has been said, then burnish them -very well & with force, not with the bloodstone, but with a +very well & with force, not with the bloodstone but with a strong burnisher. Just as the burnisher ought not to burnish gold. @@ -14404,8 +14405,8 @@ burnish gold. hour -Some take 2 ℥ of mastic, a half ℥ of turpentine & a half ℥ of -turpentine oil & eau-de-vie, a little at your discretion, +Some take 2 ℥ of mastic, a half ℥ of turpentine, & a half ℥ of +turpentine oil, & eau-de-vie, a little at your discretion because it evaporates when heated & nonetheless makes the varnish more desiccative. But I made it thus: I take turpentine oil at discretion & put in a good bit of turpentine, because it remains always moist & attaches @@ -14424,7 +14425,7 @@ And when you wash it & dry it to render it very white & clean, it will be even better. For if you do not purge it well, these straws & marks, pulverized into it, will remain within the varnish, & when you set it on white or flesh color, -it will appear that they are fleas & blemishes. Once well +it will seem that they are fleas & blemishes. Once well chosen, pulverize it in a mortar and pass it through a very fine sieve, and next mix it in oil, as is said. But if you want to make it more carefully, extract a tear of mastic, as you @@ -14443,8 +14444,8 @@ It almost dries when working. One knows that this varnish does not have body enough when it -does not take well on a panel in oil for it is like water. -Add in therefore pulverized mastic & heat until it is good. +does not take well on a panel in oil, for it is like water. +Therefore, add in pulverized mastic & heat until it is good. This varnish is very white & beautiful, & does not go to your head like that of spike lavender. @@ -14468,7 +14469,7 @@ vigorously. The Italians scarcely varnish their paintings because they layer -their paintings very thick & they are a long time drying +their paintings very thick, & they are a long time drying on the inside, though on top they make a dry skin & crust. @@ -14502,10 +14503,10 @@ bad one, their work will break in the fire in reheating. Varnish for lutes -They take a little turpentine & oil of turpentine or -of spike lavender & amber pulverized & -passed very subtly, & make like that from mastic, & add in to -color it a little dragon’s blood and make it reddish, +They take a little turpentine, & oil of turpentine or +of spike lavender, & amber pulverized & +passed very subtly, & make like that of mastic, & add in a little dragon’s bloodto +color it and make it reddish, and others some terra merita for yellow. @@ -14515,13 +14516,13 @@ and others some terra merita for yellow. Borders of a garden One needs to work the earth, then make it thinner with the -rake. And next, if it is dry, one needs to moisten it. Then +rake. And next, if it is dry, one needs to moisten it. Then, stretch the cord very close, and hit on the entire length of the cord as with the back of a pruning knife, in order that the cord marks a straight line, the length of which you will un -bord make holes with an iron stake, where you -will plant your rosemary. Behead & cut to measure and +bord make holes with an iron stake where you +will plant your rosemary. Behead & cut to measure, and prune from the bottom up. @@ -14531,12 +14532,12 @@ will plant your rosemary. Behead & cut to measure and Locksmith To tin nails well, and other work, they file their -work very neatly. Then to clean it well & rid it of fattiness, they +work very neatly. Then to clean it well & rid it of grease, they make it boil in vinegar, then they wipe it well with a -linen. Next, they heat it & pass some +linen cloth. Next, they heat it & pass some rosin over the top, which coats it with a shiny skin like varnish. This done, they melt some pure & fine tin in -their estamiere, which is a little square iron +their estamiere, which is a little square iron box. And when the tin is well melted & moderately warm, they throw in rosin to burn the filth, & then they let the head of a nail or something similar soak a little, & having @@ -14549,7 +14550,7 @@ as before & let it cool. When the work cools, it becomes yellow, which is a sign that the tin is the right temperature. But it becomes blue if the tin is too hot. Things t thus tinned are durable & are not undone like tinning done -in leaf, thus at the end of a year they can be clarified +in leaf, thus at the end of a year, they can be clarified & renewed by heating & rubbing them. Leadsmiths say that making a lizard die in the @@ -14576,10 +14577,10 @@ they have a larger muzzle than others. Salted artichokes One puts them whole & not too ripe in a firkin that one -fills with brine. Then one serves them all -year, among salads, raw with oil & vinegar, +fills with brine. Then, one serves them all +year among salads, raw with oil & vinegar, for being thus prepared, they take long to cook. But take heed to test -your brine with an egg for if it is good & strong +your brine with an egg, for if it is good & strong enough, the egg will float on top. If not, it is not strong enough and would not preserve the fruits. @@ -14600,8 +14601,8 @@ enough and would not preserve the fruits. Which have been fed by the rod do not whistle among the company of others if they are not in a separate cage. For teaching them to whistle well, one needs to take them from the nest before they can see & cover them with down or a hare skin. Thus, -having not seen their father and known his voice, they learn the whistle -that one teaches them better. +having not seen their father and known his voice, they better learn the whistle +that one teaches them. @@ -14610,17 +14611,17 @@ that one teaches them better. Founding The putty is made of burnt earth which has -served in the founding, this is earth bourre bolvene +served in the founding; this is earth bourre bolvene, in which one has founded. One grinds it on a big stone, & with this one makes the cope of first coat of the cope of bells, where there are letters & works, & le -only needs to be reheated in the flame of straw, and mold very +only needs to be reheated in the flame of straw, and molds very neatly. The earth which molds en noyau is subject to making it porous, if you do not rub well with a brush or your -finger piece to be molded, which should be well +finger the piece to be molded, which should be well oiled. And do it coat by coat, & not all at once. @@ -14637,7 +14638,7 @@ it porous, if you do not rub well with a brush or your -Earth, or sand, moistened or ground with water, wants +Earth or sand moistened or ground with water wants to be reheated more than sand. Latten from a candlestick is not pure, for one mixes in it @@ -14652,8 +14653,8 @@ alloyed, but take them pure & mix them. Iron hardly agrees with being cast in a mixture of copper or latten. -It is better to mold all with one sand, either in frame or -noyau, rather than various mixed. +It is better to mold all with one sand, be it in a frame or +noyau, rather than in various mixed ones. @@ -14666,12 +14667,12 @@ then blow & cover the crucible with large charcoals let it consume two or three feedings of charcoal, which se fill the furnace above the crucible. At the end, stoke it to a violent fire, & when the -flame will be very white & that the substance will be in a liquid +flame is very white & the substance is in a liquid bath like water & casting off pale blue flames, cast. The secret is to cast very hot & in one go. -Lean white sand without bond renders well +Lean white sand without bond renders quite proper for casting, &, having body, if you grind it very finely on porphyry or calcine it, reddening it several times in the fire, & spread it in @@ -14691,7 +14692,7 @@ use it. -One needs very little of sal ammoniac dissolved in +One needs very little sal ammoniac dissolved in water. @@ -14701,8 +14702,8 @@ One needs very little of sal ammoniac dissolved in -They can be put back on, without remaking the bell, which one ought to -put back in the pit, & mold it there. But should you +They can be put back on without remaking the bell, which one ought to +put back in the pit & mold it there. But should you solder a ref cracked bell, it is considered impossible to give it its first voice. @@ -14726,25 +14727,25 @@ such beautiful fruit. Cannons They are very difficult to bore when they are of -metal because the substance is brittle & frangible. But one +metal because the substance is brittle & frangible. But one z ought not to push the borer with too great a force nor continue all in one push, but pull it out often. In that case, one makes the touch-hole muzzle of the cannon bigger than the ball in order to avoid the necessity of boring, because the substance is cast & expands & pushes the mold. If the borer, which should be neither like a swallow -tail, nor a point, but be cut in the round like a wimble, if it breaks, one ought not to leave it there to rust +tail nor a point but be cut in the round like a wimble, if it breaks, one ought not to leave it there to rust + + but immediately take it out of the touch-hole. This -you will do by pouring a little oil on it; then +you will do by pouring a little oil on it; then, l turn the place of the touch-hole downward & strike the opposite side of the piece, & it will fall down. One needs to bore gently & at ease when the piece is of -metal. +metal.
@@ -14770,7 +14771,7 @@ better. Orpiment orange -One sublimates it & one grinds it & some put in a little +One sublimates it & one grinds it, & some put in a little arsenic to make it melt instead.
@@ -14779,7 +14780,7 @@ better. Varnish -Some make this of mastic with two ounces of +Some make the one of mastic with two ounces of mastic and one of clear & white turpentine oil & eau-de-vie as above. Heat it on ashes until it is melted, then let it rest & put it in another vessel to purge it of @@ -14801,8 +14802,8 @@ dregs. mat on canvas or other oil panel, one makes fatty walnut oil in the sun or on the fire, as said above, for it thickens by itself in this way, -although there is neither lead, nor ceruse. And with this, -grind massicot, minium, & other desiccatives, +although there is neither lead nor ceruse. And with this, +grind massicot, minium & other desiccatives, not verdet nor orpiment, for they cause the gold to die. It will be dry soon. However, if the weather is not serain & dry, do not soften it, @@ -14817,7 +14818,7 @@ turn black. Portraying from nature -One needs to carefully observe the eyes, the nose, & +One needs to carefully observe the eyes, the nose & the beard, for these three things make strong resemblance. @@ -14830,16 +14831,16 @@ the beard, for these three things make strong resemblance. You need to pestle your materials in a mortar of thick glass & encased & stuck with mastic -into another mortar of wood in order that it does not +into another mortar of wood, in order that it does not break. This can serve for perfumers. & la -t the pestle also of glass. +t the pestle, also of glass. Mortar of glass and -slab of glass for grinding. +slab of glass for grinding @@ -14872,14 +14873,14 @@ a humid air or place, and it will convert itself into a liquor which, if rubbed on both sides of the windows, the sun will not pass through; rather, it will give shade. One needs to put the saltpeter on some clean thing -place, & it put glowing charcoals on it, +place & it put glowing charcoals on it, and continue all over until it no longer burns. -It also serves for melting & for adding in with alkali salt +It also serves for melting & for adding to alkali salt for cleaning hands. @@ -14895,13 +14896,13 @@ for cleaning hands. Gemstones Take white pebbles that are found by the rivers & -among the sand bank, & paths, which are +among the sand bank & paths, which are somewhat transparent, & if they are perfectly transparent it will be better. If not, use the best & whitest that you can. Calcine -them three or 4 times in your four à vent & extinguish +them three or 4 times in your four à vent, & extinguish them in water or vinegar. Next, take a ℥ of them and pestle them in a -totally pure copper mortar, & with a pestle of +totally pure copper mortar & with a pestle of pure copper, and grind them until they become very fine & soft powder, and this is a sign that they have taken the substance of copper, enough for giving them greenness. At that time, on your @@ -14913,7 +14914,7 @@ well in a bronze mortar. And on all of this, put in a ℥ of sel de verre; & some & the common people put in e sandiver that they find at the -glassmakers or apothecaries. But alkali +glassmakers' or apothecaries'. But alkali salt, as you know, is better. In this way, the common people make emeralds & cast in @@ -14930,7 +14931,7 @@ of pure copper. One needs to reheat crucibles before putting in materials, and put them in the fornaise or four à -vent, before making & increasing the fire. +vent before making & increasing the fire.
@@ -14953,7 +14954,7 @@ They are made in an hour & a half. A gros of salt on the four ℥ of pebbles & minium. When one says, for ℥, this is to be understood: on -one ℥ of the body & not of the +one ℥ of the body, & not of the salts & the minium. @@ -14967,7 +14968,7 @@ one ℥ of the body & not of the -For ruby take some gold leaf +For ruby take gold leaf Raise your furnace by two tiles all around, because one needs more heat for making rubies than for @@ -14989,7 +14990,7 @@ Some say that, mixing the gold with the pebbles and the Others say that it is necessary that the gold be cemented several -times then beaten into leaf. +times, then beaten into leaf. @@ -15009,15 +15010,15 @@ n minium, & pestle well again all together, & put it in the crucible, which you will cover with an appropriate tile, a bit thick, in order that heat reverberates better -there. Then set it on the grate of your furnace, +there. Then, set it on the grate of your furnace, having put under a few thick rounded squares. Next, fill your furnace to the opening with charcoal, so that it will be heaped, and let it kindle, and always maintain the heat evenly without letting the charcoal decrease. And for this effect, -always make so that the furnace is heaped & full of +always make it so that the furnace is heaped & full of charcoal, and maintain it thus for one day. The first experience that I made of it, it only returned a yellow mass, -as is only vitrified minium, & some grains of +as is vitrified minium alone, & some grains of gold in a mass at the bottom. Try cemented gold and accompanied with antimony. @@ -15025,8 +15026,8 @@ and accompanied with antimony. -If you need greater heat, plie put on the edge of -the opening of the glowing furnace tiles, one against +If you need greater heat, plie put, on the edge of +the opening of the glowing furnace, tiles, one against the other, for making the heat reverberate.
@@ -15043,7 +15044,7 @@ the other, for making the heat reverberate. The same dose is observed for all gemstones, namely one weight of calcined pebbles on three of minium, pestling all separately in a -copper mortar for emerald, & in an +copper mortar for emerald & in an iron mortar for making topaz or amber color, with pestles identical to the mortars. The emerald & the topaz are of the same heat, & for an @@ -15071,7 +15072,7 @@ more yellow. Salt for melting -Mix saltpeter & common salt and melt them together +Mix saltpeter & common salt, and melt them together, & cast on melted copper or ch in a bath, & it purifies & makes it run marvellously. First, one ought to decrepitate the common salt, that is to say @@ -15144,16 +15145,16 @@ One holds that rubified antimony makes jacinth. Topaz -I melted one part of pumice stone calcined & pulverized -& tr with three parts of minium +I melted one part of pumice stone, calcined & pulverized, +& tr with three parts of minium, and the stone pulverized in a steel ver f mortar. It returned me a very beautiful -yellow, without any grains more yellow than any others. It is true that +yellow without any grains, more yellow than any others. It is true that it was well saturated with color. I believe it would be better to le pulverize the pumice in a glass mortar, because it & the minium make enough yellow by themselves. It returned to me a mass, the top a beautiful yellow, as was -said, the bottom like fire stone, without transparency. With +said, the bottom like firestone, without transparency. With which, by mixing other @@ -15166,7 +15167,7 @@ which, by mixing other The Germans make minium boil well in linseed oil, & to give it the body of -varnish, they mix in very pulverized yellow amber. +varnish, they mix in thoroughly pulverized yellow amber. @@ -15176,7 +15177,7 @@ which, by mixing other Gum ammoniac -One puts it by small pieces into a little good vinegar, & +One puts it in small pieces into a little good vinegar, & one heats, then one passes it through a cloth strainer. All medicinal gums dissolve in vinegar. @@ -15194,7 +15195,7 @@ one heats, then one passes it through a cloth strainer. All 7 retorts -2 lb. of ☿ +2 lb of ☿ One measure of coarse salt @@ -15208,7 +15209,7 @@ One measure of coarse salt 3 or 4 lamps -2 lb. of cotton +2 lb of cotton One pair of small scissors @@ -15221,16 +15222,16 @@ One pair of small scissors For the furnace A coffer with a stone ten square -thumbs in size, and one -foot thick, pierced in the middle +thumbs in size and one +foot thick, pierced in the middle -2 earthenware boxes or pots with a lid +2 earthenware boxes or pots with a lid 2 small pipes of fer blanc to evacuate the -smoke from the furnace +smoke from the furnace Rapeseed oil for the lamps to heat the -furnace +furnace A fire-steel @@ -15242,9 +15243,9 @@ A fire-steel Ciment royal -One lb. & a half of vitriol +One lb & a half of vitriol -As much saltpeter +As much saltpeter As much rock alum @@ -15257,10 +15258,10 @@ As much rock alum Glass vessels The glass vessel must be made like a pear or round -pyramid, of the thickness as a small knife back, round +pyramid, of the thickness of a small knife back, round on the bottom without bending like vials, its opening of such a size that a Dutch quill can just about fit -in, & with a lip at the end. Thus of height of seven +in, & with a lip at the end. Thus of a height of seven fingers’ width.
@@ -15287,7 +15288,7 @@ flesh color. And as for the ground, they make it with azur d’Acrelake for a quickly-done red, or with dragon’s blood for the most beauty. But one needs to layer it little by little so that it appears even & of -one color, & thus for other colors. Next they put underneath it a +one color, & thus for other colors. Next, they put underneath it a foil backing for topaz, or one of gold or silver. @@ -15302,16 +15303,16 @@ one color, & thus for other colors. Next they put underneath it a In the month of August, the flower is better cooked & more suitable for making oil. Take of it whatever -quantity you like and put it into a bottle -afterward well stoppered, & leave to wilt in there +quantity you like, and put it into a bottle +afterward, well stoppered, & leave to wilt in there in the shade for a day. Then put in it -the first substance of wine & +the first substance of wine, & leave it to rest three or four days, and next express the -whole into another vessel & into this very same +whole into another vessel, & into this very same substance of wine, put in seven or eight infusions of new flowers. Next, leave the last infusion in the sun for a month. -Next, distil it through an alembic. Ne, And take ii +Next, distil it through an alembic. Ne And take ii ounces of this water in two or three spoonfuls of white wine, but this is for the elderly. Paul tiers used it. @@ -15324,13 +15325,13 @@ Next, distil it through an alembic. Ne, And take ii Cast -Tin comes out better being thin & fine, rather than +Tin comes out better being thin & fine rather than thick, because being thick & in great heat, it retracts. Therefore, if you want to mold a thick piece in tin, mold it only on one -side, & with a cavity on one side, if it is possible, in that way +side & with a cavity on one side, if it is possible, in that way you will have it more neat, and then you will be able to solder two halves together. But if you must mold it thick, make it in the -form & mold a lot of feeders +form, & mold a lot of feeders
around the figure, in this way. @@ -15348,8 +15349,8 @@ around the figure, in this way. Against burns, excellent -Heat linseed oil on a gentle fire, without letting -it boil & simmer, but once it is hot put in a quarter as +Heat linseed oil on a gentle fire without letting +it boil & simmer, but once it is hot, put in a quarter as much of the newest wax you can. Once melted, let it cool, & once they begin to curdle, stir continuously with a new wooden spatula t for as long as it takes @@ -15406,7 +15407,7 @@ with that water, or else with water of sublimate. In order that the tube does not harm, for example children, or those who se have protruding or swollen hemorrhoidal veins, one covers the end of the tube with a piece of -chicken gut & one folds it back over the end, & +chicken gut, & one folds it back over the end, & in this way, one gives the enema. @@ -15422,7 +15423,7 @@ in this way, one gives the enema. Tin retracts when it is thick, thus it is best to cast it thin & to make two pieces out of one, then solder them if need be. One uses a strong piece of taffeta to sieve the fine -sand, with which one first covers the medal to the thickness of a +sand with which one first covers the medal to the thickness of a teston. @@ -15435,10 +15436,10 @@ sand, with which one first covers the medal to the thickness of a -Mix vinegar with a little with bile, & put +Mix vinegar with a little with bile & put it p into a glass bottle, & if -you want to keep it for a long time, add some salt to it & of -this, mix some of it among your colors & that will make them +you want to keep it for a long time, add some salt to it; & of +this, mix some of it among your colors, & that will make them run. @@ -15467,7 +15468,7 @@ those who have a headache, all the foam will dissipate. For recognizing well their difference and their true color by candlelight, you need to put your candle behind a -crystal mirror, or a glass globe or jar +crystal mirror or a glass globe or jar full of water, because this light is like sunlight. @@ -15482,7 +15483,7 @@ full of water, because this light is like For eating away and dissolving entirely pure gold ℞ put common salt into aquafortis in a -matrass and let it rest two hours without +matrass, and let it rest two hours without putting it on the fire. Put in the very thin gold, and draw it out as if it had been parted from silver. @@ -15496,11 +15497,11 @@ out as if it had been parted from silver. ℥ of coarse salt & a little sublimate, or else grind massicot with linseed oil, and u cover -ce the blade or quite clean & polished -iron with it & let dry in the fire or in the +ce the quite clean & polished blade or +iron with it, & let dry in the fire or in the sun, and draw on it what you please. Then, to etch it & make the water, take a liard’s worth of -verdet & put in twice as much coarse salt +verdet, & put in twice as much coarse salt, & about four grains of sal ammoniac, & six grains of sublimate, & the water ought not to be hot. @@ -15511,7 +15512,7 @@ be hot. Good mixture to color gold -Sulfur & small gravel as much of one as of +Sulfur & small gravel, as much of one as of the other, & the third part of soufr salt, & as much terra merita as sulfur. @@ -15527,7 +15528,7 @@ the other, & the third part of you wanted to gild. And do not let it heat, so the silver does not tarnish. And after it is well applied, boil it in walnut oil, & next heat it a little, & thrust it in -sweet boutteure. +sweet boutteure.
@@ -15564,14 +15565,14 @@ up at night without eating. For casting -If you have some piece which will not release, & is big, +If you have some piece which will not release & is big, mold it with wax, either in hollow or in relief, because it is malleable once soft & obeys, and thus separates itself from the piece without leaving anything. But take heed that the melted wax be neither too hot nor too cold. Some mold with wax heated in hot water, but in pressing, the mold becomes clumsy & makes itself false. When you have the hollow wax form, you can cast in some -very soft clay & very moistened & clear, & let it dry +very soft clay & thoroughly moistened & clear, & let it dry at ease. Then you will make a hollow form on it ave of lead or tin, in tu which what you will form will be of good release. @@ -15593,7 +15594,7 @@ form will be of good release.
-Make an axle surrounded with wheels pierced all around the edge and +Make an axle surrounded with wheels pierced all around the edge, and attach quills as for a cittern or a spinet, & arrange them according to the song you want to be said, leaving telle a suitable distance between. And, turning the @@ -15637,8 +15638,8 @@ did not put verdigris with it. Painter Colors laid down twice are thicker in and of themselves, if they -are not managed. Otherwise, one paints on wood; otherwise on -canvas; otherwise on walls. +are not managed. Otherwise, one paints on wood, otherwise on +canvas, otherwise on walls.
@@ -15650,18 +15651,18 @@ are not managed. Otherwise, one paints on wood; otherwise on For shield grafting, one needs to take the new issue that the tree that you want to graft has made in that year, & -there cut a branch on which you see that, next to +there cut a branch on which you see that next to raci the sprouting of leaves there are little buttons that one calls œillets, which are the beginnings of sprouts. One needs to nimbly, with a very sharp penknife, cut in the shape of a shield a little bit of the skin with which contains an œillet or sprout with the leaf, thus marked B. -But before Then carefully make on the -tender wood s which is in sap, on which you +But before Then, carefully make on the +tender wood, s which is in sap, on which you want to graft, two lines thus de cut
, then make in the middle a cleft thus
-. Next, separate with the point of the penknife the bark & +. Next, separate, with the point of the penknife, the bark & open it from the cleft in the middle, and having neatly lodged your shield so that nothing comes out but the sprout, bind it well & wrap it entirely with a slip of linen or very @@ -15671,7 +15672,7 @@ whether the shield should take, accordingly it will be green. Leave your graft seven or eight days thus, then unbind it & join it well to the bark, especially at the sprout, & then rebind all gently but not as strongly as before; & if there is any output -or growth, leave it space to go out; & do thus three or 4 +or growth, leave it space to go out, & do thus three or 4 times.
@@ -15698,11 +15699,11 @@ times. -Next, when it will be well b taken, cut the top +Next, when it is well b taken, cut the top of the tree that exceeds your tree, ne three or 4 fingers above the shield for the first time, and -apr then, at the closest point, in order that is -closed. But heed well that when you will make your shield no small hole +apr then, at the closest point, in order that it +closes. But heed well that when you make your shield no small hole remains at the back of the sprout, for this would signify to you that its root would be broken, & your graft would never take; but make it so that the back is intact. This type of grafting is practiced @@ -15716,7 +15717,7 @@ best there, they are grafted in the month of January. Generally trees with pitted fruit, like mericoton peaches, are grafted in clefts. One says that trees de grafted en piolet or by -shield are later to bear fruit than those by cleft. +shield are later in bearing fruit than those by cleft. @@ -15735,7 +15736,7 @@ hurt. Cover, from the moment that it is taken, its cage with cage into the hand & opening its beak, & with a small wooden pin, put it in its throat & make it swallow. And continue thus until it is no longer opinionated. This is -done for sustaining it, for if it would become thin it would die.
+done for sustaining it, for if it were to become thin, it would die.
@@ -15746,8 +15747,8 @@ done for sustaining it, for if it would become thin it would die.
Gardening It would not be very careful to cultivate oraches in one’s -garden, because, when soup & -broth is kept a little bit cold, it engenders worms in it. +garden, because when soup & +broth is kept a little bit cold because of it, it engenders worms in it. @@ -15763,10 +15764,10 @@ It needs to have a cage made in the barn, like those for calendras, doubled with green cloth, because it fears the cold. And for making it accustomed to eating when first it is put in the cage, one needs to give it -ants with soil at the bottom of the cage to +ants with soil at the bottom of the cage, to make it accustomed to pecking puys luy, and give it -chopped sheep’s heart, & immediately some -eggs, & mealworms. +chopped sheep’s heart & immediately some +eggs & mealworms. @@ -15778,7 +15779,7 @@ make it accustomed to pecking puys luy, and give it As you will see below in the discussion of the molder, reheated plaster promptly mixed into -water & put on the joints of the conduits of fountains, +water & put on the joints of the conduits of fountains s resists as much as any stucco. @@ -15790,7 +15791,7 @@ make it accustomed to pecking puys luy, and give it Catching nightingales See the 15th folio after -this. +this For trapping them, one needs to observe their nature, the food that they like the best, & the season of their pleasure. The @@ -15805,8 +15806,12 @@ ground & put in some worms and your device of little crossed sticks. It will be anxious for you to leave so it can go see what you have done, and seeing worms, it will enter. -Some sell nightingales on -trees. + + + + + +Some sell nightingales on trees. The coolness of the evening and the morning, near fountains & shaded places, are @@ -15867,7 +15872,7 @@ be kept for a long time, for if they are alive, they get thin, and if they are dry il dead, they wither. Plaster of Paris is as firm as stone & -very good. When you will want to choose some for your sand, take it raw, +very good. When you want to choose some for your sand, take it raw, the hardest possible & which does not make any powder. The transparent one and the one that thus makes powder retracts, Ce which is not good for this work. A sign of the @@ -15900,10 +15905,10 @@ to be red & one needs to press it promptly with iron presses. The shell of crabs & crayfish are -uneasy to burn & there is a proper fashion of molding them. +awkward to burn & there is a proper fashion of molding them. Rats & birds can be molded, and the feet are -uneasy to extract, when burnt, because they are small & delicate. +awkward to extract, when burnt, because they are small & delicate. The bodies are extracted more easily from the mold. The feet are cast in many times pieces. @@ -15917,7 +15922,7 @@ are cast in many times pieces. & firmest, and purged of stones & coarse gravel, are used to p mix in with the sand et for molding. But, before, it is necessary to heat -them just until they have been well red for one or two +them just until they have been quite red for one or two hours, & pestle them & pass them finely through a sieve. @@ -15970,10 +15975,10 @@ hard kind, it bursts in the fire & causes flashing. The hardest plaster, as was said, is the best -being from stone, therefore take it raw of this kind. Pestle it +when it is from stone, therefore take it raw of this kind. Pestle it well as finely as possible and pass it through the finest sieve or sleeve that -you can. Being thus pb fine, put it, +you can. Being thus p fine, put it, in a good amount, in a cauldron or skillet over an open flame, & as it begins to heat up, stir it continuously, and heavy & coarse as it is, it will become so light @@ -16003,10 +16008,10 @@ binding to sand. # remains reheated, & more the -quickest it is put to use, that is the best, for it sets more quickly. +more quickly it is put to use, the better it is, for it sets more quickly. One ought not to reheat it until you want to mold. And to reheat it, put it, as finely ground raw powder, in a cauldron on -ash a clear flame & do not make it neither too strong nor +ash a clear flame & do not make it either too strong nor too violent. Always stir with a long stick, to avoid the vapor, turning it around the cauldron & in the middle, in a figure 8. At the beginning, you will find it heavy difficult to @@ -16045,8 +16050,8 @@ exhalations, in the middle & around, as long as a fire for it is heated enough, because if you were to reheat more, it would be too much & would not set as well. For, when it becomes red & overheats, it loses its strength & spoils the sand. Leave it -to cool before mixing it within the other sands. And when it is cold, -mix and mold, for as soon as you will use it after its cooking, the +to cool before mixing it with the other sands. And when it is cold, +mix and mold, for the sooner after its cooking you use it, the sooner it will set. @@ -16057,8 +16062,8 @@ sooner it will set. Take a stick and attach a string at the end, which has a knot eyelet slip -eyelet at the end. And, being two to three, to distract the -lizard while whistling, approach the eyelet toward its neck, +eyelet at the end. And there being two or three to distract the +lizard by whistling, approach the eyelet toward its neck, and when its head is inside, pull. The lizard is more tedious to catch by hand than the snake & bites without letting go & grips like pincers. @@ -16076,7 +16081,7 @@ experience. & reheated as said, & of one part of tile, reddened et p pre in a good fire, after the first cooking & then finely pulverized, and of -feather alum, half of brick, namely two +feather alum, half as much as of the brick, namely two full crucibles of plaster, one of brick & a half of feather alum. There can never be too much feather alum,s for this is @@ -16094,10 +16099,10 @@ getting spoiled. Feather alum is awkward to pestle, and it does not pass through the sieve. Thus one needs to grind it finely on -marble. And the one white que v +marble. And the white one que v in powder that apothecaries sell is good. It is ground better su in the mortar by pestling -& dragging the pinon, thus you will render it very +& dragging the pestle, thus you will render it very fine. Crocum ferri must be set ablaze in a @@ -16125,12 +16130,12 @@ the twice reheated things dissolve easily. Otherwise, you would not be able f to release your work without danger of spoiling it. -Good feather alum is white and as lustrous -as white c silk. It is in pieces +Good feather alum is white and has a luster as +of white c silk. It is in pieces long as a finger, & is very breakable & wooly as down. The one made of stone is harder & not so -good. Il The best of the above mentioned quality is -brought in France near Rouan. The feather alum for our sand is pestled in a mortar, and is +good. Il The best of the aforementioned quality is +fetched in France near Rouan. The feather alum for our sand is pestled in a mortar, and is further ground on marble, especially since one cannot think of passing it finely through the sieve, for it is so fat & wooly that it would not pass through it. It is this, with @@ -16210,7 +16215,7 @@ the edges, which are thinner. One casts with common silver with which goldsmiths commonly work, which alloys indifferently Et que. -And when one would cast with solder, it would run even +And when one were to cast with solder, it would run even better. Spat is a whitish stone which can @@ -16219,11 +16224,11 @@ one uses for the most excellent sand that can be found for lead, tin, copper, silver & gold. And the more it is used, the better it is. It is appropriate for casting flat things in a frame. For round things, it is not as fitting nor does -it hold in the fire as well as the above mentioned made with +it hold in the fire as well as the one mentioned above made with plaster. The shreds of cui thick, greasy leather -are pgood to cast in the melted +are pgood to cast in the molten copper and latten, for it cleans it & removes from it all its filth. @@ -16264,7 +16269,7 @@ ammoniac water. And, by putting in a piece the size of a the fornaise of those who make pots, and one leaves it there until the pots are cooked. Next, one mixes it again with sal ammoniac water & one grinds it very well, -and one empties the muddy & clean water in a separate +and one empties the muddy & clean water into a separate vessel. Again, one puts the same water on top & one grinds & again one puts the muddy water with the other. And one does thus, until it has passed everything. In this way, one @@ -16278,7 +16283,7 @@ has not reheated enough & that one needs to reheat it further. This one is appropriate for molding all metals, and especially gold & silver, and the more it is used, the better it is. One needs to set aside the one in which you cast lead or -tin, for it would sour the gold you would cast. +tin, for it would sour the gold you would cast in it. Feather alum should be reheated in a cauldron crucible covered @@ -16297,13 +16302,13 @@ inside it remains white & better dried out # # After your feather alum is cooled, -pestle it in a mortar, then grind it on marble, and it will be rendered in very fine wooly -filaments, which gives binding to the sand, without getting burned as +pestle it in a mortar, then grind it on marble, and it will be rendered into very fine wooly +filaments, which give bond to the sand, without getting burned as other things do, which is a beautiful invention. Pestle it in the mortar, by dragging the pestle, for the flying dust could enter your throat or land on your face, which -will give you reason to scratch yourself well. Put a little -every time in the mortar, to avoid the flying dust. It is +will give you reason to scratch yourself well. Put it in the mortara little +at a time to avoid the flying dust. It is better to grind it thus, in the mortar, dragging the pestle, than on marble, car where c it spreads & in @@ -16312,7 +16317,7 @@ the mortar, it collects on all sides. Render it very fine & Clay, to make circles around molds, should be very fat & handleable, and serves only to make the surrounding of -the molds. Thus, one needs only choose it well fat, and beat +the molds. Thus, one ought only to choose the quite fat kind, and beat very well & moisten it moderately with some water & keep it in a pit or in a terrine and make numerous holes with a stick in it, which fill with water, in @@ -16334,7 +16339,7 @@ when you need it.
 When wax is too hard, one mixes in turpentine or a little butter, which sont pl renders the wax more amiable, and more appropriate than the tallow -that the Italians put in, because one has to, often, put the +that the Italians put in, because one often has to, put the tools in the mouth, which are better in boxwood or bone of hart. @@ -16347,10 +16352,10 @@ that the Italians put in, because one has to, often, put the As the wax is melted, they have sulfur that is melted, in a spoon or crucible, & they pour some -in the melted wax. And the sulfur going to the bottom or -remaining on top, it leaves & mixes only its substance amongst the +in the melted wax. And going to the bottom or +remaining on top, the sulfur leaves & mixes only its substance amongst the wax, & renders it more meltable when warming it, such that -having molded, it melts in the mold gently like butter, without leaving any pustule or bubble in it. Also be warned to not give it too much strong fire. +having molded, it melts in the mold gently like butter, without leaving any pustule or bubble in it. Also be advised not to give it too strong a fire. If @@ -16361,10 +16366,10 @@ having molded, it melts in the mold gently like butter, without Molding wax -In order that your mold grips, without repelling in any place, on -a shape or image of wax, one needs to anoint it with oil +In order that your mold grips without repelling in any place on +a shape or image of wax, you need to anoint it with oil and moisten your sand with lukewarm water, for the cold -water would repel more the oil & would not have a good seating on it. +water would repel the oil more & would not have a good seating on it. @@ -16382,7 +16387,7 @@ with lukewarm water so that it does not repel the Bellows of the forge -It is better that, through the blast-pipe, they be fixed in some piece of +It is better that they should be fixed through the blast-pipe in some piece of thick plank, q for they are more secure for it; next you can lightly secure them from above. It is necessary that blast-pipes be 4 fingers above the sole of the forge. @@ -16400,7 +16405,7 @@ removed, they get sore gums & mouth, & can no longer eat. You can keep them in a barrel full of bran or even better of earth, in a cool place, or in a glass bottle. And give them any live frog or other little live animal -for they eat nothing dead. Also I have noticed that +for they do not eat anything dead. Also I have noticed that @@ -16429,8 +16434,8 @@ that is to say bones and everything. And the remains are found as fresh as when it had devoured them, such that sometimes, when one presses & torments it, it renders up what it has engulfed, parts of which are found totally consumed & others as fresh as if it were alive. It -can keep for two to three hours a frog -engulfed & renders it up completely alive. +can keep a frog +engulfed for two to three hours & renders it up completely alive. @@ -16450,7 +16455,7 @@ A frog is not so beautiful molded because it has lively skin, You can mold it hollow, and leaving under its belly an open notch, you will make it jump with the twisted cord of the saw. Or else, if -it is a small, put it on a magnet of its size, cut thinly, then +it is small, put it on a magnet of its size, cut thinly, then put it in good vinegar. @@ -16467,7 +16472,7 @@ it have an open mouth, put some cotton inside, & then on the Killing snakes for molding Some put a drop of aquafortis in the mouth, -that which stuns them well, such that the head & the part behind +which stuns them well, such that the head & the part behind seem to be dead, but the mouth remains alive, and when you pierce it with a needle to fit it to the mold, it moves & spoils & undoes everything. Therefore, to put them to death entirely, put it @@ -16591,7 +16596,7 @@ are more handleable & easier to dissolve in the the oil drips off, which is appropriate for anointing the hair of a butterfly or similar thing, for this oil is instantly dry & makes the remainder dry out. It is necessary that the hair or -down of any animal that you want to mold be flat, for it were upright it +down of any animal that you want to mold be flat, for being upright it would elevate the sand & become porous. # @@ -16627,7 +16632,7 @@ nature. -I cast tin almost red, and lead the same, which however +I cast tin almost red, and lead the same, which, however, had not remained in the fire for too long, for it becomes brittle and calcines. @@ -16679,7 +16684,7 @@ for this makes it run. This one, moistened & well beaten & kneaded as you know, is necessary for you to make the contour for containing your -molds. But take heed that it not be too soft, but rather as if +molds. But take heed that it is not too soft, but rather as if half dry, that ilit does not attach to your hands, because otherwise it would attach to your work. Always keep it in a damp place, @@ -16703,9 +16708,9 @@ It is more appropriate than a blade of lead. You also need to have provision of different sizes, according to the molds that you want to make; thick like cord, smaller & thin p, -like the thick strings of a spinet, for the small works. You -make, once de reheated, clamps from it to close the -molds & points, like needles of different lengths, +like the thick strings of a spinet, for the small works. Once de reheated, you +make clamps from it to close the +molds, & points, like needles of different lengths, according to your need, to pierce the animal to be molded & keep it held down. Needles would not be good for this because their points have to be empty & of the same thickness throughout, except at the point. And then, one must make them as long as @@ -16807,7 +16812,7 @@ like pincers Composition of sand -Everything once reheated as it said here above, take four 4 full +Once everything is reheated as said above, take four 4 full crucibles of plaster, two 2 of brick, & one of feather alum. Do not pass through the sieve to mix may because the @@ -16946,8 +16951,8 @@ old skin, if it sheds, or of the filth, or of the lice, like -now, put enough in a glass, & soak there & keep there -continually the head of the animal, or the whole of it, if it is not +Now, put enough in a glass, & soak & continually keep in it +the head of the animal, or the whole of it, if it is not big. @@ -16985,13 +16990,13 @@ pierce it from underneath, in the middle of the throat, & up to needle, & in its place & its hole, put the point of an iron wire, of such a length that it suffices to hold the head of the animal as q high as it must be, & if -the skin gets in to the inside & when you put in the +the skin moves into the inside & when you put in the point
, pull it out with a point the edge of your small pincers, & arrange it as it was. Push the other end of the point in the cake of clay. Thus, the head will be held high, -which will have better grace, &, being secured, next arrange the gesture +which will have better grace, & being secured, next arrange the gesture of the body, & the feet, & the entanglement as you think will look best. And so that it is secure & does not move at all when you cast in the sand, mects secure the legs @@ -17059,13 +17064,10 @@ on a solid plank or table & , making the
- - - bit, qua so that t you can take it out if you need to. And take heed that it is necessary that these points be of the most delicate iron wire possible -to bear the size of the animals. For, the more delicate it is, the +which can support the size of the animal. For the more delicate it is, the smaller the hole that it leaves appears. However, one needs different thicknesses of these, because il de the points which are put in the body @@ -17114,8 +17116,7 @@ which evaporates promptly. And wet it thus.
-and make sure that the point is long according to the height -you want the head, and that it be pointed on both ends. Once placed +and make sure that the point is longish, depending on how much you want to elevate the head, and that it be pointed on both ends. Once placed thus, plant your snake on the slab of earth, & arrange the head first and then the rest. @@ -17125,14 +17126,6 @@ arrange the head first and then the rest. -Eau-de-vie in three goes. - - - - - - - If, after you have placed you animal on your clay cake, you are distracted with other occupations, rub your animal with eau-de-vie & under the belly so that it @@ -17147,7 +17140,11 @@ does not dry & attach itself to the earth If, when you pierce your animal, it renders water from the bottom of the side of the belly, on the slab of earth, clean it well -with cotton for the sand that would touch it would be lumpy. If +with cotton for the sand that +
+Eau-de-vie in three goes. +
+would touch it would be lumpy. If it is on top of the animal, clean it very carefully and touch it & moisten well with eau-de-vie. @@ -17192,36 +17189,30 @@ put y your sand in it & not the water in the sand & add it a dista dista with such discretion that il, while stirring & mixing it promptly with a wooden spoon, it does not become thicker -than clear mustard. And thus cast, shaking, -le first the non-thick part, qui -es as is always at the surface & -da a little bit higher in your mold. And doing so, -since your animal is nearly covered, blow strongly everywhere in order +than clear mustard. And thus first cast into your mold +lethe lighter part, qui +es as is always at the surface, with a shaking motion, & +da from a little height. And doing so, +when the animal is nearly covered, blow strongly everywhere in order to dissipate the small and big bubbles that the wetted sand makes & continue without delay to put all the rest which is at the bottom, & -a little thicker than the top, until everything is filled, up to the +a little thicker than at the top, until everything is filled, up to the mark for thickness that you made.
And do not forget to shake the mold -affin while throwing, in order that the wetted sand runs +affin while casting, in order that the wetted sand runs & enters well everywhere. Also tip your mold up on the side of the head, which is higher than the body, and thus your mold will have the same thickness, & you will spare sand. All of this being carefully done fai, let it set, which will take a quarter of an hour. Then release the clay circle, which can be used another time. And leave it to dry -a little bit, & separate your mold from the +a little, & separate your mold from the cake of earth, which also de will be appropriate for molding right away, and trim the excess with a big knife, giving || to it the long shape of a mandore. -Rasche Scrape & cut also away the back of -the mold, which is always the weakest, and adapt it -cleanly thus. And do not forget to make notches around, in order that the -second cast anchors itself there & binds better - -
-
without changing. +Rasche If you can, fill your half mold in one go & with @@ -17236,35 +17227,47 @@ to put sal ammoniac water at the first bowlful. Make it clear like a pureed broth, or like starch water, that women use to make their starch. For -there is no risk in it being very clear, because sand always settles in +there is no risk in it being very clear, because sand always settles at the bottom & water separates & remains on top. The sand that one scrapes as well mme too weak & soft. And it will not let itself set quickly, for all things calcined dry out promptly from mixed water. - +
If you do not fill in one go your mold tempered with tempered sand, take heed to stir your second cast with the e p surface of the first, p by mixing with your spoon or spatula with which you temper it. - - +
+ + +
+ +Second cast + +
+ + +
+Scrape & cut also away the back of +the mold, which is always the weakest, and adapt it +cleanly thus. And do not forget to make notches around, in order that the +second cast anchors itself there & binds better + +
+
without changing. + + Sal ammoniac water is not necessary to small molds, which require neither a big nor long fire to be reheated, however, when you put some in, it will only be better. -
-
- -Second cast - -
@@ -17279,7 +17282,7 @@ reheated, however, when you put some in, it will only be better. When you have well molded the first part of the animal, that is the back, the backbone, and the entire top part, and the len half-mold where it is enclosed has set -and is hard enough
+and is hard enough,
+ uncover the whole bottom part & side of the belly,
first with a knife & tant @@ -17287,7 +17290,7 @@ at the thickest places, & then with a penknife, where the most delicate parts are enclosed, such as the legs, the tail, & similar things, and because the head is higher, you will also need to look for it & uncover deeper, and make a deeper notch there which -ought to release easily. That is to say widening by the outside, in order that +ought to release easily. That is to say widening on the outside, in order that the second mold that you will cast on it can come out well, which even the animal can help with, which is malleable and obedient, being natural. However ad, be more careful @@ -17369,7 +17372,7 @@ And if some bit of nail from a leg, or from a tail, or from another should separate from the mold, put y between the two a small grain of wax, & with the point of a hot iron wire join it, then adapt your mold with a -knife, & make there notches at the sides so that the other +knife, & make notches on its sides so that the other half binds to it.🝋
@@ -17402,9 +17405,9 @@ the thickness similar to the first. Then, with another rather thickish without leaving anything, if it is possible, which is not moistened, for this is the secret, which makes it come out neat. And next, as promptly as will be possible for you, before the eau-de-vie -ne evaporates, wet your sand, and cast it, shaking, and while blowing, & moving the mold, as you did +ne evaporates, wet your sand, and cast it, shaking, and while blowing, & moving the mold as you did for the first one, making sure that the premier q -first thing you pour on the animal should be a little clearer than the +first thing you pour on the animal should be a little lighter than the next one, so that it moistens everywhere & closely follows the more delicate parts. So, leave it for a quarter hour to set, then remove the circle & the clay cake. And, with a @@ -17422,10 +17425,10 @@ the mold. Et The latter being empty, enters it, & put them aside until you want to reheat them, make the gate & vents, & place clamps. As for the animal, so that it does not dry & that you might be able to mold it four of -five times, put in water. And I think that it would keep even +five times, put it in water. And I think that it would keep even better in eau-de-vie. However, the best would be to mold in the same day the 4 or 5 molds that you can do, -because these corrupt animals in themselves are in one daystinking. Having left your molds one or two +because these corrupt animals in themselves stink within one day. Having left your molds one or two es days to dry, for they stay damp for a good month, make the vents on one half.
@@ -17452,7 +17455,7 @@ joints & makes it separate. -However, take heed your second mold be of good thickness & +However, take heed your second mold is of good thickness & that it is hard enough because if it is lacking in this, after having dipped it in water, & you want to open it, there is a risk that it breaks. Take heed therefore to avoid this, and wanting to open @@ -17460,7 +17463,7 @@ it, dip all of it in water, and rub it everywhere, where it will harden if it has set well. Then, take your two molds, joined with a rough linen cloth, in order to have a better grip, and separate them with strength as if you -wanted to tear apart a loaf of bread. But if happens to break, join +wanted to tear apart a loaf of bread. But if it happens to break, join it & on the reverse, strengthen the joints with clamps.
@@ -17487,19 +17490,29 @@ Next, you can repair the faults with small chisels.
-
+
if you want, which will be enough, or else on the two halves. But because one needs to cast by the tail or from the back of the animal, make it so that the vents come from the head & the middle of the body to join to the said tail, where the gate is done, which is the end of the mandore. NAnd having done your cast, do not forget to make in -it some holes and notches because the metal will run more neatly, as if -the cast was even, for it gets corrupted in its notches & holes, +it some holes and notches because the metal will run more neatly as than if +the cast were even, for it gets corrupted in its notches & holes, & does not go so much at once, & does not become as porous. This done, mects join tthe two halves of your mold & strengthen the joints, -putting around these some small clamps of iron wire of this shape. They -prevent the molds from deforming & corrupting while reheating. +putting around these some small clamps of iron wire of this shape. +
+
They +prevent +the molds from deforming & corrupting while reheating. + +
+
+ +
+This is the shape of the clamps +
@@ -17507,7 +17520,8 @@ prevent the molds from deforming & corrupting while reheating.
Make the cast, reheat the molds, &c -Note about everything above |-| +Note about everything +above |-| If your snake has been without eating for a long time, it happens that, when you want to put it to death in urine & @@ -17535,12 +17549,12 @@ will not have set with the first hardened one. Animal after release -If, by chance, you gave your snake such a writhing shape, -such that the place of the belly cannot easily come out, especially +If, by chance, you gave your snake such a writhing shape +that the place of the belly cannot easily come out, especially since the head & the tail, which are the two ends, are thinner, cut everything which is outside, & reheat the mold so well that what remained inside burns, then pass some -quicksilver inside & attracting ce qui +quicksilver inside, & attracting ce qui the ashes & the burnt bones from the inside, it will also come out, because the conduit is big, & thus will not sour at all your material. You can pull really strongly the molded @@ -17548,9 +17562,6 @@ all your material. You can pull really strongly the molded the mold, having set, is so firm that, because of this, the imprint will not be spoiled. -
-
-
@@ -17567,10 +17578,6 @@ at the top, so that, if there is something inside to burn, it falls to the botto It can only be good to let the mold die down a little from the outside so long as, being well reheated, so long as it remains red on the inside when you will cast. -
-This is the shape of the clamps - -
@@ -17584,7 +17591,7 @@ at the top, so that, if there is something inside to burn, it falls to the botto If the plant or flower that you want to cast in tin is delicate & fine, it is necessary that the tin exceeds -lead in the mixture & on the contrary, if it is thick, it is +lead in the mixture, & on the contrary, if it is thick, it is necessary that lead exceed. Therefore for the mixture fine thing, put in some fine tin, not all the quarter part of lead. And make sure that your mold is @@ -17636,9 +17643,9 @@ by little and not all at once. Finally as they will begin to become white, beat little by little the thus half-lit large charcoals on top & blow with your little bellows, until they are warmed. And thus, little by little, invigorate the fire, -without haste, until your molds are well red on the outside -& the inside. If it is for casting some plant or some animal which -does not release well, &, in this case, one needs to burn +without haste, until your molds are quite red on the outside +& the inside if it is for casting some plant or some animal which +does not release well, & if, for this reason, one needs to burn it in the mold & when you look through the gate, & through it, you see the molds are very red & inflamed inside, this will be your signal that they are reheated enough. But if you do not see this signal, increase & continue the fire until it is @@ -17711,9 +17718,9 @@ reheated on a grate. ont wilt & dry out. Dip them, therefore, immediately in good eau-de-vie & then put them in your tempered sand mold, like snakes. For which one needs no -release, for while the molds being s +release, for while the molds are being s reheated, the plant burns, which does not happen with -animals, which have bones & q. It is necessary +animals that have bones & q. It is necessary that for bouquets, the sand be not as thick as for snakes because, if it were thick, it would crush the flower. @@ -17725,7 +17732,7 @@ because, if it were thick, it would crush the flower.
Molding de en noyau with the same -sand, wax images or lead medals and suchlike +sand wax images or lead medals and suchlike Check if they release well. If they do not, fill with wax what does not, and then anoint your images of wax or of @@ -17736,7 +17743,7 @@ medal. Then, heat a little eau-de-vie medal with it, for if it is the water were cold, it would reject the oil, it would not sit well on it. Next, cast your sand of plaster, bri brick, & -wet alum on top. Having arranged your image on the clay +wet alum on top, having arranged your image on the clay mandore & having made a circle around it de to give it the necessary thickness. These medals are oiled and rubbed thus with eau-de-vie @@ -17891,7 +17898,7 @@ particularly, a little calamine makes it run well. one will want to mold them, so that they do not wilt. Or if you need to carry them from afar, soak their stems in a bottle of water, or better still wine. Make, first, a -wax stick pointed like a big peg, of a size appropriate to what +wax stick pointed like a large peg, of a size appropriate to what you want to cast, as you see in the margin, marked A. Put & prick at the foot of this small peg a bit of rather thickish & strong iron wire. And at the point of this, you will fit your flower stem or your @@ -17911,8 +17918,8 @@ touching on either side, so that a the sand that you will pour in it will be of equal thickness as everywhere, & is exceeds everywhere by the height of two good fingers the top of the such plant. And -having secured the wire stem well, promptly pour wet -your tempered sand, much thinner than the one for snakes, in the +having secured the wire stem well, promptly pour wetted +your wetted sand, much thinner than the one for snakes, in the mandore. And the sooner the better, in order that the eau-de-vie does not dry. And take heed to put in a little more sal ammoniac water among the @@ -18013,7 +18020,7 @@ together that the enamel would muddle together there. Sand that was used Do not cast it. But because it is mixed with feather alum, -you can use it in the mixture of other things & it can serve in +you can use it in the mixture of other sands & it can serve in place of brick.
@@ -18028,7 +18035,7 @@ it be so lightly that your medal is almost rubbed dry & that it hardly appears to have been anointed. Next, destr rub it with eau-de-vie and heat the water with which you will temper your aforementioned sand, with plaster, brick & -alum, in order that being chau like lukewarm +alum, in order that being chau as if lukewarm when you cast it, the oil will not refuse it, as it does with cold water, & do not forget when moistening your sand to always mix in it a little sal ammoniac. @@ -18099,7 +18106,7 @@ found in the forests & mushrooms and potirons of trees, once dry, are better than any other because they are light. One mixes in small pieces of looking-glass tin which has a shiny luster. One finely pestles diverse sorts of marcasites which one washes to cleanse them of -earth, &, one sprinkles the work with it, which is very +earth, & one sprinkles the work with it, which is very beautiful. If there is no fountain in the grotto, one glues all al of this with strong glue, which and it is soon done. Take @@ -18259,17 +18266,17 @@ rough & firm & hard on one side and the other, which is a good sign of their being quite dry, I left them to cool. I took some fine tin f, one lb, & one ounce of lead, fine & new. I melted it in a crucible until -it was a little like a bit red. Being in this way quite hot -I smoked & not p & being ready to cast & not +it was a little as it were a little red. Being in this way quite hot +I smoked & not p & being ready to cast, & not before, I smoked with the smoke of a tallow candle all sides of my frames & imprint & cast & everything. I set my frame, well joined, in the press. I drew my -crucible from the fire. I left it a bit pass so that +crucible from the fire. I left it a little pass so that the redness at the bottom of the crucible could die down. And wanting to cast, I threw in two or three grains of something like pitch rosin, & when & when the size of a bean of looking-glass tin & I -mixed, & stirred a little the crucible, and I cast. And the +mixed, & stirred the crucible a little, and I cast. And the medal came out as neat as the principal. I smoked it with the candle & cleaned it with small brushes. @@ -18278,7 +18285,7 @@ brushes. Always cast through the foot of the medal because the head, which is lower, will come out better, & make the cast longish. And when you -will cast in a large frame several medals, they will come out +cast several medals in a large frame, they will come out better. @@ -18310,9 +18317,9 @@ when wet, and almost all the others are lumpy. Nota that the cast must be thin & hardly thick -in order that it does not overtax the material at all, and must not +in order that it does not overtax the material, and must not exceed the thickness of a the width of a grain of -wheat, likewise for tin, that wants to be cast +wheat, likewise for tin, which wants to be cast very thinly. For lead, a little thicker. There is no need to make the vents very large & deep either. @@ -18346,9 +18353,9 @@ of the potters, then one soaks it again in the same which is light & soft and handleable as wet flour, adheres with the water and goes to the surface, clouding the water, which murkiness is emptied into a separate vase. -Having sat, one empties the water by tilting, or by taking +When it has settled, one empties the water by tilting, or by taking it away with a sponge, and the pure aspalte -remains at the bottom. Dry it & employ it in a frame, having +remains at the bottom. Dry it & employ it in a frame that has been moistened with sal ammoniac water. And try it in the frame, in which it shrinks when reheated or dried, that is to say that one needs to reheat it again on a good fire and redden it. @@ -18373,7 +18380,7 @@ See Gesnerus, De lapidibusmetals. It is so -tenacious that should the frame be straked, it holds. +tenacious that should the frame be furrowed, it holds. @@ -18565,32 +18572,18 @@ filings, antimony & A little tallow and arsenic. - + + +
+
+
- - Keeping dry flowers in the same
state all year - -+ -Flowers are also kept in their same beauty in distilled vinegar -vin a well sealed vessel which does not -allow any wind, which should be well sealed with wax & -mastic. Carnations & roses, the residue -of common vinegar makes them rot. If the sand makes -dust, & clings to the flowers, & is not easily removed -with a paintbrush, it is no good. The leanest is the -best. - - - -River sand washed by the current of the -waters is good, being passed through a linen cloth -to shake the powder.
 This is a rare secret, & which gives pleasure for adorning tables, rooms, & cabinets out of season @@ -18606,9 +18599,29 @@ make dust, nor remain on the hand or leave a mark on it when you have pulverized it & then poured it from your hand. For it is + + + +River sand washed by the current of the +waters is good, being passed through a linen cloth +to shake the powder.
 + + + ++ +Flowers are also kept in their same beauty in distilled vinegar +vin a well sealed vessel which does not +allow any wind, which should be well sealed with wax & +mastic. Carnations & roses, the residue +of common vinegar makes them rot. If the sand makes +dust, & clings to the flowers, & is not easily removed +with a paintbrush, it is no good. The leanest is the +best. + + -+ ++ Make sure your box is well joined in order that the sand does not trickle out. Keep it uncovered in sunlight and @@ -18616,13 +18629,14 @@ remove it from the serain, & the humidity of the night, & cover it & keep it in a dry place. - + + QueTake heed not to put the said flowers in big vessels, for when one pulls out one, one needs to pull out all. - + Take good heed not to pick your flowers w in rainy and humid weather, but when the sun has been shining on @@ -20137,9 +20151,9 @@ back. He held as a secret this burned tartar put on top for Painting plants of metal -If you are in a hurry it would be better to mix your color with a +If you are in a hurry, it would be better to mix your color with a not-too-thick gum or because oil takes a -long time to dry, and it runs if it is layered thinly, +long time to dry and runs if it is layered thinly, as the plants require. And if you still want it done promptly, temper your color with glair beaten with peelings of the fig tree, and your work will soon be dry. But layer it @@ -20151,7 +20165,7 @@ thinly. -For wormseed +For wormseed The pallid white of this herb is made from vert de terre, white lead or ceruse, a bit of massicot, stil de @@ -20170,20 +20184,20 @@ your color according to a natural branch that you will have. It is the most beautiful snake that can be molded, because it has very beautiful scales, & hard & transparent. Its true color -is made with good verdigris, well ground with some good +is made with good verdigris ground well with some good vinegar, if it is of lead or tin. And if it is in some place darker, fumigate this first color with sulfur, as you know. And if one needs to lighten and whiten, like under the throat, rub -with coarse linen. The male, ejects from its -nature, which is at the bottom, when it is -firmly pressed, a little mass like half an arquebus ball, +with coarse linen. The male ejects from its +nature, which is at the bottom, when it is +firmly pressed, a little mass like half an arquebus ball made in the genitals and full of very venomous spurs. -+ Put a bit of metalline in your ++ Put a bit of metalline in your tin & your lizard will resemble silver.
@@ -20201,7 +20215,7 @@ They are awkward to mold because the petals are very fine & weak anoint them with wheat oil, which is very dessicative. And having quickly dried, it firms & stiffens the petals to be able to separate them & withstand the tempered sand. The same is done with flies, -with pansies, & similar delicate things, with flowers from +with pansies & similar delicate things, with flowers from the caper plant. @@ -20221,9 +20235,9 @@ time Plant them on a slab of earth, arranging them with points of iron wire, as if you wanted to mold them, and -they dry them in an oven, after the bread +they dry them in an oven after the bread has been taken out. And they always remain thus, as much for -snakes, as birds, and other things. But, it is +snakes, as birds and other things. But it is necessary that they be dried promptly. @@ -20235,7 +20249,7 @@ necessary that they be dried promptly. Note that one needs to give them their shape & put them in the sand, as with flowers, & promptly dry them in the oven, which is hot enough, like when one takes out the bread. And it -should stay there a day & a night, in order that +should stay there a day & a night in order that it is chau dry, for otherwise it would be stinky. However, take heed that the oven not be too harsh, but rather like the heat of the sun in @@ -20266,8 +20280,8 @@ similarly. Ne Be careful to not make your gate very wide, and do not forget to make in its conduit two or three holes and notches, & as your gate approaches the ch molded thing, divide it -into three or four parts like fingers, which are pointed, & -are not very deep. For the metal runs more gently, without being +into three or four parts like fingers which are pointed & +are not very deep. For the metal runs more gently without being hindered by vapors & fumes. @@ -20276,7 +20290,13 @@ hindered by vapors & fumes.
Always make the entry of your gate near the medal notched & lumpy, to draw out the fury of the metal.
- +
+ + + + + +
@@ -20289,42 +20309,35 @@ to draw out the fury of the metal.
The very big ones usually have hairy feet, which are vexing to mold if you do not lay them flat, or burn them with a -candle, or stiffen them & lay them flat, with -some anointing them with wheat oil. Kill +candle, or stiffen them & lay them flat with +some, anointing them with wheat oil. Kill them in vinegar & urine, like snakes &, or in eau-de-vie, and then shape them on a -well-made vine leaf, or other thing. Next, you can give them back their +well-made vine leaf or other thing. Next, you can give them back their capricious hair with bourr the sieved fine hair of cloth waste, having anointed them with a with -fish glue, or similar. Their true color is of +fish glue or similar. Their true color is of vinegar & verdet, & then fumigate them in various places with sulfur. Having made your tourt clay slab, place on it your vine leaf, and the dead spider in the middle, & pierce with a point of iron or latten wire the middle of the spider’s body -& the leaf together. Next, place diagonally, small points of +& the leaf together. Next, place diagonally small points of latten wire around the vine leaf to secure it well. Then fix, with a little melted wax and the point of a hot iron wire, the end of the legs, adapting them with the end of small pincers. Do the same thing with the end of the -small cornicles of the spider. Return🜊 - - - - +small cornicles of the spider. Return 🜊 -
+ - -
- -To make the gate for the spider on the leaf, and to +To make the gate for the spider on the leaf and to prevent the sand from covering the spider from underneath the belly, furnish the end of the tail & the bottom of the body with a -little melted wax, & applied with the hot iron +little melted wax & applied with the hot iron wire, as you know. In this way, the leaf burning & the wax having melted, there will remain two little holes in the leaf which will be the gate of the spider. @@ -20335,14 +20348,14 @@ which will be the gate of the spider. 🜊 -The wax once cooled, scrape the excess with the point of a -penknife, in order that the end of the legs stay neat. Next, +The wax being cooled, scrape the excess with the point of a +penknife in order that the end of the legs stay neat. Next, place the circle of earth around & cast your tempered sand, like for other things. In this manner, you will need to burn the vine leaf in the mold, otherwise not. And to cast more easily, let the animal die fully, in order that, when struggling, it does not mix up its legs. Having made your first cast, uncover the reverse of -the leaf, and make the second cast. +the leaf and make the second cast.
@@ -20386,7 +20399,7 @@ similar fancies. Thus for rats & all animals.
-which surrounding the fingers of the paws stick in +which, surrounding the fingers of the paws, stick in the jacket of clay. @@ -20398,7 +20411,7 @@ the jacket of clay. For reddening live crayfish, which will seem boiled -Rub them in quite good vinegar, in which there should be a +Rub them in quite good vinegar in which there should be a little eau-de-vie & hardly any, & they can be served as cooked & will move around. @@ -20409,7 +20422,7 @@ cooked & will move around. Molding a single spider One needs to plant it on the clay slab, as has been -said, on a vine leaf, and make there your first cast & once +said, on a vine leaf, and make there your first cast; & once it has set, uncover the spider up to half its legs, then make the second cast. @@ -20453,17 +20466,17 @@ to proceed differently than with other animals, because its shell is very difficult to mold burn & in this case, one le needs to sometimes reheat the mold three or four times. And with all of this, it leaves a hard crust, grey like -ash. But because it does not mold in one piece & one cast, +ash. But because it does not mold in one piece & one cast like plants, but rather in two casts like snakes that release well, one removes this crust, not with quicksilver, which -would do nothing, after it +would do nothing, after it has been opened, with the very fine point of a penknife with dexterity, as with the little crusts of the second cast, which enter in the nooks that the sand or the molded animal made. But, la because it has curved legs, here is the craft & secret for releasing it. Therefore, as you have molded it on one side, which is on the back, in the same fashion as others, uncover its -belly, & all its curved legs. Make your second cast in the same fashion -as others, but, as it will have set, keep from opening the mold +belly & all its curved legs. Make your second cast in the same fashion +as others, but as it will have set, keep from opening the mold until you have first reheated it well. Otherwise, because of its curved legs, you would break everything. In this lies the dexterity. If you recognize, after having reheated & opened it, that the crust is not @@ -20497,7 +20510,7 @@ before taking away the figure of wax, in order in order that the mold does not corrupt. Next, make a small lasagna of paste of such thickness as you would like, and having anointed with butter your the hollow of your first hollow -mold, adapt the paste to it and then make your second +mold, adapt the paste to it, and then make your second mold on top. If you were to anoint with oil, it would be absorbed & would not be as appropriate as butter. @@ -20511,7 +20524,7 @@ absorbed & would not be as appropriate as butter. Plants that are awkward to burn in the mold -Mold them with two or three casts, which in reheating will open +Mold them with two or three casts, which, once reheated, will open, & it will be easier for you to take away the charcoal from inside. @@ -20539,9 +20552,9 @@ suchlike Rough out some design in half relief on a quite flat slate to adapt it to either round or flat things. And having cast it in mixed tin, quite thin, you can gild it with -gold leaf, & adapt it to whatever you want, and fill the +gold leaf & adapt it to whatever you want, and fill the vui bottom of the relief with small rubies, -orpiment, & little grains of diverse colors. +orpiment & little grains of diverse colors. @@ -20549,10 +20562,10 @@ cast it in mixed tin, quite thin, you can gild it with For teaching a dogei well -It is necessary to keep it tied up & when it does what you +It is necessary to keep it tied up, & when it does what you command it, to make it love you, give it some cheese that has been held under your armpit. Which must be a bad drug, & for -the master, if he is red-haired, and for the apprentice +the master, if he is red-haired, & for the apprentice too. @@ -20566,9 +20579,9 @@ white are not for burning & melting in a mold where you want to cast gold & silver, for this would sour it. And then, if you think about taking away these waxes composed of things coming from the metals reheated in the mold, you -will be wrong, because, the asperity of the fire, making them boil +will be wrong, because, the asperity of the fire making them boil ir, the wax goes away & the composition -of the ceruse or other metallic color, attacks the mold. +of the ceruse or other metallic color attacks the mold. And for this reason, if you want to rough out something @@ -20626,19 +20639,19 @@ If your cast work has become porous, it can be repaired with very hard one lb of tin is good. But if you cast with lead for a thick thing, one needs for one lb of the latter, two ℥ of tin, for the -lead being fat & weighty, carries more. From this alloy, I -cast a large lizard, like a natural one. In thick things, +lead, being fat & weighty, carries more. From this alloy, I +cast a large lizard like a natural one. In thick things, if which keep their heat a long time, if there is little tin, it makes it porous. Your mold must not be cold, but of such a heat that you can handle it without harm, or that you can keep your finger in the gate without burning yourself. It is also necessary that your lead or tin be like red. -Melt first the lead, & then the alloy of tin on top. +Melt first the lead & then the alloy of tin on top. And as you want to cast, put a piece of rosin & then a little looking-glass tin. If you put into the tin too much lead, it does not run very thin. And to know -this, if l the tin shouts loudly, -it is a sign there is not enough lead. If it shouts slowly, that +this, if l the tin shouts loudly, +it is a sign there is not enough lead. If it shouts slowly, that means that is there is too much. Take heed @@ -20658,11 +20671,11 @@ burns, and is fanciful to use, more than gold and Lead wants not only to be red, but also lively & runny & -liquid as water, which is a sign of its perfect heat & the +liquid as water, which is a sign of its perfect heat, & the mold ch is so hot that you can bear putting your finger in it. Do not open until it is cooled. It is a sign of a good cast, as much for it as for gold -& silver when it exits by the vents. +& silver, when it exits by the vents. @@ -20679,7 +20692,7 @@ cooled. It is a sign of a good cast, as much for it as for gold to not open your mold too hot, for this sours it, makes it -porous & contracts the tin & makes the molded thing +porous & contracts the tin, & makes the molded thing break. Also, do not quench your hot mold in water, for this makes the le met tin or lead contract. @@ -20689,22 +20702,22 @@ contract. Mold made in two casts -It is opened, once reheated, to be cleaned, next, one puts the +It is opened, once reheated, to clean it; next, one puts the clamps on again, one lutes the mold & especially the joints, then one slowly dries the earth. And then, -as it no longer smokes, one leaves the mold to cool until you +as it no longer smokes, one leaves the mold to cool until you can hold it without harm. Next, put in the presses or in the sand in a terrine, & cast in tin. For if you were to cast in silver or gold, it would be necessary that -your mold be reheated twice & cast, when it would be completely +your mold be reheated twice & cast when it would be completely red. If your mold f, through the fault of the -plaster, retracts in the fire, one needs to open it, -after the first reheating, to tighten it again & clamp it -and lute again and tighten again. +plaster, retracts in the fire, one needs to open it +after the first reheating to tighten it again, & clamp it +and lute again, and tighten again.
@@ -20719,11 +20732,11 @@ the mold, which is the thickest and which. Your charcoals thus arranged, place your molds on top of them, & not on a grate, as some do, because they would take the fire too harshly. And leave for some time thus, & -little & by little warm your oven, always adding some lit +little & by little, warm your oven, always adding some lit charcoal. And as long as the mold is damp, the charcoals will be as if died down from below. But as it dries, they will kindle by themselves. And when it is dry on one side, turn it to -the other. And when it will be dry on both, & it will no longer smokes. At +the other. And when it will be dry on both, & it will no longer smoke. At that moment, invigorate the fire & cover it with lit charcoals. And as it will begin to redden, do not blow the charcoals with the little bellows, for this would make it @@ -20736,9 +20749,9 @@ cool When you want to reheat your molds, & be they luted or not, mark the place on the belly to put it under, -against the lit charcoals que because if the +against the lit charcoals, que because if the ardor of the fire would make them crack, it would be better that this be -at the belly & from underneath, than on the back. +at the belly & from underneath than on the back. @@ -20769,7 +20782,7 @@ nothing appears black. Common sand from the mine -In a frame, if one casts hot, it becomes porous, therefore +In a frame, if one casts hot, it becomes porous; therefore, one only needs to dry it out.
@@ -20782,9 +20795,9 @@ one only needs to dry it out. Having d passed it through vinegar & reddened it in the fire, I had it finely ground on porphyry, until no roughness was perceived on the fingernail. Then, -I wet it with very good vinegar, & +I wet it with very good vinegar & left it therea two or three days, stirring -it several times each day. Finally I boiled it, +it several times each day. Finally, I boiled it & reddened in the pot & crocum all together in the four à vent. It came back in a mass full of small bubbles, but that @@ -20805,7 +20818,7 @@ needles. I have tried to make it so the molds where it is mixed do not crack -during reheating, & thus do not make flashing. +during reheating & thus do not make flashing. @@ -20815,12 +20828,12 @@ It is better made with distilled vinegar. One can put some amongst the molds, where you want to cast silver, for it firms the molds, and you will find it so, -by scraping a little harder than the other where there is none It molds +by scraping a little harder than the other where there is none. It molds very neatly. -This one is appropriate for all molds, & keeps them from +This one is appropriate for all molds & keeps them from breaking & bursting in the fire. And for flat medals, it withstands several casts. The one of steel fillings & needles is redder & better. @@ -20830,7 +20843,7 @@ several casts. The one of steel fillings & needles is redder Gilding animals cast in silver -You can gild them with amalgam, without spoiling any +You can gild them with amalgam without spoiling any of the features, if they are made of silver. @@ -20903,7 +20916,7 @@ which hinders the sand from covering the point & there always remains some little opening g. But to avoid this, you can plant in the slab of earth an iron point, arro cleaned & -rounded at the top end & on this end place there a little hard +rounded at the top end, & on this end place there a little hard wax or du a little mastic or cement, and by means of this hot iron wire, hold in place the throat of the animal, which can be removed @@ -20920,7 +20933,7 @@ cast. When you have made the first reheating & removed the clamps, and you have the opened your mold -to clean it by blowing, with quicksilver, which is used only in +to clean it by blowing with quicksilver, which is used only in enclosed molds, close the mold again & put the clamps on again, but not in the first place where they were. Lute again & dry again. But if it is for a cast with @@ -20982,21 +20995,21 @@ with chisels in one go, in order that the blood does not fall on the mold & does not create filth, which, once reheated, is difficult to remove. Next, put your mold in the oven or similar heat, in order that it dries promptly & -retracts, before making a crust or mold on the +retracts before making a crust or mold on the mold. - + -+ ++ -When you mold small female lizards, and you want to uncover the part +When you mold small female lizards and you want to uncover the part first molded, begin to uncover the heads & you will recognize its place by the pin. Do not attempt to uncover the legs until you have uncovered the rest of the body, in order that the stripped body, as it moves, does not remove the legs from their place, where it is -vexing to put them back. When you remove little points which +vexing to put them back. When you remove the little points which hold the legs, fix them & press them with something, in order that, when removing the pin, they are not removed from their place, or, in the end, you can put them back with some wax. @@ -21024,7 +21037,7 @@ an elevation of earth suited to support it. And if you put your mold in the oven, the animal, drying promptly, will retract & will burn better afterward. if you see These entwinings are also made to cover a wound or fault in the animals, that one usually -wounds when one catches them. Also, do not forget to attach & join, +wounds when one catches them. Also, do not forget to attach & join with some wax s, finely applied with hot iron wire, all the parts of the animal which pass one on top of the other or those that you notice are not well fixed on the @@ -21080,7 +21093,7 @@ happen, you will be able to repair it in this way. If the molded animal comes away in some place to not have and -deviates from the stance that you gave it, because it was not well dead, +deviates from the stance that you gave it, because it was not well dead or because it was not well attached with the iron points or with melted wax, and it does not have the thickness that it needs on the outside, at the middle of the swelling, or is pierced, @@ -21136,7 +21149,7 @@ the other. But the s borax & verdigris. Grind them finely into powder on marble, then grind them again with some good strong vinegar until it is fine, like a couleur and -verdet ground in oil. Next, leave it to dry on its own if +verdet ground in oil. Next, leave it to dry on its own, if you have time, or in the fire lent of the forge, & make sure it is well dry. @@ -21166,7 +21179,7 @@ For casting of gold in large works -One needs not only to clamp the molds well, but to +One needs not only to clamp the molds well but to fortify them with good bindings of iron wire or little bands made for this. @@ -21194,9 +21207,9 @@ If some piece of small foot does not come out well in gold or as many small spangles as you need. Take some of this phlegm or white thick which saliva that is found on the teeth, & with the point of a burin, -apply it to the place you want to solder & place there a -little spangle of gold & next, with a little fat -earth wetted with saliva make a small layer on the +apply it to the place you want to solder, & place there a +little spangle of gold; & next, with a little fat +earth wetted with saliva, make a small layer on the opposite side to hold the solder better. Next, pulverize on top a little borax & put in the fire. Boiled water of quince seed & others also. @@ -21279,19 +21292,19 @@ humid place until you have done it. -Take vine leaves to mold, as they are in growth, likewise with -all plants & flowers or a young vine growing again after +Take vine leaves to mold as they are in growth, likewise with +all plants & flowers, or a young vine growing again after having been cut, or when they rebud in autumn, because the new leaves are more lumpy & have more apparent lineation. On the -contrary old leaves are smooth on the inside & pierced in several +contrary, old leaves are smooth on the inside & pierced in several places. Therefore place your leaf bottom down on the clay slab, and secure it with small points, nevertheless leaving it its natural curve. And make a notch in the clay to hide the stem at the first cast, which, once made & dry, you will take away the stem from the leaf & clean with it well with small bristle brushes & fix it with a small mount -of clay. Next, make several gates around the leaf with wax -as you know & gec make the gate thin & with +of clay. Next, make several gates around the leaf with wax, +as you know, & gec make the gate thin & with several lines & lumpy. @@ -21323,26 +21336,26 @@ way that the wind of the bellows blows on it from underneath and not at the side, for this would cool it & would not heat it enough. Make sure also that it is distanced three fingers from the wall of the forge, in order that it can be surrounded with -charcoal. Let the said crucible reheat, until it is quite +charcoal. Let the said crucible reheat until it is quite red. Then, make your boy blow on it with long and strong pushes, for in this way it heats well better. And -nevertheless blow by when the gold is melted, blow on +nevertheless, blow by when the gold is melted, blow on top with a little bellows, for the gold will become brittle & take on a crust. And as long as it makes -swirling fumes, as you blow thus, it means that is not soft -enough for the cast. Uncover therefore the crucible & +swirling fumes as you blow thus, it means that is not soft +enough for the cast. Uncover therefore the crucible, & without moving ch it from its place and without interrupting the blowing, make it lean toward you in order to see well -inside. Throw in it the size of a bean of borax +inside. Throw in it the size of a bean of borax, & blow inside in jolts with the little bellows. But if there is charcoal inside, blow a little stronger to make it go out. And if the gold smokes & swirls, put some more borax in and note blow on top, making sure that, if it is still brittle & not softened enough, it does not cover itself when you blow, as if it had cooled. But if it does not make this sign, -it is soft enough. At that point blow very strongly in order +it is soft enough. At that point, blow very strongly in order to heat it well, and as you think it is hot enough, throw in on top, in -the crucible, the couleur +the crucible, the couleur, composed, as said beforehand here, of verdet, saltpeter, sal ammoniac & borax, a little. And let rest blow always with the small bellows, and the @@ -21356,8 +21369,8 @@ If you cast in gold some important piece, lute your -If you want to cast some large work in gold, or which is -important, make at the foot of the forge, or at one end of it a +If you want to cast some large work in gold or which is +important, make at the foot of the forge, or at one end of it, a four à vent, where you can hold your mold in the completely n red sand. @@ -21384,7 +21397,7 @@ little of the couleur & let rest a blowing with the small & large bellows. Finally, arrange your very red mold between the moulets or in a -crucible full of very hot sand & cast. And when it has set, +crucible full of very hot sand, & cast. And when it has set, throw, if you want, in water. For gold does not get damaged like tin, which jumps. @@ -21395,11 +21408,11 @@ damaged like tin, which jumps. fourneau à vent, to become entirely red at the end of the fournaise. -The gold that the wind hits or that one forges, becomes +The gold that the wind hits or that one forges becomes black. But a little aquafortis uncovers it immediately. If you have some work to forge of latten -sol on latten, like one does small +sol on latten, as one does small statues, put between the gold & the latten a plate of lead. And before reheating the gold & putting it again in the fire, soak in aquafortis & it will be @@ -21409,7 +21422,7 @@ soft. the medal, that is to say from the middle of the gate to the medal. But if the medal is very thick, one ought not, for this reason, to thicken the gate, for a very thick gate never comes out well. -Mai Also, it could be made wide, the most that can +Mai Also, it could be made wide, as much as can be done, to embrace the medal. @@ -21419,7 +21432,7 @@ be done, to embrace the medal. works Goldsmiths scrape, with the brim of a burin, -gold leaf & then set the enamel down on it. +gold leaf, & then set the enamel down on it. @@ -21438,12 +21451,12 @@ works the cast. Some say that German tokens are contain a lot of calamine. However, as they are thin, the calamine exhales out when melting them, as it does in -all meta remelted latten, which through melting -again returns red. However, fresh calamine & on its own, put +all meta remelted latten, which, through melting +again, returns red. However, fresh calamine & on its own, put again on melted latten, makes it run & cast neatly, because the one that is in the remelted de latten is half corrupted from its nature, & makes it become porous & -blusters because it is disposed to exhaling. Therefore use +blusters because it is disposed to exhaling. Therefore, use calamine alone, on its own, very recent, on the melted latten. Take heed to cast very hot & that your mold be red like for gold, silver, copper & @@ -21459,7 +21472,7 @@ porous. Make many vents & cast very hot, that your similar to a very polished steel mirror. The second fusion comes out better, for what calamine there is has been exhaled and does not make fumes as much. If it is in a frame which does not break -& withstands a, the second cast comes out neat, +& withstands a, the second cast comes out neat because it is imbued with calamine fumes, which embrace & receive the second one. Sal ammoniac alone, put in latten, renders it neat & shiny. Huile @@ -21473,7 +21486,7 @@ with the prepared tutty, you will not have any bad fumes. -This metal is very fanciful to cast, because of the calamine +This metal is very fanciful to cast because of the calamine smoke, and one ought not to leave it pass rest even a little bit outside the fire, like some do with silver, for it is immediately cold when it feels the air and the @@ -21481,11 +21494,11 @@ wind. It always leaves some type of tail, like glass, when you cast it. Casters do not usually take that very yellow latten, because of the calamine passed through the fire. But when wanting to cast red copper, they yellow it either with -fresh calamine, or with prepared tutty. Wanting to cast, -one purifies it well of charcoal, with a stalk of +fresh calamine or with prepared tutty. Wanting to cast, +one purifies it well of charcoal with a stalk of copper or iron, and one covers it with a -cloth, soaked in pig fat, mixed with -saltpeter or sal ammoniac to keep it from +cloth soaked in pig fat mixed with +saltpeter or sal ammoniac, to keep it from the wind & from cooling. @@ -21502,7 +21515,7 @@ the wind & from cooling. Pure red copper from a cauldron or other thin works is appropriate for casting. And to make it run, throw in some sal -ammoniac & when you are ready to cast, put in a little fine +ammoniac, & when you are ready to cast, put in a little fine tin & very little. And note that one needs to cast copper very hot in the mold, which needs to also be inflamed & entirely red like for gold, silver, latten & @@ -21532,7 +21545,7 @@ like water. Removing your mold from the fire, plant it in -des a brazier, that fills a pot or +des a brazier that fills a pot or a vessel.
@@ -21546,18 +21559,18 @@ a vessel.
Take some ☿ sublimate of Venice, true & not arsenic sublimate, a pea, aes ustum, a pea, sal ammoniac, a pea. -Pulverize everything separately & next mix everything in a +Pulverize everything separately, & next mix everything in a glass bottle & put on hot ash. You will see that everything dissolves like wax, making many colors. Let it everything set & put a little of it on each -melted metal & it will run marvelously. +melted metal, & it will run marvelously. - + Founders of large casts for statues throw in much -tartar, to clean it of its filth & nastiness +tartar to clean it of its filth & nastiness, & much sal ammoniac to render it thin & neat. And when they want to cast, they put in much tin. The cold & humidity strongly disagrees with it, which renders dangerous the @@ -21573,9 +21586,9 @@ work of the founder, for one only needs a spring of Clamps They are made with flat pincers of iron wire, -reheated & refolded then beaten at the ends, on the anvil. +reheated & refolded, then beaten at the ends on the anvil. When they are thus fine, they are subject to burning, being put often -in the molds for reheating. Therefore use the new ones. +in the molds for reheating. Therefore, use some new ones.
@@ -21597,8 +21610,8 @@ in the molds for reheating. Therefore use the new ones. Tempering sand for molds of flat medals -Flat medals, of wax or metal, are oiled very -lightly & then are touched with a paintbrush of +Flat medals of wax or metal are oiled very +lightly & then are touched with a paintbrush with eau-de-vie. And in order that the mold, wetted with water, takes without refusing the oiled thing, one heats the water well for tempering the sand, for with cold water @@ -21606,9 +21619,9 @@ it would refuse. Medals are oiled because they are not malleable & thus could break the mold. And animals, which are malleable, do not want to be oiled. Hot water should be of such heat that you cannot hold your finger -there, without feeling strong heat. Temper your sand thicker for flat medals & solids than for lizards & fine things. -Your sand, having set, clean & scrape your mold on one side -& the other & make a notch at the foot & the border of the +there without feeling strong heat. Temper your sand thicker for flat medals & solids than for lizards & fine things. +Your sand having set, clean & scrape your mold on one side +& the other, & make a notch at the foot & the border of the medal on the side of the gate, in order that you can take it away better. Lower also the mold, scraping the surround of the medal, in order that, from all sides, you can take it away @@ -21624,8 +21637,8 @@ tempering in hot water. If you have molded a medal en noyau, having made the first cast & this one having set, outline, with the point of a knife, the surround of the medal, in order that it is raised on the cast & not buried in it. Then -having made the second cast, & having opened your mold, -have take away the medal, in one go, with one two +having made the second cast & having opened your mold, +have take away the medal in one go, with one two knife points q, and that one takes it from the side of the gate & the other from the side of the head, which is opposite. @@ -21633,7 +21646,7 @@ opposite. Take care not to oil your medal too much, for if the oil -seeps out, it diverts the sand from becoming smooth & amassing & +seeps out, it diverts the sand from becoming smooth & amassing, & makes it wavy & lumpy. One should only touch the middle of the medal of the p with the point of an oiled paintbrush, & then spread the oil everywhere. @@ -21660,10 +21673,10 @@ not forget also to notch the entrance of the gate. -If you want to cast gold, silver, copper or -latten, it is necessary that they be perfectly red, & +If you want to cast gold, silver, copper, or +latten, it is necessary that they be perfectly red & inflamed on the inside when you cast, & perfectly reheated two -times, if there is something inside to be burnt & cleaned. +times if there is something inside to be burnt & cleaned. The molds of animals that one burns must be heated in such a way that the animal burns. But if it has thick bones, it is @@ -21685,8 +21698,8 @@ also reheats it, & prepares it with se sal ammoniac water, as spat from Germany, & it is excellent sand for frames for all metals. -The molds of things where one needs to burn them inside, do -souf not open until the things which are inside are +The molds of things which one needs to burn inside the mold are +souf not opened until the thing that is inside is burnt, like with molds of crayfish, crabs, stag beetles, portraits & pieces of sulfured black wax, which do not release well. @@ -21700,8 +21713,8 @@ better. -For medals, and flat things, it is necessary that the sand be thick -enough, wet, because it sets quickly. And when the sand is thus thick, +For medals and flat things it is necessary that the sand be thick +enough wet, because it sets quickly. And when the sand is thus thick, one can hit and shake the table where the mold is placed, to make it run everywhere. But when the sand is thin, like for flowers and plants, one ought not to hit, nor when there is something @@ -21710,8 +21723,8 @@ like crayfish legs or similar things. And if the sand is, by chance, too thick, you promptly put in it some pour water. Having put the sand in water, it examine that it is thick at the bottom & -thin on top. The thinnest is cast at the beginning and then becomes -porous, & the thickest at the end in order to fortify the +thin on top. The thinnest is cast at the beginning, and then blow, +& the thickest at the end in order to fortify the mold. @@ -21740,7 +21753,7 @@ that it holds in the fire. When goldsmiths have something to solder promptly and do not have leisure to forge it, they melt some -gold, and then throw it on a cloth or other +gold and then throw it on a cloth or other things that withstand the fire, and they flatten it immediately with a hammer or similar thing. And it ends up very thin & even receives the impression of the cloth. @@ -21752,7 +21765,7 @@ is not alloyed. A pansy anointed with wheat oil can be cast in alloyed gold. -And other thin leaves, but only if the branch is not too big, and +And other thin leaves, but only if the branch is not too big and the leaves, separately cast, can be soldered. @@ -21763,10 +21776,10 @@ the leaves, separately cast, can be soldered. Give a light coat on the inside of the setting with black modeling wax, then anoint the inside, thus waxed, with -wheat oil, & then powder this with lamp smoke +wheat oil, & then powder this with lamp smoke, for it is necessary that ceste its color not have luster for false stones. This done, set in your stone -& then with a bit of wax, then with a +& then with a bit of wax, then, with a steel point & a small finishing hammer, join the edge of the setting to the stone in order that daylight does not enter in. But keep from knocking the @@ -21784,13 +21797,13 @@ join the edge of the setting to the stone in order that When it is often melted, it becomes brittle & -fl frangible, because it is cast very hot & +fl frangible because it is cast very hot & renders it half calcined. Therefore, use new.
 The alloy that I have put in use for lizards & snakes is two ℥ of fine tin for one lb of new & unadulterated lead. The mold is made of the -aforesaid sand, common to all metals, when it is reheated let it +aforesaid sand, common to all metals; when it is reheated let it cool until you can hold your finger without harm in the hole of the gate. As for lead, one melts it in a crucible ju in the fire, with @@ -21798,10 +21811,10 @@ in the hole of the gate. As for lead, one melts it in a red. When it is in this state, purge it of charcoal, either with a scraper made for this purpose or with the wind of the little bellows. l This done, let it rest -thus red & reheat a little on its own, then throw in, if you want, -a little rosin, to burn the filth. However some find it +thus red, & reheat a little on its own, then throw in, if you want, +a little rosin to burn the filth. However some find it better not to put any in, because it leaves filth. But, when they -are ready to cast, they ought not to forget to throw inside as well, +are ready to cast, they ought not to forget to throw inside, as well, as much as a bean of looking-glass tin for each lb of lead, and that it e should be red like melted metal when it enters in the mold. And if @@ -21809,14 +21822,14 @@ the mold is big, it is better to put it in a press, in order that it joins well & that the lead does not spread outside the mold. However, should this happen & that for the first or second or third time your mold had not filled, cast boldly, for, provided that your metal is red, it will set -again & join with the other, and come out very neat, like the +again, & join with the other, and come out very neat, like the principal. The same can be said for fine tin for thin things. And the alloy of fine tin is one ℥ of new lead for one lb of this. Large molds should be placed in very tight presses, between two sheets of -copper pu & then bury them in the sand, +copper pu, & then bury them in the sand, which is better than ash, because il is by its weight it seals -better. Otherwise these large molds are subject to +better. Otherwise, these large molds are subject to opening slightly by the weight of the metal. Some make square pots @@ -21827,10 +21840,10 @@ is thin. -+ ++ Note that if you want to cast them in cuttlefish -bone, they ought not to be very hot, because they will burn the +bone, they ought not to be very hot because they will burn the cuttlefish bone. Test for this effect with paper. If it turns the paper red, it is enough, it is good to cast, but if it blackens the @@ -21841,8 +21854,8 @@ enough, it is good to cast, but if it blackens the If you want to cast a written paper, make your alloy with plom half lead & half tin, & as soon as it is melted, cast between two -cartons, in a very flat & -level place & with a point of gold or hard +cartons in a very flat & +level place, & with a point of gold or hard wood, engrave on the left the writing that you want. And having poured lead on a carton, press on top with the other adapted carton. @@ -21864,7 +21877,7 @@ with the other adapted carton. either of earth or plates of copper, or iron, or wood covered with fer blanc, to bury more easily these aforementioned molds between the sheets of -copper, & the stirrup or screw of +copper & the stirrup or screw of iron. @@ -21874,8 +21887,8 @@ copper, & the stirrup or screw of Cast of wax to represent an animal that one has not got -Take some white wax which is more appropriate for this work -than anything else, because it is firmer & does not leave as much +Take some white wax, which is more appropriate for this work +than anything else because it is firmer & does not leave as much filth, as much as you need to mold the animal that you propose, & no more, and half as much charcoal, pestled & finely passed through a linen or a sleeve. @@ -21884,10 +21897,10 @@ which would otherwise be transparent & the features would not be seen as well. Therefore, put your wax to melt in the charcoal fire. And when it will be well melted & liquid, take, for a bowl with handles full of melted wax, as much sulfur la as a large -walnut. Pulverize it, melt it over a slow fire & when -it will be melted, do not leave it on the fire because it will become -too hard, but take it away, & always agitate it with a -little stick & let it finish its bubbling &, when it is as +walnut. Pulverize it, melt it over a slow fire, & when +it will be melted, do not leave it on the fire, because it will become +too hard, but take it away & agitate it always with a +little stick, & let it finish its bubbling, & when it is as liquid as water, throw it in the wax that you have removed from the fire. And mix & always stir the one & the other, in order that they mix well. Next, mix in, always stirring & in several @@ -21896,7 +21909,7 @@ goes. And as it will be well incorporated, take heed if your wax has passed its high heat, which you will recognize when it no longer smokes, when it makes large tracts se re pulling at the -edges, & motionless, & close to one to another. +edges, & motionless & close to one to the other. For, if you were to cast too hot, you could not separate your wax from the mold, & it would set in the cast. When it is in this good state, stir it with a little stick, in order that @@ -21910,10 +21923,10 @@ unctuousness, does not flow This black sulfured wax is for modeling round figures that are -not for releasing, and that one needs to burn in the mold à noyau +not for releasing and that one needs to burn in the mold à noyau before opening it, po like those which have arms & legs out front or entwined. And then this -wax, by means of sulfur, melts with very little heat, and +wax, by means of sulfur, melts with very little heat and exits without leaving any filth. If, by chance, the pestled charcoal remains there as ash, by opening the mold & blowing inside, it stays neat. @@ -21964,15 +21977,15 @@ first one, you recognize if there are some barbs, which keep from releasing well and you remove them if they do not remove themselves at the second or third first casts. And the more you will cast, the neater you will make it, and your mold will serve -you for more than a hundred times, if it is well managed. But it is +you for more than a hundred times if it is well managed. But it is good to soak it one night or one day before casting in it, in order that it be well imbibed. The same must be done for fruits of sugar. This wax is very soft & amiable & pliant as copper, and it is so strong because of the sulfur, which -renders it meltable much before the other, thus you can prove on a +renders it meltable much before the other, thus that you can prove it on a hot slate. And the sulfur that you will have put -in it, will be found, the second time that you melt it, cracked at the +in it will be found, the second time that you melt it, cracked at the bottom. Having thus passed through the wax, it does not inflame from a candle. And on this occasion, que I think it will cast very neatly for medals. One uses the same wax @@ -21990,7 +22003,7 @@ around. Cut down the protuberance of the gates, in order that they are smooth & that the wax has more of the silver to run in one -go, without turning around in the folds of the snake. +go without turning around in the folds of the snake. @@ -22020,7 +22033,7 @@ singularity. To cast neatly in sulfur, arrange the bread pith under the -brazier, as you know. Mold in it what you want & let dry +brazier, as you know. Mold in it what you want & let dry, & you will have very neat work. @@ -22037,9 +22050,9 @@ inflames & no longer makes eyelets. -Mold it with bread pith, having come from the oven, or, -as the aforesaid, & in drying out it will shrink & consequently the -medal that you will cast. You it can, by this means, by +Mold it with bread pith coming from the oven, or +as the aforesaid, & in drying out, it will shrink & consequently the +medal that you will cast in it. You it can, by this means, by elongating and widening the imprinted bread pith, vary the figure & with one image make many various ones. Bread coming from the oven is better. And the one that is reheated twice retracts @@ -22056,8 +22069,8 @@ want to let it shrink, make it dry, either more or less.
 If you want to cast some flat medal or some animal that is not very -weighty, and that does not need to burn in the mold, you can -cast in plaster & brick mixed like above, and not in +weighty and that does not need to burn in the mold, you can +cast in plaster & brick, mixed like above, and not in plaster alone, for it contracts too much, feeling a harsh fire if it is not accompanied. But, with brick, it holds well. However, take heed to dry out your mold at length & on a @@ -22065,32 +22078,28 @@ slow fire & with patience, for there is no need to reheat it. But when your work is of flowers or other things that want to be their molds reheated & set ablaze, mix in some feather alum & even some crocum. I have -molded in plaster & brick very neatly & it +molded in plaster & brick very neatly, & it withstood several castings. - - -
I tried plaster & brick alone and molded en noyau like others. My mold was very neat, having lightly oiled & rubbed with eau-de-vie my medal. I made my gate ample at the entrance, becoming narrower up to the medal, which was very thin. I notched the gate which embraced well the medal. I dried the mold well on a slow -fire & at the end, heated it well without reddening it. I let it +fire &, at the end, heated it well without reddening it. I let it cool in such a way that I could hold my finger to it without burning myself. I made an alloy of 4 -℥ of tin, & six +℥ of tin & six deniers of lead. I cast red, and it came out well. Next, I put in for 4 ℥ of -tin xii deniers of lead, it came out +tin, xii deniers of lead; it came out very well. - When there is nothing to burn in the mold, it is not necessary to reheat it for lead & tin. But for flowers & what should burn, yes. @@ -22113,7 +22122,7 @@ cement, because it can be painted. The crayfish is one of the most fanciful to mold, but also provides an example for casting many other very difficult things. Males -are distinguished by the eggs that females carry, and by the four +are distinguished by the eggs that females carry and by the four legs little white leglets at the back that males ap have inside their tail, after the eight main legs. It is only a good thing to dry them out a little, @@ -22131,16 +22140,16 @@ anoint them with olive wheat oil, which is quickly dry & which will keep the hair flat & spread out. Thus, you will have the form of your animal and the hair will also show, but made wavy, and this is something which can be repaired. If your -crayfish has eggs, which are delicate, and which +crayfish has eggs, which are delicate and which would be awkward to uncover without breaking, you would do better to make the first cast on the belly & eggs, in order that -you you only need to uncover the back, which is hard, & +you you only need to uncover the back, which is hard & easy to handle. And the belly & the eggs will remain in the mold, and one will need to burn them inside before opening your mold & en for the second time. Thus, all it will open easily, for what is burned will no longer be attached. Thus, the second cast, which is made on the first one, which -has set well, separates easily from the first, after having been +has set well, separates easily from the first after having been reheated, which is a singular secret for similar molds. The gate is made by the tail, very @@ -22149,7 +22158,7 @@ thin. Do not forget to rub with eau-de-vie before molding. -Stag beetles, crayfish, +Stag beetles, crayfish & crabs are molded in the same fashion. If your crayfish a @@ -22170,10 +22179,10 @@ done nothing. transparently.
To paint it, boil it with wine & a -little salt in order that they become very red & take this as +little salt, in order that they become very red, & take this as a model. Paint the back with vermilion mixed with lake, & the sides & underneath the belly & the legs with -vermilion & yellow ochre and white. +vermilion, & yellow ocher, and white. @@ -22191,20 +22200,20 @@ a model. Paint the back with vermilion mixed with lake, Having therefore let your crayfish dry a little in the sun or on its own, if it has eggs, they will shrink while drying -and will only be more beautiful. Therefore make your slab of +and will only be more beautiful. Therefore, make your slab of yellow potter’s earth, like for other figures, lay your crayfish on top, the s back on top on the bottom, & the legs, belly & eggs, which are all the most fanciful parts to mold, on the other side and on the top. Push the back down in the clay slab, up to near the legs, which is about halfway. And fix the body with an -iron wire point in the middle & if it seems -necessary, another, at the end of the tail. And in order that the +iron wire point in the middle &, if it seems +necessary, another at the end of the tail. And in order that the big legs show themselves lower than the head, which is -enf half sunken, extend them & from -underneath add to them a little clay to raise them. Hide also the +enf half sunken, extend them &, from +underneath, add to them a little clay to raise them. Hide also the horns in the clay, under the big legs, to arrange them afterward -as you like. As for small legs, extend them on the clay +as you like. As for the small legs, extend them on the clay until the joint, and the other half of the legs remain above, curved, for the first cast. However, in order that they do not move & detach, secure them well, not only on the clay, but @@ -22218,7 +22227,7 @@ since the thing is s thus arranged, that it can be well cleaned. Lastly, having rubbed the crayfish with eau-de-vie, cast your sand. Having set, uncover the back of the crayfish, the head & the eyes & its little pincers, the -big legs and the small legs all along, for one needs to uncover the most +big legs, and the small legs all along, for one needs to uncover the most that one can, both the long horns & the tail, except if you have folded & curved it to hold the eggs. Other animals @@ -22244,10 +22253,10 @@ well. that is the thickest of the animal. To paint it, one does the middle of the -back mixed with vermilion, mixed with a little +back mixed with vermilion mixed with a little lake, and the sides & the belly & underneath the legs is with a flesh color made of vermilion, white of ceruse, a -little yellow ochre. As in this & all other things, have +little yellow ocher. As in this & all other things, have always the natural one in front of you to imitate it. Lay the horns on the big legs, @@ -22287,16 +22296,16 @@ legs, with some wax. And fill the holes made by the iron wire point with it. And once everything is well neat & more than half is uncovered, oil your ut mold & n’oubli, after having dipped the reverse in -water & do not forget to oil all the delicate parts +water, & do not forget to oil all the delicate parts which are between the legs and the little pincers. Then, rub the crayfish with eau-de-vie. And make your second cast, having flattened the first mold, in order that the clamps join better. Your mold must be wider on the -side that is imprinted, than on the back. Do not open your mold +side that is imprinted than on the back. Do not open your mold after the second cast unless it has been luted & reheated -& that what is inside is burned. Do not forget to put +& unless what is inside is burned. Do not forget to put crocum among your sand when you mold crayfish, -for one needs to reheat strongly & the crocum +for one needs to reheat strongly, & the crocum withstands marvelously. Molding a crab & a crayfish, it is all the same. When you have uncovered your crayfish on one side, delay the least that you can for @@ -22310,11 +22319,11 @@ without breaking. Repair with penknives, files, little -chaples, or burins &c. +chaples, or burins, &c. -make all around them, as you see, a gate of wax & at the end +Make all around them, as you see, a gate of wax, & at the end of the tail, also two or three, from which you make the principal gate. @@ -22329,7 +22338,7 @@ gate.
Make a gate of wax, elongated in -a line, like a thick thread, all along the end of the legs, & +a line like a thick thread, all along the end of the legs & at u the extremity of the tail. If there is also some piece of leg or other part that is further away from the line of the others, or raised above, or folded on its own, give it a gate of @@ -22374,13 +22383,13 @@ handleable.
 slab or the wetted sand for noyau will moisten your letter & undo it. Therefore write with cinnabar wetted with oil on oiled paper -&press in. +& press in. -+ Reheat your ++ Reheat your molds with charcoals, firstly lit in the forge, in order that the fire is not so hot & does not break the molds. And do not make as much fire where the mold is -thin, like in the place where it is thick.
 +thin as in the place where it is thick.
 @@ -22417,7 +22426,7 @@ better. Take this lean earth of which the founders of artillery & bells make their trusseaulx and molds, which is lean & sandy. Temper it e moderately like a very thick mortar. Mix in -it about half horse dung & then have it +it about half horse dung, & then have it beaten well. Next, mix in a third part of discarded cloth waste or tondure of cloth, and beat it again quite strongly. You can reheat your mold as soon as the lute is @@ -22437,20 +22446,20 @@ placed. The water turtle is more beautiful to mold because it has prettier scales & straight legs. And those of the - garrigue have crooked ones. They are of long +garrigue have crooked ones. They are of long life; getting ready to put them to death, open their mouth & pass a long penknife through all the intestines, & then make it swallow some vinegar mixed with eau-de-vie or urine, as for snakes. One needs to mold them in several pieces, & the -back itself sometimes, because the sides for some are more narrow than +back itself, sometimes, because the sides for some are more narrow than elsewhere & are not released on this occasion. To make them die, one -ought not to boil them, for they come apart & even the shell, from the +ought not to boil them, for they come apart, & even the shell, from the hot water. They come out better hollow, because their great thickness corrupts the mold. Those from -water are more vigorous. Those from -garrigue are thinner, slower, & more +water are more vigorous. Those of the +garrigue are thinner, slower & more sleepy. If you scratch those of the water on their -shells, however sleepy they are, they move. Those from +shells, however sleepy they are, they move. Those of the garrigue do not. They die rather quickly in @@ -22499,7 +22508,7 @@ contain a lot of metal, it is best to mold them hollow, for they come out better. You could make your cast in one piece & large, but it s would be awkward to cut. It is best to do it in three or 4 parts, which are a little wide close to the animal, & -include most of the edge of this, which is close to the gate, that +include most of the edge of this which is close to the gate as can be done. Make also some gate conduits from the end of @@ -22539,7 +22548,7 @@ thus the gate of wax, to cast the second mold on top, than to wait to do them after the mold is reheated q, for at that point, it is necessary, if possible, that everything be ready. One needs to heat well & evenly -redden the molds, where they are gates of wax, in order +redden the molds where they are gates of wax, in order that it melts well & leaves nothing inside.
@@ -22549,7 +22558,7 @@ that it melts well & leaves nothing inside.
Carcanets made à jour They are molded like crayfish en noyau, first on -one side, that which is hollow being raised up with clay & then +one side, that which is hollow being raised up with clay, & then one uncovers them from the other side & one makes the second casting. They can also be cast well in frames, provided that they are released easily. If they are not, one models them in @@ -22565,7 +22574,7 @@ with wax or clay. Iron filings Because usually filings are mixed with nastiness, it -is good to redden them in fire to burn the impurities, and then +is good to redden them in fire to burn the impurities and then wash them in clear water. In this way, the dirt will go to the top of the water, that you throw out, & the good filings will go to the bottom. @@ -22577,7 +22586,7 @@ filings will go to the bottom. Carnations Because the ones that are cast are usually massive, or -bi they are weighty & for this reason, one makes them +bi they are weighty, & for this reason, one makes them with leaves & sheets of silver. @@ -22597,7 +22606,7 @@ release than those of the garrigue, which are lean, wrinkled & well ensconced in their shell, which also have a rounder top of the shell & however narrower v on the sides than near the middle, which is the reason their -l top shell cannot be molded well in one piece, like +l top shell cannot be molded well in one piece like those of the water. Therefore Thus, you will mold their top shell in two pieces, the bottom ones in two or three or four, according to the need. But, note that if you want to release @@ -22611,13 +22620,13 @@ clean it well with your small bristle brushes. Next, not tak that the bottom shell fastens to it, having, nevertheless, earlier shaped the head with a strong point, as with other animals, making it hold high by the means of one a little fresh -clay, that you will adapt from underneath. Stretch the said +clay that you will adapt from underneath. Stretch the said head & legs with your little pincers. The head arranged, dexterously place d a grain of yellow millet in each eye with pincers, because as soon as they are dead the eyes are burst and putrid. You can do this as well with all other small animals, with some grain of large -amaranth, some small, and grain of +amaranth, some of small, and grain of rapeseed, & this done, you will arrange the legs, securing them with iron points and then, with some clay, fill up all the empty space around the turtle, @@ -22675,38 +22684,38 @@ animal eyes of my invention clay placed on the middle of e the the back of the turtle, as you see, & at the widest place, divide your mold. Subsequently, oil with -your paintbrush, dedicated for this, the half of the shell +your paintbrush dedicated for this, the half of the shell you want to mold. Temper in hot water, so that without burning yourself, you can hold your finger in it without burning yourself, your sand, a little p thick. And f before casting it, rub the shell with -eau-de-vie. And next, cast your sand & let it set and note -that all things that have shells, or that are hard, or are not +eau-de-vie. And next, cast your sand & let it set, and note +that all things that have shells or that are hard or are not malleable, like snakes & lizards, want to be oiled to release. Things that are malleable do not need this. Hot water makes the tempered sand in water set better on oil, which otherwise would be refused. Your half of the turtle, having thus desp been molded, -separate it with its half mold, from the clay -slab, that you will set aside to return it to when it is necessary. +separate it, with its half mold, from the clay +slab that you will set aside to return it to when it is necessary. Next, clean your half mold & smooth it & flatten, like the others. But because it happens that because u of the clay entredeux, the half mold will consist of more than half of the turtle, cut & pare down smoothly the excess, & clean everything well with brushes. Then, make on the top edge of the mold, on the side that is cut & -halfway, two notches, like for other molds and return your -turtle to its slab, as it was & secure its two +halfway, two notches, like for other molds, and return your +turtle to its slab as it was, & secure its two legs, which are not molded, with iron wire points. And -stuff all around what is empty, up until the edge of the top shell with +stuff all around what is empty, up until the edge of the top shell, with clay. Next, place the circle around and put a clay entredeulx on the first mold, a little above the notches. And having oiled the d -first half mold & its notches and the shell of the +first half mold, & its notches, and the shell of the turtle, & having also showered it with eau-de-vie, heat your water, temper you sand with a little sal ammoniac water & the said hot water, & cast. Having set, -adapt the sides of these two molds smoothly & on each side +adapt the sides of these two molds smoothly, & on each side secure their joint, which can only just be perceived, with two clamps, in order that when uncovering afterward the underneath of the turtle, they are not undone. Next, uncover the side of @@ -22742,7 +22751,7 @@ would need to burn it. And afterward, to make the hollow, the reheated -+ ++ If there is some crocum in the sand, the joints of the molds can hardly be perceived. @@ -22805,16 +22814,16 @@ crumbles & flakes. However, before casting in them, dry them, & especially for gold, which does not want humidity. You will recognize that they are dry enough when, after having brought the inside & the imprint of these to the fire, they cry & crackle once -brought near the ear. Then join them & -lute the joints with a little clay & make it dry -lightly by the fire, & cast & then shake the mold or -scratch over rough scales & let it cool before opening. Usually one -cuts the bone in the middle, and the dullest part, and +brought near the ear. Then, join them & +lute the joints with a little clay, & make it dry +lightly by the fire, & cast, & then shake the mold or +scratch over rough scales, & let it cool before opening. Usually one +cuts the bone in the middle, and the dullest part and that which does not have any half circles
is the most delicate and smoothest for molding, & thus one always -imprints there the principal, the other is scaly on the inside as it -demonstrates on the outside. Thus one does not use this for delicate +imprints there the principal; the other is scaly on the inside, as it +demonstrates on the outside. Thus, one does not use this for delicate things that are molded on two sides. One smooths & flattens these two halves on some smooth wood, then one scrapes charcoal on top to make it release well. And to make the @@ -22839,22 +22848,22 @@ edges. But to make it better, put on the medal something flat & smooth, or some large square filee, & press with this, for you will press equally, sometimes after l with your knee, other times with your -foot, with your shoe taken off, & make the -bone be on top, thus you l’emprand +foot with your shoe taken off, & make the +bone be on top; thus you l’emprand will imprint it without breaking it. If, on the first go, it is not -molded well, return to it several times. Then repair & smooth on the +molded well, return to it several times. Then, repair & smooth on the sides your d halves of molded bone. & And to cut it well, always begin coming from the softest part to the scales. And if your medal does not come out by itself, scratch the bone from the back, which is rugged, and it will release. When you want to cast, secure & join your two -bones with some small points of wood +bones with some small points of wood, &c. But to mold very neatly, there is only our sand. -
+
+Flowers @@ -22865,7 +22874,7 @@ from rising up, & cast the sand little by little, & always blow strongly in order that it settles everywhere, otherwise it will become lumpy. - + Because you did not put in this a clay slab, the mold sometimes holds to the table where you cast it. To undo it, hit a great blow of a hammer at the side of the @@ -22879,15 +22888,15 @@ To undo it, hit a great blow of a hammer at the side of the Molding plants and flowers One does not need clay slabs, because plants or -flowers are not laid on top, but as in air, without touching on any side +flowers are not laid on top but as in air, without touching on any side anything. & Only the es circle & contour are needed, which should be higher than for flat molds. And thus, take heed to make it strong and thick according to the size that you want, otherwise it would burst, the sand being inside. Secure it & fortify it well by the -foot & join well all the joints. Then, take your flower, well joined +foot, & join well all the joints. Then, take your flower, well joined & securely adapted to the end of -cir of the gate of wax, which should not be rough, +cir of the gate of wax, which should not be rough but rather smooth, in order that it can release well. Then, wet your flower or plant in some good eau-de-vie, or else moin placed in a long glass @@ -22898,7 +22907,7 @@ flower or plant in some good eau-de-vie, or else
-
+
It is enough to reheat your luted mold once for flowers @@ -22924,13 +22933,13 @@ there without harm in the hole. -in order that it gets wet everywhere, if not, wet it with a +in order that it gets wet everywhere; if not, wet it with a large paintbrush dedicated to this. Then, pass through the end of the mold which closes the circle your bit of iron wire, which holds the wax gate, and cleaves the clay closure, as you see, & it place it low, so that the plant or flower touches no -thing, & can leave enough thickness for the mold, for the +thing & can leave enough thickness for the mold, for the tempered sand always raises the plant or flower. Thus, if it is not stiff by itself, pass with a needle some thin thread po on the flower to keep it from rising. Or, if you @@ -22940,8 +22949,8 @@ were to forget, lower the flower with some d choose a bowl big enough to temper in it as much sand as it needs to fill your mold. Put in a little sal ammoniac water, then some fountain water. And when -the au en bowl is nearly full, put in, by -sprinkling, your sand & mix & dilute it well in order that it +the au end bowl is nearly full, put in, by +sprinkling, your sand, & mix & dilute it well in order that it all becomes smooth, for if it were to coagulate, it would spoil the mold. For flowers, it does not want to be so thick, and especially, at the beginning, you will throw, in goes, the clearest one @@ -22952,17 +22961,17 @@ widest part, and if you find the remains of thick sand, which has not diluted well, cast it rather toward the gate than elsewhere. Finally, you can even cast some thicker tempered sand in order to make make a quicker set. I have molded thus a marigold with its leaves. The -crocum ferri is safer for flowers and when there is -crocum, lute with the same sand that has served and +crocum ferri is safer for flowers, and when there is +crocum, lute with the same sand that has served, and is the most excellent of all. -The alloy, with which I cast a large branch of marigold, which -with its flower, its buds and its leaves, came out neatly like the -natural, was of one lb of fine tin, mixed with two +The alloy with which I cast a large branch of marigold, which +with its flower, its buds, and its leaves, came out neatly like the +natural, was of one lb of fine tin mixed with two ounces of lead. @@ -22976,7 +22985,7 @@ Uncover the molded flower by gently undoing the mold with the water. Next, use small hog bristle brushes, a bit of iron wire, &c. When the mold is reheated the first time, leave it to half cool, then gently pass through -the gate an iron wire, to make an opening for the burned +the gate an iron wire to make an opening for the burned ashes inside. Next, blow inside with a bellows, then turn the mold at the gate to make everything come out, & sometimes suck and draw out with the mouth. @@ -23003,15 +23012,15 @@ Take heed not to attach too much the tail of the flower to the gate of This is the continuation of the second preceding leaf. When you have well uncovered the part of the belly of the turtle, the -underneath of the throat & legs, & having cleaned it all well, +underneath of the throat & of the legs, & having cleaned it all well, do not forget to neatly uncover this cavity that these animals have in their shell between the neck & the shoulders. Those of the water do not have ones as deep as those of the garrigue, which are leaner. And among these, there are some that have ones more ensconced than others. Do not forget, therefore, to uncover well all of this to better represent its -nature. But if there is some cavity which twists too much inside, and -cannot be seen, does not release, put in some small pieces of wax +nature. But if there is some cavity which twists too much inside and +cannot be seen, does not release, put in some small pieces of wax, & with points of hot, thick iron wire, stretch & adapt the said wax. Then, bouch stuff with soft clay the entrance of all its cavities. Put the @@ -23020,20 +23029,20 @@ two pieces, which contains the back of the turtle. And to mold its belly, one needs to divide in three, as you see. That is to say, you will put an entre deulx of clay on top of the throat & another on the edge of the shell of the tail, -#. And having oiled and the shell of +#. And having oiled and the shell of the belly & having rubbed it with eau-de-vie, cast your sand -a little thick & temper with hot water as before. Having set, +a little thick, & temper with hot water as before. Having set, remove these entredeulx of clay, then uncover well the front & back legs, that is to say the part underneath & -the tail & the throat & remove the clay from the cavities +the tail & the throat, & remove the clay from the cavities qu, all in one piece if you can, for this will show you if this cavity will release well. And if the pulled-out clay brings with it the wax that you put there, reput it in the places that cannot release, as is said. And if some part is taken away or let go, attach & rejoin it to the mold with some wax & the point of hot iron. Do not forget to put some po melted wax at the end of the nails of the -turtles, to make the gate. Your molded and uncovered -belly shell, your mold can be seen thus. +turtles to make the gate. Your belly shell molded and uncovered, +your mold can be seen thus.
@@ -23077,7 +23086,7 @@ alone. Take heed to make a border of melted wax, with a hot -iron, all around the edge of the top shell, which is toward +iron, all around the edge of the top shell which is toward the tail, in order the make the vents better. And make two little strings of the same wax, r connecting from the end the belly shell to the said edge of wax that is around @@ -23089,11 +23098,11 @@ to makes the vents better. This done, observing there what you have observed. Do the same to mold the third part, which is the tail. And having set, you uncover your mold remove the clay contour, clean your -mold & smooth it & flatten it on all sides with a +mold, & smooth it & flatten it on all sides with a knife, like for other molds. Dip it lightly in water, then try to release it. Usually one begins ment with e back the -backshell, it is that is to say, the mold on top, +back shell, it is that is to say, the mold on top, which is in two halves, and this one is easier to release. The other one follows after, but because it is neighboring the shoulder of the turtles, which are deeply ensconced, it is sometimes awkward. @@ -23108,7 +23117,7 @@ for you to pull your pieces out without breaking something. But should this happen to you, there is still a remedy, provided that you keep pi the broken pieces. For you can reassemble them with points of rather strong iron & fill the crack -or fault that could be there with melted wax & hot +or fault that could be there with melted wax & the hot iron, as with others, in order that the core for molding hollow is made better. Next Go to the second leaf @@ -23125,7 +23134,7 @@ heed to uncover well up until what can hold. -+Casting of copper alloyed with ++ Casting of copper alloyed with ☾, which is like very base solder / ard and old K and some R out of @@ -23173,14 +23182,14 @@ bottom of the crucible, otherwise it would cool it.
I took the one of latten skillets, which are beaten & forged thinly. I Once well heated, I cast in it two or three grains, like peas, of sal -ammoniac. This clarified it, like a mirror. Once very white from the +ammoniac. This clarified it like a mirror. Once very white from the force of being hot, I cast in it some pulverized calamine, raw & pure. I cast it in its very red mold. It came out very neat & thin like paper, & hollow on the reverse. But because it had crusted, I reheated it, that is to say reddened, let it cool, then put it to be whitened, of one part raw tartar & of one half common salt. Once -well boiled, I rubbed it with a scratch-brush, in clear +well boiled, I rubbed it with a scratch-brush in clear water. And because the first time it had not @@ -23192,7 +23201,7 @@ glass, because of the calamine. -Usually, the soft latten of skillets, becomes red from casting, +Usually, the soft latten of skillets becomes red from casting, especially when it stays a long time in the fire, m because the calamine exhales itself. But sour latten of candlesticks becomes yellow & pin filings. @@ -23211,7 +23220,7 @@ candlesticks becomes yellow & pin filings. -come out as clear as I wanted. I reheated it again, let it cool, +come out as clear as I wanted, I reheated it again, let it cool, placed it again to be whitened & rubbed with a scratch-brush. It came out very neatly. You will do thus for copper and silver. And if you want to @@ -23239,7 +23248,7 @@ beautiful. Whitening If it is for silver, do not pestle your tartar with -iron, but with the handle of a hammer, for if you touch +iron but with the handle of a hammer, for if you touch & dip iron in your whitening, the silver would become red like copper & you would need to reheat it & put it again in whitening. Mix nothing with your tartar @@ -23274,7 +23283,7 @@ of the foot in two, and the bottom in one piece. To make this quickly, redden the filings in an iron case, stirring it often. Then sprinkle it with -good vinegar & let it evaporate & without removing it +good vinegar & let it evaporate, & without removing it from atop the fire, let it redden & inflame. Once cooled, pulverize it on marble & return it to the fire, rou sprinkle with vinegar, and then inflame. @@ -23304,18 +23313,19 @@ which, inside, is of such capacity that the end of a little finger can almost enter it, widening like a clervoise the outside of the hole. This is to cast the core. But, note that all these difficulties would be nothing if you wanted -to mold hollow because you could mold your turtle in two pieces +to mold hollow, because you could mold your turtle in two pieces and burn it inside, as with other animals, and it -would be done quickly. But since the turtle is massive & would be weighty if it is not hollow, one considers it better molded in +would be done quickly. But since the turtle is massive & +would be weighty if it is not hollow, one considers it better molded in this way hollow, and in cha this fashion, to -make well a mold, one really needs three -days. Take heed, for hollow & fanciful -molds, to have some strong plaster, which endures the +make a mold well, one really needs three +days. Take heed, in hollow & fanciful +molds to have some strong plaster, which endures the fire without bursting, if it is possible. But, if you cannot have any such, mix a little more feather alum & add to it also some crocum, which fortifies it & makes so the flashing, if there is any, comes out so finely that it is easily undone. -Also do not forget to tighten well, with a press, your +Also, do not forget to tighten well, with a press, your molds, to avoid flashing which is made either when the mold is not well joined or when it bursts. To repair, if the features are not apparent enough, retrace them lightly with a @@ -23341,7 +23351,7 @@ joining your molds.
Take sublimate, quicklime, soap from Venice, horse dung, a little less -sublimate than the others. Wet all of this together like paste +sublimate than the others. Wet all of this together like paste, & with this impaste the iron, & to do this envelop it with some bad linen. Then make it reheat until it is very red. Or leave overnight in a good fire until the @@ -23358,10 +23368,10 @@ whatever you want.
One calls it gold from the Rhine, which one finds in the rivers, and is spangle gold. Goldsmiths from Germany wanted to refine it, -thinking to separate it from this whiteness which they deemed to be +thinking to separate it from this whiteness, which they deemed to be silver. But it always remains whiteish, which demonstrates that -this whiteness is fixed & it does not lack color. This is -electrum, from which one is able to make cups, +this whiteness is fixed, & it does not lack color. This is +electrum, from which one is able to make cups which will demonstrate poison.
@@ -23372,10 +23382,10 @@ which will demonstrate poison.
They are very much helped by water mills, & most of the artisans of metals, of gold, & of -silver, & others, at the trip hammers, +silver, & others, at the trip hammers make get their large works beaten. And to draw iron wire, they redden large masses of iron, & having made it -into a point, they make it hang while totally red, & thus promptly +into a point, they make it hang while totally red & thus promptly draw the wire.
@@ -23385,7 +23395,7 @@ draw the wire.
Repairing a medal If you want to mold any medal to serve as your pattern, & at the -same time repair it, cast it in a majority of tin & put in copiously looking-glass tin to harden it. +same time repair it, cast it in a majority of tin & copiously put in looking-glass tin to harden it. @@ -23411,7 +23421,7 @@ pieces. Gold solder -They take, on a gold denier, a +They take, for one gold denier, one grain of the fine alloy, like old douzains are. @@ -23427,7 +23437,7 @@ pieces. by casting. But one needs par d to anoint underneath their wings with wheat oil, which dries quickly and fortifies them & gives them a little thickness. The same is done to -butterflies, cicadas, grasshoppers, & +butterflies, cicadas, grasshoppers & similar things. But to cast them more easily, one applies them on some leaf or bouquet. The others are made by hand with a very thin silver sheet. One ought not to keep them once dead, @@ -23495,8 +23505,8 @@ of fine lead and 4 ℥ Molds They are less subject to cracking while reheating when they are very -thick, rather than when they are of a little thickness, provided that -the thickness is sufficient. For when thin, they scarcely need to be +thick, rather than when they are of little thickness, provided that +the thickness is sufficient. For being thin, they scarcely need to be recui on the fire, & a long time on the fire makes them corrupt, especially when the plaster is not strong. @@ -23515,8 +23525,8 @@ except to cover it. frequently melted red, to soften, melt it without reddening, and cast in a rod. -Brick cools the metal, & if this was for giving a -bond, it will not be necessary. +Brick cools the metal, & if this were not for giving +bond, it would not be necessary. @@ -23544,32 +23554,32 @@ strong.. bi through the hole, is to better hold the core & keep it from shifting. All of this being d thus arranged, lay your mold on the -table, the hole at the top, as it is here marked on the side, +table, the hole at the top, as it is marked here on the side, & then adapt a circle of soft clay aultr, two fingers high, around -the hole, like for other molds. And then temper your molding sand, +the hole, like for other molds. And then temper your molding sand moderately thick, & cast it through the hole until it is well well filled, up to the surface of the clay circle. But take heed to not cast r in through the middle of the hole, but rather from the side, for, because the already made -mold, drinks and sucks the moisture of the new. The -new one that you cast in which dries quickly, on the edge of +mold drinks and sucks the moisture of the new. The +new one that you cast in which dries quickly on the edge of the mold, being quickly dry, s would -obstruct the mold & it would not finish filling. And when +obstruct the mold, & it would not finish filling. And when you cast from the side, if you recognize that it is obstructed, you can clear a path. Having cast in, blow on the f the wet gate, & put, a few times, the end of your finger in the hole, po or some small point, to unblock it, & make the hollow -wax fill up. Cast in, at the end, the sand tempered a little +wax fill up. Cast in, at the end, the sand, tempered a little thick to give strength to the mold, for water coming -to the surface s of the mold, +to the surface s of the mold always makes it softer. Having set, scrape off the clay -circle & the excess which is on the hole, through which you -cast the noyau & nothing will be discernable. When your +circle & the excess which is on the hole through which you +cast the noyau, & nothing will be discernable. When your mold is thus prepared, lute it all around with the same sand which served for the molds. Next, reheat it in a slow -fire, at the beginning, & the mouth of the gate at the bottom, in +fire at the beginning, & the mouth of the gate at the bottom, in order that the wax flows out gently. For if you were to give it great heat until the wax came out, it would boil inside & leave some pustules & lumpy things, although @@ -23579,7 +23589,7 @@ inside & leave some pustules & lumpy things, although This point is placed in the middle & through the hole of -the gate, when the mold is in several pieces, like a +the gate when the mold is in several pieces, like a turtle, and this is done in order that the core does not shake. But when the mold is only of two pieces, it is not necessary to put points in the middle of it. @@ -23624,12 +23634,12 @@ mostly lead remains hot a long time & eats the You can, after the cast is done, mold a the part of the shell of the belly where you have made the hole on the natural -one, and reattach it with +one, and reattach it with solder. - + -X Note that, after your core is cast, it is +X Note that, after your core is cast, it is better to put the mold in hot water to open it, in order to remove the most wax that you can, always softening a it in hot water. For the less wax @@ -23668,14 +23678,14 @@ reattached thing or similar. After having covered the clamps with the lute from your sand & having covered all of the mold, give it on top a layer of common lute, & then sprinkle this with some pestled brick, in order that you can -handle it better. Let the lute dry slowly, before firing it, +handle it better. Let the lute dry slowly before firing it, which melts the wax. The wax having left through the gate, that which remains with the charcoal will burn. Being reheated for the first time, lute it pou once more, to reheat it the second time because the plaster, not being good, will have readily made the mold retract, and the joints will crack open, which might make large flashing. And for the second -time, one ought not to reheat it, if you only want to cast in +time, one ought not to reheat it if you only want to cast in lead or tin, but rather only make sure that the lute is quite dry & the mold moderately hot. For these turtles that have a large size & enough thickness, it @@ -23684,14 +23694,14 @@ is better to mold ault cast your half of tin, especially for hollow things. For, if you only have very thin & very weak things to cast, like flowers, rely rather on the abundance of lead than of tin, which becomes -porous, once cast a little thick, & readily makes some flaw around +porous once cast a little thick, & readily makes some flaw around the cast. Maistre Alexandre says that he has never gone wrong with half tin & half lead for things weighty & with the thickness of the back of a knife. If there is crocum, the joints hardly -appear & consequently the flashing is very small & thin. You can +appear, & consequently, the flashing is very small & thin. You can repair & through the hole of the belly, pull the earth of the -core, leaving it wet a long time,
 +core, leaving it wet a long time;
 @@ -23702,9 +23712,9 @@ figure of black wax breaks, there is no danger, for it can always be reattached with a hot iron touching point. Or else, if the pieces are not separated from the mold, qu they meet up & join like -beforehand, by joining & binding well the two halves of the +beforehand by joining & binding well the two halves of the mold. When the figure is large, one needs to cross -inside many iron wires, to sustain the core. +inside many iron wires to sustain the core.
@@ -23722,7 +23732,7 @@ inside many iron wires, to sustain the core. tin. However, one needs to redden the mold nearly as much as if there were inside some animal to burn, in order that the wax melts well & leaves nothing inside & flows on its -own, by keeping the mold leaning toward the gate when +own by keeping the mold leaning toward the gate when reheating it. And when the mold is reheated, leave it to cool gently, then blow inside, and draw toward yourself, while sucking, in order that the ashes of the wax come out. Do this with a @@ -23743,29 +23753,29 @@ order that the ashes of the wax come out. Do this with a however, do not remove it until you have completely repaired the -turtle, for you will use this earth as cement, if +turtle, for you will use this earth as cement if you need to embed something or repair with the small chisel. If there is some flashing at the joints of the mold, you will remove -it, either with the burin, called a -chaple, or a very sharp penknife, +it, either with the burin called a +chaple or a very sharp penknife, or with a small file, & then with the small chisel, always having the natural one, to do this better, in front of you. You can curl on a file the point of a small -chisel, which is not quenched, to make something lumpy. For these +chisel which is not quenched to make something lumpy. For these two turtles & hollow things that presuppose being large enough, cast your alloy of half lead & half fine tin. There is more work in molding a turtle than for twelve molds of flowers. If there is some crocum in your sand, there will not be -flashing & if, by some chance, there is some on the sides, it will be +flashing, & if, by some chance, there is some on the sides, it will be thinner than paper, as long as your mold is tightened well with a press. And to make the scales of turtles -or other animals, you can make some little small chisels, in +or other animals, you can make some little small chisels in the fashion of a round cutting-punch, others in the fashion of a -gouge, or the scale of a snake & lizard, +gouge or the scale of a snake & lizard, and others on a file to make the curly & lumpy bits. The -turtles, which are not molded hollow, do not have as much work, -for they are molded in two pieces, to repair them, with small +turtles which are not molded hollow do not have as much work, +for they are molded in two pieces, to repair them with small chisels, small cutting-punches, small gouges & small serrated chisels. @@ -23807,7 +23817,7 @@ coloring. It is not for anointing hairy animals, for it is too strong & stiff, but it is good to give form to the legs of a small animal, like a fly & suchlike. It is also -excellent for coloring white false stones. +excellent for coloring false white stones. @@ -23821,26 +23831,26 @@ excellent for coloring white false stones. The hairs of its whiskers would be awkward to come out in the cast; you can therefore shave them with fire, like d -the tyran de Syracuse, +the tyrant of Syracuse, & afterward you can replace them with d’arg natural silvered ones. The tail is beautiful molded because it is made of scaly circles, nearly like the one of a lizard, & in order that the hair does not hinder good molding, burn it in the fire of a little candle. The rest of the body should be anointed with wheat oil, which will keep the hair stiff & couched, so that the sand will not raise it by getting entangled -in it, to prevent coming out neatly. The wheat oil being +in it to prevent coming out neatly. The wheat oil being dry, which will be quick, you will be able to pass a very thin comb to divide it, in order that it appears in the cast. On a small mouse, you can even put some common oil to lower the hair. And before molding these animals (except snakes & lizards), let them rest remain dead one or two -days, to have them more handleable. For they stay rigid -after their death, & cannot be well fitted to their true shape until +days to have them more handleable. For they stay rigid +after their death & cannot be well fitted to their true shape until they are a little softened. However, if you mold it quickly after it is dead, or give it its shape before it stiffens, you will do well. Au And because the eyes die, you there some if you do not mold it promptly, you will be able to -substitute, in the eyes, the halves of well-rounded +substitute in the eyes the halves of well-rounded peas, stripped of their skin & shell. Some make the rat shed, others anoint it with olive oil, which is amiable, for wheat oil is thick & @@ -23849,15 +23859,15 @@ feature to a fly foot or under a wing to keep them rigid. Others couch the hair with an egg yolk, which is quickly dry & amiable. Shape it, before oiling it, on the clay slab, and raise its head with an iron -point & secure also the feet with points & the tail. Rub it -with eau-de-vie, once dry from the oil. Then cast your -sand, next uncover it like other animals, & make the second cast. +point, & secure also the feet with points, & the tail. Rub it +with eau-de-vie, once dry from the oil. Then, cast your +sand; next, uncover it like other animals, & make the second cast. One ought not to open the mold until it is reheated & the rat burned. -+ ++ -The rat, because it is thick, comes out better being hollow, if +The rat, because it is thick, comes out better being hollow if it is a big rat. A mouse molds better, because it has shorter hair. It is not possible to mold well an animal that has biggish bones, like a bird or rat, without @@ -23872,7 +23882,7 @@ is better e than wheat oil, because it is more amiable.
 If the rat is big, it is good -to remove its entrails, or having molded it, to dry it in the +to remove its entrails, or, having molded it, to dry it in the oven, because the large amount of moisture that it has comes to boil in the mold, & spoils it & makes it lumpy. @@ -23897,21 +23907,21 @@ fault in the mold, or from the cast, or from the metal. The fault in the mold comes from plaster, which is not hard & strong and does not withstand fire (which is corrected by mixing it with crocum). Usually as well, if there is an -imperfection, it is from the cast. If there is also too much tin, +imperfection, it is from the cast. If there is also too much tin in a moderately thick thing, it does not come out well, because tin cast thick retracts & becomes porous. Also, things molded hollow are fanciful to cast. If, therefore, some flaw should -happen, take a leather cushionet, full of fine sand, +happen, take a leather cushionet full of fine sand, & having placed it on the bequet of the goldsmith’s table, where one files, place -your work on it & secure it with a rope, which passes +your work on it & secure it with a rope which passes under your foot. The sand in the bag obeys & arranges itself by and by, thick on one side & thin on the other. Then, forthwith, with a burin, make & trace -roughly the fine lines, which were omitted or which are not apparent -enough, either with a file or a chaple, remove +roughly the fine lines which were omitted or which are not apparent +enough, or with a file or a chaple, remove the flashing. And if there is some fault in the substance, which left some -pit or too-hollow thing, rescrape this with a burin, and +pit or too-hollow thing, rescrape this with a burin and notch around the edge, then imprint this with some wax. And place the imprint on a delicate plate of lead, & mark thus the appropriate measure of lead or of the alloy similar to @@ -23921,7 +23931,7 @@ it well with some latten wire, then rub the edge with some small thin pieces of solder or tin or other things, then with a hot iron or in the fire of the forge, solder, and next repair this with the above-said -tools, & with the appropriate small chisels. +tools & with the appropriate small chisels. @@ -23991,7 +24001,7 @@ similar to u the imprint & the seal. It is necessary that your wax be mixed with some color which -hardly has body, in order that you see the imprint better. Lamp +hardly has body in order that you see the imprint better. Lamp smoke or soot black is good for this. White wax, for this effect, is exc better. @@ -24003,7 +24013,7 @@ this effect, is exc better. Having cast your first mold, mix crocum or well-ground iron scales to firm it up. -And having set, & rendered your hollow form very neat, take some +And having set & rendered your hollow form very neat, take some paste of fine @@ -24031,7 +24041,7 @@ of your mold and press on it with some cotton one side & in a hollow form on the other. This done, anoint with a paintbrush, wetted in a little melted butter, the part of the paste which is hollow. Then, cut the -excess paste, which surpasses the hollow of the +excess paste which surpasses the hollow of the mold H. Anoint your mold also with olive oil, as you have done with others, place the clay contour & cast s your @@ -24078,7 +24088,7 @@ temper your sand with hot water, for it would melt the Testing the goodness and strength of a sand to be reheated After it has set, it must be found smooth & easy to cut, and not -rough. It tests better in a large & fantastical mold, than +rough. It tests better in a large & fantastical mold than in a small one, for the large one remains long in the fire & the small one is soon reheated. @@ -24133,22 +24143,22 @@ crust, but rather this color goes away with whitening When goldsmiths who work large wares have forged their platters, it very often happens with their sheddings that it bursts & cracks for being too soured. To avoid this, throw in, -when it is well melted, some dry mortar, composed of sand & +when it is well melted, some dry mortar composed of sand & good lime which has been worked, & pulverize it & throw it in. Goldsmiths do not work at all with -the silver from real, that is not alloyed, because it is +the silver from reals that is not alloyed, because it is leady & when forging it sours. - + Some solder, for small works & things which only go in the fire -once, with some old sou & reheated & beaten -carolus. However, if the sou is not very -good, the solder eats away & one needs to solder there twice +once, with some old sou & carolus, reheated & beaten. +However, if the sou is not very +good, the solder eats away & one needs to solder there twice, & one finds there too much copper. Others solder with half silver & half fine copper. @@ -24158,7 +24168,7 @@ good, the solder eats away & one needs to solder there twice Iron scales -Once well pulverized & ground on marble & +Once well pulverized & ground on marble, & mixed with the above-mentioned sand of noyau, and dried slowly without reheating, it endures several casts of lead & tin. Copper & latten come out well. But if it @@ -24171,7 +24181,7 @@ if the sand is not tempered thickly enough. Metal filings -They are not made by themselves, if they are not aided by some +They are not made by themselves if they are not aided by some portion of similar metal, melted to assemble them & put them in a bath, for they are sooner burned than melted. Tin and lead filings are made with tallow, the one of gold with @@ -24191,7 +24201,7 @@ filings are made with tallow, the one of gold with It is very capricious to cast. It must be cast very hot. And to rule over it better, throw on it some sal ammoniac to thin it. Alloy -it as well with a little red copper, and when you want to cast, a +it as well with a little red copper and, when you want to cast, a little tin to make it run better. It always leaves a tail like melted glass. It does not require as long a gate as others. @@ -24202,7 +24212,7 @@ others. Molding -It is only good that it die down a little on the outside, & +It is only good that it die down a little on the outside & nevertheless be red on the inside, for when it comes out of the fire, the air & vehement exhalations of fire do not receive the cast so well. @@ -24216,8 +24226,8 @@ well. Silver needs a longish gate. For gold it does not matter. Silver, when soldering, tolerates the water one throws on it. But gold would spatter, & needs -that for that reason one casts solder -bran on the solder. +that for that reason, one casts solder +bran on the solder. @@ -24290,16 +24300,16 @@ the first petals on the outside, not those on the inside withstand, in order that the tempered sand does not spread out & expand more than it should. You them can also mold well the leaves of rose bushes, strawberry plants, & -similar things, that are flat & can be flattened without spoiling -them, with two gates; to open your mold when it is reheated -& clean the ashes from it, All, and make vents +similar things that are flat & can be flattened without spoiling +them with two gates, for opening your mold when it is reheated, +& cleaning the ashes from it, All and making vents & several gates. And this is the easiest way, but the other can also be done. And with small veins of wax adapted & joined from leaf to -leaf, you can make casts. You can even make a vein of wax from +leaf, you can make gates. You can even make a vein of wax from the back of the first petal until, which will join to the gate. All of this facilitates the cast. Aulcu The principal thing is to let your reheated molds cool down -well, rather than cleaning them & blowing inside them to make the +well rather than cleaning them & blowing inside them to make the wax come out, because when the mold is hot, the ash holds to it as if attached. But when it is cold, it wanders and leaves with the air or when one blows one’s breath through the small @@ -24333,7 +24343,7 @@ volume & weight. Wet the rose with eau-de-vie before putting it in the circle of clay. Do not forget to oil the wax gate. And when you will have cast your tempered sand, blow -thoroughly, until it begins to set. The rose came out +thoroughly until it begins to set. The rose came out well. But because the sand finds itself mixed among the petals, make your work soak in water for a long time in order that, shaking it in the water, the earth is gone from it. @@ -24350,7 +24360,7 @@ the water, the earth is gone from it. Because the flower in full bloom is billowy & has its petals disordered & turned in various ways, it does not appear beautiful if it is not -painted, & also, equally, if it has weight ou +painted & also, equally, if it has weight ou for that the stem of tin, which is brittle & delicate, would be unable to support. One molds the flower of the rose on its own & separately, making its gate largeish in order @@ -24358,19 +24368,19 @@ that it comes out b better. Then one cuts this gate down closest to the stem of the bud, on which one grafts next & solders a stalk of latten wire to which one also solders the leaves. But because tin, being thus thin, is -troublesome to solder, and any leaf can be melted. And also +troublesome to solder, and any leaf can be melted, and also because the cast flowers & especially the rose are not beautiful without being painted, one does not take pains to solder, but one it grafts the pieces to join them & one glues them with fish glue that has been a little tempered & thickly melted. And in order that it imprints better, one heats the tin work gently & at a distance, for -when cold, the glue would not take. After your flower is thus +once cold, the glue would not take. After your flower is thus repaired, you follow the joints of the added parts with modeling wax esb, which is a white wax mixed with -much well-ground ceruse, or even better, lead +much well-ground ceruse or, even better, lead white, melting it & applying it on your work with a small hot point of iron. In this way you can repair these little -barbs that are in the middle of the rose, or the holes +barbs that are in the middle of the rose or the holes of the that may be in any petal. Next, you will paint your rose according to nature. If you cast your rose in gold or silver, you can join & solder well. And @@ -24401,7 +24411,7 @@ that wax you will make your mold work if you are in a hurry, make the first imprint & hollow form in bread pith, prepared as you know, which will mold very neatly. And into that, cast in melted wax, which will give you a beautiful -relief, on which you will make your noyau. +relief on which you will make your noyau. @@ -24421,7 +24431,7 @@ will eat it all away without damaging the gold, so that you will have a lizard hollow to its nails, or any other work, so light that by blowing you will agitate it. But take heed not to make the layer of amalgamated gold all at once, or of hardly any thickness each -time, because that would block the small features; but proceeding +time, because that would block the small features, but proceeding therein as said, lightly & several times, and cleaning well, you will do well. @@ -24438,10 +24448,10 @@ to cast cast in base silver. Lead is so fat & soft that one cannot strike it boldly, & one needs to have a very light hand. The other great -metals are easier. With a burin called +metals are easier. With a burin called the onglet you make & retrace the more delicate lines, with the ordinary engraving burin the broader ones, and with -the chaple, you remove the big flashing, and with the +the chaple you remove the big flashing, and with the small chisels you soften the harshness of the lines, you smooth, you add relief to a line. @@ -24463,9 +24473,9 @@ soon as you can after they are dead, because if you were to leave them to dry a lot, their e legs would break when you would want to spread them out. One needs also, to make them come out better, to place them on something like a leaf, or similar thing, to -help the casting of their little legs, which are so frangible that by +help the casting of their little legs, which are so frangible that, by themselves, they would not come out well in the cast. They can be -planted on a sage leaf, or similar. They are cast well in +planted on a sage leaf or similar. They are cast well in silver & gold, but one usually makes the legs & wings separately & one reattaches them. I have molded one on ea sage leaf bouquet of @@ -24492,23 +24502,22 @@ leaf & not outside it, for what would exceed would not come out well, especially in silver, because this would exceed the, so fine, would be of no help in the casting. And, in truth, the feet which had been laid on the leaf came out well, but -those which straddled from leaf to leaf & remained in the void, did +those which straddled from leaf to leaf & remained in the void did not come out in tin. The rest of the fly came out well, -and especially the bouquet of sage, which is very beautiful -molded. +and especially the bouquet of sage, which is very beautiful molded. One could even cast it in gold & silver, without the feet & without applying it on a flower, by making the gate under the -belly & reattaching with solder the feet, & if needs be +belly & reattaching with solder the feet &, if need be, the wings with the same metal, & it could be enamelled -by fortifying the wings a little & the feet, as said. +by fortifying the wings a little, & the feet, as said. If your sage or branch has something to repair, do as said -below. And then paint, according to nature. +below. And then paint according to nature.
@@ -24537,10 +24546,10 @@ point, as you know, to which the fly attaches itself, -+ ++ If some flaw happens to the wings of your fly, beat some tin very thin, &or some gold or -silver, if you have cast it in it, & with trim +silver if you have cast it in it, & with trim with some scissors what one needs to reattach there, & next, apply it with your small pincers & glue it with fish glue, prepared as put below. And before, heat @@ -24588,7 +24597,7 @@ or silver, and then solder or braze them. Some goldsmiths assay it on gold, thinly beaten esp & well burnished with a chaple. But it is better to assay it on a gold -ingot. And also assay your substances in large or fantastical work, +ingot. And also, assay your substances in large or fantastical work, since if they appear good & extraordinary in large work, they will show excellently on a common work. @@ -24634,7 +24643,7 @@ rest is well burned. They mold better on a single leaf than n on a bouquet or a flower or the branch of a plant, because the single leaf -molds in two halves, which, once reheated can open and clean well & +molds in two halves, which, once reheated, can open and clean well, & the cast is made better. Take heed when taking the fly to not break the legs & to not let it dry too much, for then the legs fall off. And if this happens to you, glue with fish @@ -24658,7 +24667,7 @@ the legs with some wax. One needs to let the mold cool before blowing to make the ashes go out. For when the mold is hot, they adhere -against it & once cold, they separate from it more easily, +against it, & once cold, they separate from it more easily & go away in the blowing with the wind as vapor.
@@ -24674,18 +24683,18 @@ aforesaid bird, in order that it only shows one leg hold the feathers down, finally ofoil eau-de-vie. And then cast. And being set, clean & uncover whatever needs it. Next, mold the other side in the same way. But -because the feet, being of bone that is difficult to burn, & +because the feet, being of bone that is difficult to burn & which are not able to be cleaned neither by quicksilver If nor by any other means, if the mold would not open, uncover the bottom of the feet & the toe or the little finger of the claw, & mold as a separate piece. Reheat & open your mold & clean the bones. The feet usually remain too -weak to support the mass of a solid bird. And for this reason +weak to support the mass of a solid bird. And for this reason, one adapts an iron wire in the mold of the -feet, which passes into the body before casting, thus they are +feet which passes into the body before casting; thus, they are reinforced. Some mold the wings in a frame. Others mold the head & the said wings separately en noyau, then join & -repair them, to first model a form that will be stiff & withstand the tempered sand.
+repair them to first model a form that will be stiff & withstand the tempered sand.
@@ -24729,7 +24738,7 @@ conduits & leaves an odor of itself, which sours the tin or other metal that you will cast there so much that it will break if it touches it even slightly. The heat of the mold also retains small grains of ☿ -that make lumps & contracting to the edge of the molded leaves, are +that make lumps, & contracting to the edge of the molded leaves, are joined there & make the leaves frangible. The ☿ cleans the ash well, especially flat things where there are not delicate lineaments which could be broken by its @@ -24766,13 +24775,13 @@ colors have no hold. For marigold flowers, lightly ground minium for some, & for others which are more yellowish, a bit of massicot with it. For green, the verdigris has depth & is too dark. If it is a yellowish green, you can mix with the -verdigris a little yellow ochre & stil de grain +verdigris a little yellow ocher & stil de grain yellow. If the green is dark, put with it charcoal of peach tree pits, which makes a v greenish black, in the same way that black of ox foot bone looks bluish. And thus, by judgment & discretion, put the color on the natural flower or leaf to see whether it comes close. But layer it -transparently so as not to cover the lines of the work. +transparently, so as not to cover the lines of the work.
@@ -24796,7 +24805,7 @@ in a press in order that they do not open. It makes it come out neater, & even if it is a little thick, it does not hold to any place because it has no body. I have thus fumigated my noyau molds for tin & -lead, and have cast in the cold mold well dried +lead, and have cast in the cold mold, well dried beforehand, and it came out very neat. It is true that lead mixed with half of tin was very hot, because the medal was thick. @@ -24835,7 +24844,7 @@ or flowers, otherwise it breaks & cannot be taken out. -If they are painted with colors on the wax & if the +If they are painted with colors on the wax, & if the wax is not tinted & mixed with color within, the color lifts off & is undone if you mold them en noyau, but the portrait is not spoiled. One needs to oil them lightly, bathing in @@ -24856,7 +24865,7 @@ white is firmer & whiter. If the small chisel has passed through some part of a portrait, -one needs to repair & retrace it all. Otherwise it would look like a +one needs to repair & retrace it all. Otherwise, it would look like a joined piece. @@ -24876,7 +24885,7 @@ is not strong & thick enough, add eau-de-vie. And take heed a new one, if you can. It is melted on the fire & is also dried quickly on the fire, but it may be warmed from a distance once on the work. It holds strongly. With it one joins flowers & delicate things -of gold, of silver, of tin, & other materials +of gold, of silver, of tin & other materials, which are in danger of spoiling if soldered. @@ -24904,7 +24913,7 @@ leaves together. Cleaning files Sometimes they are fattened & by means of the grease, the -lead, which is fatty in itself, or other filings, attach +lead, which is fatty in itself, or other filings attach to it. And you will be able to clean them either with hot charcoal or a wire brush made of wires of latten. @@ -24914,8 +24923,8 @@ latten. Carnation -It is molded like the rose, marigold, & all -other flowers, thus as is said, namely, whole-mold flowers, & all +It is molded like the rose, marigold & all +other flowers thus, as is said, namely, whole-mold flowers, & all the leaves, if you want, in two halves, joining them by solder for the most secure way, even if you could mold them together in a closed mold. I cast one that came out very well. But the sand needs to be very thin, & blow strongly. @@ -24939,7 +24948,7 @@ for the most secure way, even if you could mold them together in a closed possible, one as thickness as the other, in order that they can be quite evenly reheated. When you mold some animal that should be burned you, like crayfish, you cannot open it to -clean it & make the cast so that it is not reheated. And when they +clean it, & make the cast so that it is not reheated. And when they are reheated one time, keep them scarcely at all without casting, for they are rendered musty & moist, & the mold is undone & loses its strength. @@ -24957,7 +24966,7 @@ The part where the back of the animal is, is usually thicker. Reheated stone plaster fears is undone in water, but that which is reheated & first -pulverized and then reheated does not fear it. But if it is good it +pulverized and then reheated does not fear it. But if it is good, it hardens in it, like the one of Paris & Spain, which is hard in stone, as is that which grows in lean & dry earth and which seems like @@ -25012,12 +25021,12 @@ two plates of iron, one sets tightens them in the frame with wedges. The large wooden presses made with screws, besides being heavy to put near to the forge for casting, one cannot know when they tighten too much, -& very often they break the mold. +& very often, they break the mold. -The screw is riveted to this stirrup which is -nailed on to the upper plate, & by this means, +The screw is riveted to this stirrup, which is +nailed onto the upper plate, & by this means, raises it & presses it. @@ -25057,7 +25066,7 @@ then make an imprint by pressing, & next cast in plaster, It can be done with flies by hand without casting, & the wings & feet can be joined by solder, which is not able -to be done with delicate works of lead & tin, because +to be done with delicate works of lead & tin because they would melt. And the work of gold can be enameled. @@ -25071,7 +25080,7 @@ they would melt. And the work of gold can be you make a basket hang from the tip of the aforesaid stick. Put in water where crayfish eat, & they will quickly come to accumulate on the flesh. Extract gently -from the water, &; those who want to go back into the +from the water, & those who want to go back into the water will fall into the basket. @@ -25079,7 +25088,7 @@ from the water, &; those who want to go back into the Catching passerines -If they sleep in straw, like they usually do +If they sleep in straw, like they usually do, close to the house, leave the closest window open & put in a lighted candle, but so that the candle is hidden & that its light only appears throughout the room & through the @@ -25123,18 +25132,18 @@ gather the pieces of molds, break them on a long table with a large billet in order to pulverizes them well, and, better yet, sieve it finely. Put them in some pots into the tiler’s oven or -bread oven, several times, when it is well lit, in order that +bread oven, several times when it is well lit, in order that they become very red. Once cooled, repestle them, if need be, and -sieve. Next, put it in a sufficient, neat dish, +sieve. Next, put it in a sufficient, neat dish or semal or vessel, and wet it with clear -water, and grind it & stir with a thick stick, until it +water, and grind it & stir with a thick stick until it is well wetted & washed & that the filth goes on the -surface of the water & continue to stir it thus, like the +surface of the water, & continue to stir it thus, like the gip mat that one prepares to gild with burnished gold, five or six days, until it is not at all lumpy. # nota And, each time that you stir it again, leave it to rest & empty the clear water -which will be on top, by tilting, or with a bowl or +which will be on top by tilting or with a bowl or sponge, and put some clear water back in, & thus wash & stir it until it is well fine & purged of all filth. Nota #. Next, leave it a little @@ -25149,7 +25158,7 @@ powder with sal ammoniac water. And reheat & redden the again & wet it in sal ammoniac water, reduce into little balls & reheat it & redden & continue so many times that it does retract from the frame when you redden it. The main thing -is that it is well reheated for otherwise the sal ammoniac would +is that it is well reheated, for otherwise the sal ammoniac would not calcine well & render the sand coarse, & for this reason, one does not need too much sal ammoniac in it. @@ -25157,11 +25166,12 @@ one does not need too much sal ammoniac in it. -# Nota, that one needs, +# +Nota that one needs, before drying it, to wet it all and le empty the liquid in another common vessel, leaving the litharge, in order that the stones & earth remain at the bottom -afterward. One needs to let it rest & empty the water by tilting +afterward. One needs to let it rest & empty the water by tilting, & leave it dry. @@ -25188,7 +25198,7 @@ for the space of a day. And it will be well burnt the, the vinegar will bite it quite easily & will soon give it redness & bonding, wetting it with the strongest you can find & next setting it aflame. And in three or 4 -ignitions wettings & ignitions it will be ready. This one +ignitions wettings & ignitions, it will be ready. This one is columbine color & is found firmer for casting than that which is redder & the color of minium bole, made of rusty filings @@ -25209,7 +25219,7 @@ showering it each time with vinegar. It can be gathered from the words of Herodote that the -navigation of the Portuguese was not newly invented by them as +navigation of the Portuguese was not newly invented by them, as they brag. At the beginning of the first book entitled Clio, he says that the Phoenicians would come from the Red Sea by continuous navigation to the coast of Greece, mainly to @@ -25228,10 +25238,10 @@ of within 6 days. Herodote, on the first page of Clio, says that the Greeks were on a long ship on the coast of Colchis & to the river Phasis, whence they carried off -Medea. +Medea. -Galleys. +Galleys
@@ -25240,7 +25250,7 @@ of within 6 days. Herodote, on the third page, says that Gyges presented to the temple of Delphi pateras aureas sex pondo 30 -talentorum. +talentorum. @@ -25250,11 +25260,11 @@ presented to the temple of Delphi
-Herodote. Halyattes, the father of Croesus, +Herodote. Halyattes, the father of Croesus, pateram ex ferro compactilem apud Delphos dedicavit spectatu dignam inter omnia quae sunt Delphis donaria, opus Glauci Chii qui solus omnium compactionem ferri excogitavit. Compactile -ferrum, which is made by assembly +ferrum, which is made by assembly & things joined. @@ -25274,7 +25284,7 @@ secrets from my benevolent readers.
 Aes ustum Once finely pulverized, it molds very neatly & has a certain -fatness that gives it bond |, more than +fatness that gives it bond, | more than crocum, & I believe that it would not be inappropriate for a cast. @@ -25285,7 +25295,7 @@ inappropriate for a cast. Rotten wood The one which is white, light like a sponge, once burned in -a closed fire, can be used for a frame for lead, and +a closed fire, can be used for a frame for lead and molds very neatly. But such things do not endure the fire.
@@ -25304,7 +25314,7 @@ molds very neatly. But such things do not endure the fire. caught by the ch frost, one lays them bare at the roots during winter in order that the winter the cold slows -them, and that leblossoming later, the flowers come to profit. +them and that, leblossoming later, the flowers come to profit.
@@ -25314,7 +25324,7 @@ them, and that leblossoming later, the flowers come to profi Olive trees In Spain, one lays them bare at the roots during -winter, & in summer one plants them +winter, & in summer, one plants them well with earth.
@@ -25326,7 +25336,7 @@ well with earth. Bittern foot To mold it, it is better to spread the toes & nails out well on -something flat, & leave it thus to dry a few +something flat & leave it thus to dry a few days, because, in drying, the scales appear coarser & the nerves & tendons become more apparent, and thus the molded foot will be more artistic. @@ -25342,9 +25352,9 @@ molded foot will be more artistic. Animals that do not release can only be molded in two molds, which should not be opened until after they are well reheated & the enclosed animal is well burned. Animals that have -bones or scales, which do not reduce into powder, but rather remain as +bones or scales, which do not reduce into powder but rather remain as calcined lumps, will never leave through the gate, whatever blowing that -one does, or whatever quicksilver that one puts there, or a +one does or whatever quicksilver that one puts there, or a feather quill molded to use as a gate. This is why one molds in two halves, in order that, the mold being opened after having been reheated, the burned thing can be cleaned out well. But take @@ -25371,18 +25381,18 @@ that through this means it is neater. Perfumer They readily put half of amber & half -of musk, & a very little civet, because amber +of musk & a very little civet, because amber always overtakes the principal scent of musk. To spare the amber, they readily put a little musk in -the white layers & pour l which gives a more +the white layers, & pour l which gives a more forceful scent. But to remove la or hide the blackness of the musk, they put in a bit of wheat starch from England, which is perfectly white. When the amber To perfume with white amber in the Portuguese fashion, take a -huchau of amber well broken up. And having put in a +huchau of amber, well broken up. And having put in a small silver bowl a silver spoonful of flower oil, or lacking that, ben oil, that is to say, a silver @@ -25390,11 +25400,11 @@ spoon that one uses at the table, put in your ambergris & place all on a low fire, and it will melt quickly if your amber is good, & it will remain there without lumps. Once all melted, put in the size of a pine nut of -civet, & make it melt & mix it well together. Next, take +civet, & make it melt, & mix it well together. Next, take your gloves, well-cleaned & well-dried, & dipping the tip of your finger very lightly on on the -edge of the oil, spread it on the glove little by little -& with patience & rub the glove between your +edge of the oil, spread it on the glove, little by little +& with patience, & rub the glove between your hands, & trace the fingers & the stitches, one after the other. And leave it to dry. Next, trace again as before until the amber is all laid down. @@ -25435,7 +25445,7 @@ hold them up and to blow out the ash that hinders. -Spare no pins, placing them not only in the middle of the body, +Spare no pins, placing them not only in the middle of the body but also on the big legs, and two or three at the tail, according to the stance that you want to give it. @@ -25448,7 +25458,7 @@ stance that you want to give it. Crocum That which is rusty by itself, being showered with salt water -or vinegar or urine, and then very +or vinegar or urine and then very dried out and reddened in fire, is very red ground on porphyry and is of the color of Levant bole, & approaching minium. But that which is showered @@ -25483,7 +25493,7 @@ and fine, one throws on top vinegar, urine, or It is better to repair little with the burin called onglet, or with that which one calls chaple, or some small file. But above all, -avoid touching your work, but only the flashing or lump that will have +avoid touching your work, but only the flashing or the lump that will have occurred during the cast. And while repairing, wet & rub with your very small hog bristle brushes. @@ -25532,7 +25542,7 @@ disturbed by the flashing. -It degrades a lot, because the lead, which is mixed in, works it +It degrades a lot, because the lead which is mixed in works it like in the cupel, and makes it jump in little balls at the edges of the crucible & on the charcoal which covers it. It is also fat, and thus it is good to melt all coined @@ -25558,7 +25568,7 @@ When you melt silver & gold, do not blow strongly & with violence, because with the charcoal consolidating, the crucible would lower & the silv could fall over. But when your mold is -ready, at that moment blow strongly to heat well the silver or +ready, at that moment, blow strongly to heat well the silver or gold. Both, once melted, want to be blown from above with a little bellows, especially gold, for this removes their smoke & softens them. @@ -25577,7 +25587,7 @@ ready, at that moment blow strongly to heat well the silver or -For those which in which one needs to burn something, and +For those which in which one needs to burn something and which do not open before being reheated, one does not make any casts before it is reheated. For large molds in which the gate is big and ample, it is necessary that the gate be well notched & @@ -25588,15 +25598,15 @@ of plump & thick felt, which is hardly cracking. The clamps should be placed before reheating or drying it. - + -When the earth, from which you make the earthen -slab to arrange your animal, is too soft, the points that +When the earth from which you make the earthen +slab to arrange your animal is too soft, the points that you put in it come out easily & come undone when you cast in the -sand & thus the mold spoils and the shape comes undone. -Therefore when you will recognize that your slab will be too tender & soft, spread on top some hot ashes & blow with +sand, & thus the mold spoils and the shape comes undone. +Therefore, when you will recognize that your slab will be too tender & soft, spread on top some hot ashes & blow with the bellows. @@ -25613,7 +25623,7 @@ If there is not enough good feather alum or crocum, it will easily crack in the fire. But if it is mixed with it, as it should be, it withstands it. It is recognized to be good when, being hot after the cast, it quickly imbibes water -when one quenches it, & rends breaks +when one quenches it & rends breaks easily because the alum & the crocum render it spongy. On the contrary, bad sand, which is only of plaster & brick, & little mixed with alum, breaks easily in the @@ -25632,13 +25642,13 @@ go. Even though you cast in lead, the molds want to be well dried, especially when they are large, and one needs to redden them on -the outside & keep them in continuous heat, until they no longer +the outside & keep them in continuous heat until they no longer smoke from inside. Do not place them to reheat at different times, but continue once you have started. And do not place them to cool in the cold, with for they would crack, but leave them to become lukewarm near the fire, & when they are still of such a heat as you have noticed before putting your finger in the hole, cast. And when the -mold is large, it needs more time to reheat & dry & one +mold is large, it needs more time to reheat & dry, & one needs to cast hotter. @@ -25677,7 +25687,7 @@ grinding it as before. La Stretching a canvas picture If it is crumpled & creased from being rolled up, moisten it -from behind with a wet sponge & you will stretch it very +from behind with a wet sponge, & you will stretch it very evenly without spoiling it. @@ -25742,7 +25752,7 @@ without touching it. Stance of animals -Not only with iron points, but with melted +Not only with iron points but with melted wax, animals are secured on the earthen slab. Wash them first in clear water, having been killed in the mixture of vinegar & urine, & with a sponge @@ -25764,7 +25774,7 @@ If you want to make them keep their mouths open, put in a little bit of Keeping animals Having molded them once, if you want to keep them for molding again, -put them back into the mixture of urine, vinegar, +put them back into the mixture of urine, vinegar & eau-de-vie where you killed the others, and they will keep for a long time without spoiling. If you have a cut on your hand, take care that this mixture does not touch it. @@ -25805,8 +25815,8 @@ One needs to mainly put this lute on the joints. Silver -When it quivers, once melted, it is a sign that it is well -hot & because usually it is leady, it is good to throw in it +When it quivers once melted, it is a sign that it is well +hot, & because usually it is leady, it is good to throw in it some lime mortar, for this attracts & gathers the lead. @@ -25837,7 +25847,7 @@ there is enough wax, for this is what makes the gate. Joining some fly wings, or similar They are joined with fish glue mixed with -eau-de-vie over slow fire, heating also the work. Then this is +eau-de-vie over slow fire, heating also the work. Then, this is covered with modeling wax, which is grey. @@ -25855,9 +25865,9 @@ covered with modeling wax, which is grey. If something is omitted: the harvester is not reproached for leaving some ears of wheat. If any artisans complain that one discovers their craft secrets, and if the -goddesses of Eleusis -complain, as they did to N. The -pytagorien, that one has divulged their mysteries, excuse +goddesses of Eleusis +complain, as they did to N. the +pytagorien, that one has divulged their mysteries, excuse yourself based on the words of the ancient Hebrews quoted by Josephe. @@ -25878,7 +25888,7 @@ active. If the jealous disapprove that these things are picked up & taken from others, reply that since Nullum est jam dictum quod non dictum -aut factum sit prius & that one +aut factum sit prius, & that one holds that all arts were invented in the space of a thousand years, so that you do not think that you are able to invent anything new but rather rediscover anew the books of Numa, @@ -25890,12 +25900,12 @@ to those who come after. The Latins took from the Greeks, as Ciceron from Platon & Vergile from Homere. - Aule Gelle, + Aule Gelle, Valere Max only made a collection from various authors who had already written. Tite Live made his xxiii book from the 2nd or 3rd of Polybe. Serapis was deemed the inventor -of agriculture among the Egyptians, & however so was +of agriculture among the Egyptians &, however, so was Cerés among the Sicilians. Pythagore & others from Tyana learned by their travels the disciplines which they claimed to have invented in their country, &c. Will one @@ -25968,7 +25978,7 @@ perfume the tip and the wick. Softening gold Dissolve caput mortuum in distilled vinegar, -filter & congeal in salt & cement +filter & congeal in salt, & cement ☉ with this, and it softens it marvellously. @@ -26005,12 +26015,12 @@ and it will take on a high color.
-Petards are made of the best alloy of metal & fine +Petards are made of the best alloy of metal & fine rosette that one can, in order that they do not burst, -namely one part of metal & two of fine +namely one part of metal & two of fine rosette or old cauldron, which is even better. Some are of fifteen or seventeen lb & ch are -loaded with two & a half lb of good great grain +loaded with two & a half lb of good grain powder, & they are for applying on windows & common doors. Others are of the weight of 25 to 27 lb and are loaded with 4 lb of powder. Others weigh 45 lb & are @@ -26064,7 +26074,7 @@ cork that goes in quite precisely & with force. In this way, the powder remains well sealed & gives much greater violence, & if you wish, you can put on the plate of cork one of wood pierced in the middle, if the petard is pierced at the -breech, which one holds to be the easiest & which makes for greater +breech, which one holds to be the easiest, & which makes for greater penetration because it cannot recoil. And for those that have a pierced breech, one must have a good gimlet to first make the hole in order that the peg, which is made in with a @@ -26128,7 +26138,7 @@ against the door. If the petards are good & do not explode, they only recoil and cannot do harm if one is next to them. A. This is a small peg, hooked like the hinge of a door -& made like a gimlet on one end for quickly +& made like a gimlet on one end, for quickly attaching a small petard with ear of fifteen or xvii lb for a common door or window. @@ -26141,7 +26151,7 @@ passes, button-like on one end & made like a against a door that does not have is not covered with iron plates. -D. These are plates of wax, cork, & wood +D. These are plates of wax, cork & wood for loading the petard & sealing the powder well. E. This Iron fork made in the form of pincers @@ -26192,7 +26202,7 @@ begun & weakened by the saws or wheelwrights for smoothly cutting a door or window by making large holes close to one another. -O. Crutches of the height of a man which it is +O. Crutches of the height of a man, which it is necessary to carry to quickly put under a portcullis after the petard has gone off & to prevent the portcullis from falling. @@ -26311,7 +26321,7 @@ and copper White enamel, making it tender -with black calcined river +with calcined black river pebbles @@ -26329,7 +26339,7 @@ pebbles They mold in paper & carton, for neither earth, sand, nor -metal would mold as neatly, & would not receive. Or else they +metal would mold as neatly & would not receive. Or else they engrave in stone from Istre the principal side, & the reverse is of paper or carton. @@ -26343,12 +26353,12 @@ principal side, & the reverse is of paper or Reducing a round figure to a hollow form You need to first mold it with some plaster, as said -before, & in the plaster cast in wax, from which will +before, & in the plaster cast wax into it, from which will come out a relief that you will repair very neatly, and bmodel it as you fancy. And then, you will model this relief of wax again in plaster, or better yet, with your wetted sand # like for noyau, & in the -latter cast in some lead, & from this you will have a very +latter, cast in some lead, & from this you will have a very neat relief, & if it is not, repair on the cement or otherwise, & take heed that it is always of good release. And this one will always serve you well for making as many hollow forms as you @@ -26413,8 +26423,8 @@ can mold the other the same. -perfume, & suchlike. But take heed that it is -necessary that the black wax, with which you mold, be +perfume & suchlike. But take heed that it is +necessary that the black wax with which you mold be hard, in order that, quickly & du more drily, it retracts, in order to see if it is well imprinted. It is rendered harder by adding into the already melted one more melted sulfur @@ -26443,8 +26453,8 @@ quenched. Casting Do not cast in one go, for in doing so, the metal is -regurgitated & in & the -metal gets cold before it goes down. But, cast bit by bit & +regurgitated & in, & the +metal gets cold before it goes down. But cast bit by bit & taking your time. @@ -26469,7 +26479,7 @@ taking your time. Those of noyau, in being reheated, want to be set on charcoals a little spent, without the air touching them, like the frame molds want to be recu -dried in the open, & uncovered. +dried in the open & uncovered. @@ -26493,7 +26503,7 @@ tin. Cleaning closed molds One needs to let them cool rather than blow inside to clean them, -for when hot they retain the ash. When cold, they are cleaned better. Take a thin wire of latten or a delicate straw to clean the tail completely, for this is what makes the gate. Blow into it & suck, drawing it to you. Before molding, +for when hot, they retain the ash. When cold, they are cleaned better. Take a thin wire of latten or a delicate straw to clean the tail completely, for this is what makes the gate. Blow into it & suck, drawing it to you. Before molding, thicken the tail with wax, then cut it,
@@ -26528,16 +26538,16 @@ out well, then the paint covers everything.
-1578-9 original first page +Original first page (1578–1579) In the year fifteen hundred seventy-eight, the second of July, the heirs of thee late Sieur -Ouvryer received (two hundred and five -écus), the rent of Saint-Frajou, amounting +Ouvryer received two hundred and five +écus the rent of Saint-Frajou, amounting to twelve hundred and thirty livres. They have also received, as part of the revenue of the year fifteen -hundred seventy nine, three hundred forty three and one third écus. +hundred seventy nine, two three hundred forty three and one third écus sur qu. And for the first year, to them remains eighty livres and fifteen
@@ -26550,7 +26560,7 @@ hundred seventy nine, three hundred forty three and one third écus.Take, against pestilential fever or poison or plague, an écu’s weight of your opiate soaked in -scabious or bugloss water, +scabious or bugloss water or thoroughly tempered wine, if one is afflicted. After taking it, one needs to make oneself sweat. diff --git a/xslt/entry-extract-metadata.xsl b/xslt/entry-extract-metadata.xsl index 4e2afa995..91d5cbb6f 100644 --- a/xslt/entry-extract-metadata.xsl +++ b/xslt/entry-extract-metadata.xsl @@ -65,7 +65,7 @@ wp - + From 8f37e2cc73fe946ec882888c3e9731ae1997f147 Mon Sep 17 00:00:00 2001 From: tcatapano Date: Wed, 18 Dec 2019 13:44:51 -0800 Subject: [PATCH 2/5] update allFolios txt files --- allFolios/txt/all_tc.txt | 763 ++++++------- allFolios/txt/all_tcn.txt | 537 ++++----- allFolios/txt/all_tl.txt | 2246 +++++++++++++++++++------------------ 3 files changed, 1816 insertions(+), 1730 deletions(-) diff --git a/allFolios/txt/all_tc.txt b/allFolios/txt/all_tc.txt index eadfd35bc..9817cc42b 100644 --- a/allFolios/txt/all_tc.txt +++ b/allFolios/txt/all_tc.txt @@ -30,71 +30,6 @@ Trompettes voy le livre des funerailles Liste de livres et d'autheurs -Alexander Aphrodisæus -Polydorus verg{ilius} -Appianus -Athenæus -Pausanias - - -Statius Thebaidos -Serviusin Aeneid{em} -Macrobius - - -Aulus Gellius - - -Alexander ab Alex{andria} -Festus -Nonius -Magius miscell{anea} -Pollux onomast{icon} -Higinus - - -Berosus - - -Suetonius - - -Valerius max{imus} - - -Cornelius tacitu{s} - - -Xenophon -Seneca -Dionisius Halicarnassensis -Sabellicus - -cum permultis - - -aliis Iulius Capitollin{us} -Budæus -Spartianus -Blondus -Volaterranus -Herodotus -Paulus Manutius - - -Strabo -Iulius firmicus -Quintus Curtius -Dion -Cornelius Nepos -Flavius Vopiscus - - -Liste de livres - -mons{ieur} - - Vuolfangus lazius @@ -105,6 +40,7 @@ Petrus appianus Mathemat{icus} Ingolstadiensis Comment. urb. rom. + Hieronimo Ruscelli @@ -116,12 +52,14 @@ Angelius Bargæus de aucupio et venatione Nicolaus Damascenus + Cares{ariensis}de rebus persarum Isidorus + Osorius @@ -131,7 +69,16 @@ Eupolemus historicus gentilis qui de rebus davidis & salomonis -scripsit- Cathalogue des villes +scripsit +           +           +           +           +           +           +           +mons{ieur} +- Cathalogue des villes Calendrier des bergiers @@ -159,6 +106,64 @@ roy et de la royne mere +Alexander Aphrodisæus +Polydorus verg{ilius} +Appianus +Athenæus +Pausanias + + +Statius Thebaidos +Serviusin Aeneid{em} +Macrobius + + +Aulus Gellius + + +Alexander ab Alex{andria} +Festus +Nonius +Magius miscell{anea} +Pollux onomast{icon} +Higinus + + +Berosus + + +Suetonius + + +Valerius max{imus} + + +Cornelius tacitu{s} + + +Xenophon +Seneca +Dionisius Halicarnassensis +Sabellicus +cum permultis + + +aliis Iulius Capitollin{us} +Budæus +Spartianus +Blondus +Volaterranus +Herodotus +Paulus Manutius + + +Strabo +Iulius firmicus +Quintus Curtius +Dion +Cornelius Nepos +Flavius Vopiscus + Liste de livres @@ -258,12 +263,12 @@ esmeraldes de Brissac Jai prins miniu{m} 26 -℥{christ}al et +℥xpal et broie sur le marbre 12 ℥v{er}det 3 |ʒ| Incorpores le tout ensemble -mis dans un {crois}et couvert +mis dans un +et couvert dun a{ultr}e bien lute qui ait un trou dans @@ -299,7 +304,12 @@ coryal extincellent 4 grains fuzion ~~~~~~~~~~~~~~~003r~~~~~~~~~~~~~~~ Coral contrefaict -+ + + +            +            + + + Il fault premierement faire les branches de boys ou @@ -3671,6 +3681,10 @@ quintals + + + + Les minerons pour fayre @@ -3692,6 +3706,8 @@ Et cela rend le fer merveilleusem{ent} ductible & courant + + Il fault aussy que la tuelle entre jusques au milieu de la gueule du fourneau @@ -3880,7 +3896,7 @@ affin quil ne sarrape pas -Contre Go +Contre Go. Destrempe de la graine de coings en eau claire & de cette eau @@ -4356,6 +4372,8 @@ fossede nuict ◯ + + Ilz donnent de @@ -4408,6 +4426,7 @@ aultres le mesme # + La composition des canons de france est @@ -5223,7 +5242,7 @@ trasse un poinct ou une ligne & la charge bien dancre puys -replye le papier & le frotte sur le dos & il imprimera +replye le papier & le frotte sur le dos & il imprimera aultant @@ -5237,7 +5256,6 @@ trassee C est celle qui simprime - P Pour escripre a gaulche aussi @@ -5842,6 +5860,8 @@ Un peu trop grande voy celle Orgues + + Puys on les affuste sur une table moyennem{ent} espesse @@ -6196,6 +6216,8 @@ mettent que la balle ~~~~~~~~~~~~~~~023v~~~~~~~~~~~~~~~ + + pouldre Estant pleine la saulssisse trempe la @@ -6451,6 +6473,31 @@ nuict recognoistre le lieu le plus commode pour faire la batterie + + +Scaches les magasins + + +de france pour lartiglerie + + + +Il est bon que la plateforme + + +penche un peu sur le deva{n}t + + +pourceque la piece est plustost + + +mise en batterie & tient + + +plus coup & bat plus roide + + + & sil ne voit bien on donne une faulse alarme affin que @@ -6493,149 +6540,130 @@ les gabions de terre Et pendant quon faict cela on donne quelque fause alarme dun aultre coste Et plustost on ha -tire quelque volee aulx deffenses Les gabions les -pionners - - -portent les tables pour faire la solle ou platteforme - - -qui ont quattre doigts ou demy pied -despes Et on les - - -enchasse en terre La platteforme excede la largeur - - -des roues du canon de cinq ou six pieds de chasque - - -coste sil ny ha quun canon Mays sil y en ha - - -dadvantaige les platteformes se touchent La distance - - -qui est entre les pieces est la largeur de deulx gabions - - -Tant que la batterie dure Les canoniers couchent & -ma{n}gent - - -pres dun canon Si cest en petites places on ne daigne faire - - -tranchees pour aller aux pieces Mays on mect force - - -gabions qui sont hault & on y en courant aulx gra{n}d - - -places on faict trenchees Il y a tousjours dans les - - -tranchees ou derriere des barriquades des -compaignies - - -en garde pour la deffence des pieces On tient le petit - - -magasin de pouldres de trois ou quattre caques a -part - - - - - -Scaches les magasins +Canons a chambre -de france pour lartiglerie + +sont ceulx qui ont un renfort + +par dedans en tout lespace + +qui contient la pouldre Et + +la balle ne peut rouler -Il est bon que la plateforme + +que jusque a lentree de + +ladicte chambre Ceulx cy -penche un peu sur le deva{n}t + +ne font pas si grande + +faulcee & sont fascheux -pourceque la piece est plustost + +a charger Mays il ne + +seschauffent pas si tost -mise en batterie & tient -plus coup & bat plus roide -Canons a chambre +tire quelque volee aulx deffenses Les gabions les +pionners +portent les tables pour faire la solle ou platteforme -sont ceulx qui ont un renfort +qui ont quattre doigts ou demy pied +despes Et on les -par dedans en tout lespace +enchasse en terre La platteforme excede la largeur -qui contient la pouldre Et +des roues du canon de cinq ou six pieds de chasque -la balle ne peut rouler +coste sil ny ha quun canon Mays sil y en ha -que jusque a lentree de +dadvantaige les platteformes se touchent La distance -ladicte chambre Ceulx cy +qui est entre les pieces est la largeur de deulx gabions -ne font pas si grande + +Tant que la batterie dure Les canoniers couchent & +ma{n}gent + +pres dun canon Si cest en petites places on ne daigne faire -faulcee & sont fascheux + +tranchees pour aller aux pieces Mays on mect force + +gabions qui sont hault & on y en courant aulx gra{n}d -a charger Mays il ne -seschauffent pas si tost +Lumiere dacier -Lumiere dacier + +se pose en Ancrau dans + +les canons pourcequelle ne + +se gaste poinct en tirant -se pose en Ancrau dans + +co{mm}e font bien tost les aultres + +Mays ces ancraus sont -les canons pourcequelle ne + +subgects a saulter & porter + +domaige au canonier Il ny -se gaste poinct en tirant + +ha que duser de la lumiere + +propre -co{mm}e font bien tost les aultres -Mays ces ancraus sont -subgects a saulter & porter +places on faict trenchees Il y a tousjours dans les -domaige au canonier Il ny +tranchees ou derriere des barriquades des +compaignies -ha que duser de la lumiere +en garde pour la deffence des pieces On tient le petit -propre +magasin de pouldres de trois ou quattre caques a +part Lumiere a ras @@ -6765,10 +6793,6 @@ ce faisant tu esbranles plusieurs pierres - - - - Aulcuns mettent des petites roues dune piece & de quelque table espece au bout @@ -7180,6 +7204,7 @@ et en frottent la femelle molle + + Quand lestaing est @@ -7865,7 +7890,7 @@ Mays celuy qui est faict dhuile de noix blanche co{mm}e tu la -fais tient a la pluyet est fort +fais tient a la pluye t est fort cler & beau & bien tost sec @@ -8294,11 +8319,11 @@ pas a ses mains -X Pour rallumer une chandelle estainte +X Pour rallumer une chandelle estainte entre les mains sans soufler -X Ayes un petit baston douzier bien +X Ayes un petit baston douzier bien sec et en couppe une petite piece comme un curedant & mects lun bout entre lindice & le grand doigt @@ -8472,7 +8497,7 @@ doit tousjours au front tu lempescheras de sortir dune chambre -XFais luy embrasser la quenoille du +X Fais luy embrasser la quenoille du lict ou chose semblable @@ -8480,7 +8505,7 @@ lict ou chose semblable front -XGaiger a quelquun que se +X Gaiger a quelquun que se promenant @@ -8490,7 +8515,7 @@ jusques a tel lieu et en revenir il ne dira point quattre fois de suite botte sa{n}s espero{n} -XSil sessaye de le diremays il +X Sil sessaye de le diremays il fault quil parle hault quand il sera alle & revenu tu luy @@ -8506,16 +8531,16 @@ muraille sans y fayre trou -X -Fais le tenir par un vallet contre la + +X Fais le tenir par un vallet contre la muraille -XNe casser point un verre +X Ne casser point un verre dune busche ou dun gros baston -XTu en coupperas un petit loppin gros comme un +X Tu en coupperas un petit loppin gros comme un curedent @@ -12702,7 +12727,7 @@ planche puys daultre papier & enfin ung aultre -foeultrePuys passe entre +foeultre Puys passe entre les rolleaulx Et tu peulx imprimer une douzaine de pieces @@ -15011,7 +15036,7 @@ les couleurs - Huile daspic +Huile daspic @@ -17813,7 +17838,7 @@ doigts co{mm}e lardille Il se deseiche legerem{ent} au -foeu puys se pile & passe + foeu puys se pile & passe subtillem{ent} par un double tamis ou une manche @@ -18751,7 +18776,6 @@ est brusque - Pour faire couler bien le plomb @@ -18929,7 +18953,7 @@ v{ost}re pers avecq Et le poser sans le boys -Pour Couleur dorange +Pour couleur dorange Prenes de leau ou la chault aura trempe Et Mectes du terroy @@ -19020,7 +19044,7 @@ v{ost}re estaing en fondant & le Remues fort Jusques a ce q{ui}l soit en pouldre -Pour le Coucher +Pour le coucher Prenes de la colle de partenayou parchemin Et lapliques avecq Le blanc @@ -19065,7 +19089,7 @@ une once de sandrax & une dhuille daspic -Couleur de Cuyvre bruny +Couleur de cuyvre bruny Prenes une once de sel armoniac avecq une once de @@ -20806,7 +20830,6 @@ jamays si net - Jamays le plomb @@ -21967,8 +21990,6 @@ gecte treschault X - - Le sable de mine @@ -24102,6 +24123,8 @@ gasteroit la eau Elle se coust avecq fil noir + + ~~~~~~~~~~~~~~~094v~~~~~~~~~~~~~~~ @@ -24224,9 +24247,6 @@ fer tombant a la forge des mareschaulx - - - ~~~~~~~~~~~~~~~095r~~~~~~~~~~~~~~~ @@ -25943,7 +25963,6 @@ le foeu - Elles sont faictes @@ -26442,6 +26461,7 @@ haulteur de sept travers de doigt + ~~~~~~~~~~~~~~~102v~~~~~~~~~~~~~~~ Paindre sur cristal ou verre @@ -26550,7 +26570,10 @@ souldre deulx moicties ensemble Mays si tu es contrainct de le mouler espes Fais en la forme & moule force -abrevouers aultour de la figure en ceste sorte +abrevouers + + +aultour de la figure en ceste sorte @@ -27297,6 +27320,9 @@ vers il entrera + + + Aulcuns les @@ -27701,8 +27727,10 @@ lor Cest celuy qui estant mesle parmy le sable le recoit & le contient en sa chaleur -# demeure recuit & +# + +demeure recuit & le plus soubdain quil est @@ -29331,13 +29359,9 @@ La grise est meilleure qui ne se fend point - - Elle est plus propre que lame de plomb - - Fil de fer Il ten fault avoyr aussy provision de diverses grosseurs @@ -29375,6 +29399,8 @@ affaire Le fil de fer est plus ferme que celuy de letton + + ~~~~~~~~~~~~~~~111v~~~~~~~~~~~~~~~ Eeau de sel armoniac @@ -30199,15 +30225,6 @@ puys le reste - - -Leau de vye - - -de trois passes - - - Si apres que @@ -30271,6 +30288,10 @@ de terre nettoye bien avecq du cotton car le sable qui y +Leau de vye + + +de trois passes toucheroit seroit @@ -30418,22 +30439,6 @@ derechef et retranche le superflu avecq un grand cousteau luy donnant forme longue de mandorre -Rascle & coupe aussy le derriere du moule qui -est tousjours le plus - - -foible Et laproprie proprem{ent} ainsy Et noublie de - - -fayre autour des coches affin que le second gect si encre - - -& lye mieulx - - - -sans varier - @@ -30477,8 +30482,6 @@ esculee - - Fais le cler comme @@ -30573,17 +30576,33 @@ tu le destrempes -Leau de sel armoniac nest pas +Rascle & coupe aussy le derriere du moule qui +est tousjours le plus -necessaire aulx petits moules qui ne requierent pas grand ne -long foeu pour estre recuits + +foible Et laproprie proprem{ent} ainsy Et noublie de + +fayre autour des coches affin que le second gect si encre + + +& lye mieulx + + + +sans varier -touteffois quand tu y en mettras il ne sera que mieulx + +Leau de sel armoniac nest pas + +necessaire aulx petits moules qui ne requierent pas grand ne +long foeu pour estre recuits + +touteffois quand tu y en mettras il ne sera que mieulx @@ -30754,7 +30773,6 @@ puys + - Toutesfois laisse @@ -30984,6 +31002,7 @@ souspirails a une moictie + + Note que quand tu as @@ -31011,8 +31030,6 @@ chancres - - Si apres que les deulx @@ -31045,8 +31062,6 @@ faict separer - - Toutesfois advise @@ -31126,8 +31141,6 @@ revers fortifie les joinctures avecq des crampons - - Apres tu peulx reparer les faultes @@ -31137,6 +31150,7 @@ avecq de petits ciseaulx ~~~~~~~~~~~~~~~115r~~~~~~~~~~~~~~~ + Si tu veulx qui sera asses @@ -31245,7 +31259,7 @@ de fil de fer de ceste forme - + ilz empeschent @@ -31262,10 +31276,11 @@ en recuisant + Advertisseme{n}t sur tout ce -que dessus|-| +que dessus |-| Si ton serpent a este long temps sans manger il advient que quand @@ -31813,8 +31828,6 @@ mols & flexibles - - Quand tu as @@ -33029,7 +33042,6 @@ sayes lay nettoyee - Gecte tousjours @@ -33257,8 +33269,6 @@ servir a chasque metal - - Voy gesnerus @@ -33267,8 +33277,6 @@ de lapidibus - - Il endure @@ -33312,8 +33320,6 @@ il tient - - Le spat ne @@ -33722,7 +33728,7 @@ Un peu daxunge Et de larsenic -+ + Garder fleurs seiches en mesme @@ -33730,54 +33736,6 @@ Garder fleurs seiches en mesme - - -Les fleurs se gardent aussy en leur mesme beaulte dans le vinaigre -distilledans un vase - - -bien selle qui ne prene aulcun vent qui soit bien selle de -cire & mastic Les oeillets & -roses - - -la resideure du vinaigre commu{n} les faict pourrir - - - -Si le sable faict poulssiere & tient - - -sur les fleurs & quaisem{ent} avecq un -pinceau il ne soste il nest pas bon - - -Le plus maigre est le meilleur - - - -Le sable de riviere lave - - -par le coura{n}t des eaulx est - - -bon estant passe par un linge - - -pour - - -secouer - - -la pou - - -dre - - - Cest un rare secret & qui donne du plaisir pour orner @@ -33819,6 +33777,53 @@ y laisse marque quand tu luy as pulverise & puys verse Car cest + + +Le sable de riviere lave + + +par le coura{n}t des eaulx est + + +bon estant passe par un linge + + +pour + + +secouer + + +la pou + + +dre + ++ + + +Les fleurs se gardent aussy en leur mesme beaulte dans le vinaigre +distilledans un vase + + +bien selle qui ne prene aulcun vent qui soit bien selle de +cire & mastic Les oeillets & +roses + + +la resideure du vinaigre commu{n} les faict pourrir + + + +Si le sable faict poulssiere & tient + + +sur les fleurs & quaisem{ent} avecq un +pinceau il ne soste il nest pas bon + + +Le plus maigre est le meilleur + + @@ -33865,7 +33870,6 @@ tirer tout - Advise bien de ne coeuillir pas tes fleurs en temps de pluye et humide Mays lors @@ -33956,8 +33960,6 @@ genest Et aultres que ton experience tenseignera - - Le sable de quoy @@ -34035,8 +34037,6 @@ co{mm}e tu scais - - Les pensees se @@ -34084,8 +34084,6 @@ de terre plein deau - - car la ou la maintouchera @@ -35344,17 +35342,6 @@ coches car cela corrompt la furie du metal -Et le faict couler a son ayse sans soufler ne faire trop grand fumee qui -empesche le cours - - -Tu le peulx diviser aussy en deulx ou troys branches ainsy - - quand il apr - - -de la chose moulee et fais tousjours des trous dans le gect - & de ses conduicts & abrevouers tu y peulx mectre aussy de @@ -35371,6 +35358,17 @@ promptement par tout Et de ses conduicts tu peulx mener ton gect & tes souspirails sans gaster aulcune chose +Et le faict couler a son ayse sans soufler ne faire trop grand fumee qui +empesche le cours + + +Tu le peulx diviser aussy en deulx ou troys branches ainsy + + quand il apr + + +de la chose moulee et fais tousjours des trous dans le gect + Plastre @@ -35460,60 +35458,6 @@ froide le durcit -Et leau chaulde - - -le remollist - - -dadvantage - - -Leau froide - - -ne le penetre pas - - -co{mm}e le mixtionne - - -pourcequil est - - -plus dur & le - - -mixtionne est - - -plus spongieulx - - -De ce plastre - - -ainsy recuit en pouldre - - -il sen gecte des medailles - - -quil ne craignent point les -pluyes mesmem{en}t si elles sont - - -vernies On les tient en allemaigne -sur les maisons Mays advise que leau soict fort -chaulde & si elle est - - -bouillante il ny ha point de danger Tous moules de -plastre seulx ou mixtionne sy - - -despouillent - Symeterres @@ -35557,6 +35501,63 @@ entendras aysem{ent} la rumeur + + Et leau chaulde + + + le remollist + + + dadvantage + + + Leau froide + + + ne le penetre pas + + + co{mm}e le mixtionne + + + pourcequil est + + + plus dur & le + + + mixtionne est + + + plus spongieulx + + + De ce plastre + + + ainsy recuit en pouldre + + + il sen gecte des medailles + + + quil ne craignent point les +pluyes mesmem{en}t si elles sont + + + vernies On les tient en allemaigne +sur les maisons Mays advise que leau soict fort + chaulde & si elle est + + + bouillante il ny ha point de danger Tous moules de + plastre seulx ou mixtionne sy + + + despouillent + + + Secret @@ -36350,8 +36351,6 @@ gecter argent ou ny ha rien a brusler dedans nont besoing sinon quand le gect & souspirails sont faicts que de les - - luter & les recuire une foys Ne lute point le bout du moule par ou tu veulx faire le gect Ains laisse le descouvert @@ -36762,7 +36761,8 @@ poinct estre descouvert fondu -#grossierem{ent} pulverisee +# +grossierem{ent} pulverisee @@ -37152,6 +37152,7 @@ plaine de aiguillons fort venelx + + Mects un peu de metalline dans @@ -37330,6 +37331,8 @@ pour retirer la furie du metal + + Yraigne moulee sur une foeille @@ -37397,8 +37400,7 @@ molettes Fays le semblable du bout des petites corniches de liraigne -Retourne -🜊 +Retourne 🜊 Pour faire le gect @@ -38062,7 +38064,7 @@ trop de plomb il ne court pas bien tanvre Et pour le scavoir -si lestaim crie fort cest signe quil ny ha pas trop +si lestaimcrie fort cest signe quil ny ha pas trop de plomb @@ -38773,6 +38775,7 @@ ou moisissure + + Quand tu moules de petites lesardes et que @@ -40785,6 +40788,7 @@ si chault que quand elle est tanvre + + Note que si tu @@ -42459,7 +42463,10 @@ papier huile & imprime -+ Recuits tes moules ++ + + +Recuits tes moules avecq charbons allumes @@ -43231,6 +43238,7 @@ boit lhuile + + Sil y a du crocum @@ -45094,8 +45102,10 @@ trou sur le naturel et le raporter avecq souldure -X Note quapres que -ton +X + + +Note quapres que ton noyau est gecte Il est @@ -45660,6 +45670,7 @@ moule quil ne soict recuit & le rat brusle + + Le rat pourcequil @@ -46277,7 +46288,7 @@ a grand foeu mesmem{ent} sil y a du plomb Car le plomb -percera au foeu une piece dor pource quil tient fort de +percera au foeu une piece dor pource quil tient fort de ☿ @@ -46904,7 +46915,7 @@ Tu peulx empraindre de cire coloree le relief dune medaille & tu auras un cave dans lequel tu pourras gecter -en noyau un relief de ton {sable} sur lequel tu feras un cave +en noyau un relief de ton sable sur lequel tu feras un cave de plomb @@ -47257,6 +47268,7 @@ fondant sert de gect a la mouche + + Sil vient quelque @@ -48049,7 +48061,7 @@ un charbon chault ou avecq une grattebroisse de fil de laitton -OEillet +Oeillet Il se moule co{mm}e la rosesoulcy & toutes aultres @@ -49640,8 +49652,6 @@ Estant moules ne les garde pas long temps Ains les employe le plustot que tu pourras pourcequesta{n}t - - long temps gardes ilz sont subgects a se corrompre @@ -49744,6 +49754,7 @@ secrets des arts et que les desses Eleusines se plaignent co{mm}e a N + pytagorien de ce que on ha divulgue leurs mysteres Excuse @@ -50106,8 +50117,6 @@ la poincte qui est faicte en guimbelet scavoir de trois ou 4 doitgs qui entre tout dans la porte Quand les - - mortiers sont poses on remplist la lumiere de bon pulverin @@ -50713,7 +50722,7 @@ couvre tout ~~~~~~~~~~~~~~~170v~~~~~~~~~~~~~~~ -Première page d'origine +Première page d'origine (1578–1579) Lan mil cinq cens septante huict le deuxiesme de Juillet a este diff --git a/allFolios/txt/all_tcn.txt b/allFolios/txt/all_tcn.txt index 10e68c3ea..825289124 100644 --- a/allFolios/txt/all_tcn.txt +++ b/allFolios/txt/all_tcn.txt @@ -25,7 +25,9 @@ Sacra Eleusinae deae propalare nefas. Trompettes, voy le livre des funerailles. -Liste de livres +Liste de livres et d'autheurs + + Vuolfangus Lazius @@ -35,6 +37,7 @@ Petrus Appianus, mathemat{icus} Ingolstadiensis, Comment. urb. rom. + Hieronimo Ruscelli @@ -46,12 +49,14 @@ Angelius Bargaeus, De aucupio et venatione Nicolaus Damascenus + Cares{ariensis},De rebus Persarum Isidorus + Osorius @@ -61,7 +66,14 @@ Salomonis scripsit - +           +           +           +           +           +           +           +mons{ieur} - Cathalogue des villes @@ -91,21 +103,7 @@ roy et de la royne mere - -Liste de livres - -Aquatilium animalium historiae, Hypolito - - -Salviano Typhernate authore, Romae 1554 - - -Liste de livres et d'auteurs - -Les Annales de Normandie - -Alexander -Aphrodisaeus +Alexander Aphrodisaeus Polydorus Verg{ilius} Appianus Athenaeus @@ -163,7 +161,19 @@ Dion Cornelius Nepos Flavius Vopiscus -Mons{ieur} + +Liste de livres + +Aquatilium animalium historiae, Hypolito + + +Salviano Typhernate authore, Romae 1554 + + + + + +Les Annales de Normandie ~~~~~~~~~~~~~~~001v~~~~~~~~~~~~~~~ @@ -288,7 +298,12 @@ coryal extincellent 4 grains. Fuzion ~~~~~~~~~~~~~~~003r~~~~~~~~~~~~~~~ Coral contrefaict -+ + + +            +            + + + Il fault premierement faire les branches de boys ou @@ -3688,6 +3703,10 @@ quintals. + + + + Les minerons, pour fayre @@ -3709,6 +3728,8 @@ Et cela rend le fer merveilleusem{ent} ductible & courant. + + Il fault aussy que la tuelle entre jusques au milieu de la gueule du fourneau, @@ -5098,7 +5119,7 @@ canon poise 40 lb, celle de metal -poise lx lb. +poise lx lb Aussy prend on @@ -5887,7 +5908,7 @@ des coches en ceste sorte: -. + & par ces coches on passe le @@ -6230,6 +6251,8 @@ mettent que la balle. ~~~~~~~~~~~~~~~023v~~~~~~~~~~~~~~~ + + pouldre. Estant pleine la saulssisse, trempe la @@ -6489,6 +6512,31 @@ nuict recognoistre le lieu le plus commode pour faire la batterie, + + +Sçaches les magasins + + +de France pour l’artiglerie. + + + +Il est bon que la plateforme + + +penche un peu sur le deva{n}t + + +pour ce que la piece est plustost + + +mise en batterie & tient + + +plus coup & bat plus roide. + + + & s’il ne voit bien on donne une faulse alarme affin que @@ -6531,155 +6579,137 @@ les gabions de terre. Et pendant qu’on faict cela, on donne quelque fause alarme d’un aultre costé. Et plustost on ha -tiré quelque volée aulx deffenses. -Les pionners - - -portent les tables pour faire la solle ou platteforme, - - -qui ont quattre doigts ou demy pied -d’espés, et on les - - -enchasse en terre. La platteforme excede la largeur - - -des roues du canon de cinq ou six pieds de chasque - - -costé s’il n’y ha qu’un canon, mays s’il y en ha - - -dadvantaige, les platteformes se touchent. La distance - - -qui est entre les pieces est la largeur de deulx gabions. - - -Tant que la batterie dure, les canoniers couchent & -ma{n}gent - - -pres d’un canon. Si c’est en petites places on ne daigne faire - - -tranchées pour aller aux pieces, mays on mect force - - -gabions qui sont hault & on y va en courant. Aulx -gra{n}d - - -places on faict trenchées. Il y a tousjours dans les - - -tranchées ou derriere des barriquades des -compaignies - - -en garde pour la deffence des pieces. On tient le petit - - -magasin de pouldres de trois ou quattre caques a -part, - +Canons à chambre + +sont ceulx qui ont un renfort -Sçaches les magasins + +par dedans en tout l’espace + +qui contient la pouldre, et -de France pour l’artiglerie. + +la balle ne peut rouler + +que jusque à l’entrée de + +ladicte chambre. Ceulx cy + +ne font pas si grande + +faulcée & sont fascheux -Il est bon que la plateforme + +à charger, mays il ne + +s’eschauffent pas si tost. -penche un peu sur le deva{n}t -pour ce que la piece est plustost -mise en batterie & tient +tiré quelque volée aulx deffenses. +Les pionners -plus coup & bat plus roide. +portent les tables pour faire la solle ou platteforme, -Canons à chambre +qui ont quattre doigts ou demy pied +d’espés, et on les +enchasse en terre. La platteforme excede la largeur -sont ceulx qui ont un renfort +des roues du canon de cinq ou six pieds de chasque -par dedans en tout l’espace +costé s’il n’y ha qu’un canon, mays s’il y en ha -qui contient la pouldre, et +dadvantaige, les platteformes se touchent. La distance -la balle ne peut rouler +qui est entre les pieces est la largeur de deulx gabions. -que jusque à l’entrée de +Tant que la batterie dure, les canoniers couchent & +ma{n}gent -ladicte chambre. Ceulx cy +pres d’un canon. Si c’est en petites places on ne daigne faire -ne font pas si grande +tranchées pour aller aux pieces, mays on mect force -faulcée & sont fascheux +gabions qui sont hault & on y va en courant. Aulx +gra{n}d -à charger, mays il ne -s’eschauffent pas si tost. +Lumiere d’acier -Lumiere d’acier + +se pose en ancrau dans + +les canons pource qu’elle ne + +se gaste poinct en tirant -se pose en ancrau dans + +co{mm}e font bien tost les aultres. + +Mays ces ancraus sont -les canons pource qu’elle ne + +subgects à saulter & porter + +domaige au canonier. Il n’y -se gaste poinct en tirant + +ha que d’user de la lumiere + +propre. -co{mm}e font bien tost les aultres. -Mays ces ancraus sont -subgects à saulter & porter +places on faict trenchées. Il y a tousjours dans les -domaige au canonier. Il n’y +tranchées ou derriere des barriquades des +compaignies -ha que d’user de la lumiere +en garde pour la deffence des pieces. On tient le petit -propre. +magasin de pouldres de trois ou quattre caques a +part, Lumiere à ras + de @@ -6804,10 +6834,6 @@ ce faisant tu esbranles plusieurs pierres. - - - - Aulcuns mettent des petites roues d’une piece & de quelque table espece au bout @@ -8225,7 +8251,7 @@ usent se vent xii ou xv lb. Le quintal de metal, six -lb. +lb. #Or, argent, cuivre, leton, fer. @@ -8348,12 +8374,12 @@ pas à ses mains. -X Pour rallumer une chandelle estainte +X Pour rallumer une chandelle estainte entre les mains sans soufler -X Ayes un petit baston d’ouzier bien +X Ayes un petit baston d’ouzier bien sec et en couppe une petite piece comme un curedant, & mects l’un bout entre l’indice & le grand doigt, @@ -8545,7 +8571,7 @@ doit tousjours au front, tu l’empescheras de sortir d’une chambre -XFais luy embrasser la quenoille du +X Fais luy embrasser la quenoille du lict ou chose semblable, @@ -8553,7 +8579,7 @@ lict ou chose semblable, front. -XGaiger a quelqu’un que se +X Gaiger a quelqu’un que se promenant @@ -8563,7 +8589,7 @@ jusques à tel lieu et en revenir, il ne dira point quattre fois de suite botte sa{n}s espero{n} -XS’il s’essaye de le dire,mays il +X S’il s’essaye de le dire,mays il fault qu’il parle hault, quand il sera allé & revenu, tu luy @@ -8579,16 +8605,16 @@ muraille sans y fayre trou -X -Fais le tenir par un vallet contre la + +X Fais le tenir par un vallet contre la muraille. -XNe casser point un verre +X Ne casser point un verre d’une busche ou d’un gros baston -XTu en coupperas un petit loppin gros comme un +X Tu en coupperas un petit loppin gros comme un curedent, @@ -9791,9 +9817,7 @@ d’argent avecq le salpestre, il se vitrifie au fonds du creuset un esmail rouge. Je ne sçay si le cuivre meslé parmy -l’argent en est cause -. - +l’argent en est cause. Essaye pour l’esmail. @@ -18034,7 +18058,7 @@ neantmoings son asperité areneuse sans embouer les doigts co{mm}e -l’ardille. Il se deseiche legerem{ent} au foeu, puys se +l’ardille. Il se deseiche legerem{ent} au foeu, puys se pile & passe @@ -21056,7 +21080,7 @@ Le plomb n’estant pas gecté assés chault est blanc, On peult faire moule de plomb -. +, & pour y gecter fumer avecq du noir @@ -22190,7 +22214,7 @@ de metal sont plus sonans pour les apothiquaires. -Les grenades doibvent estre de fin metal +Les grenades doibvent estre de fin metal. Sable de mine @@ -22951,7 +22975,7 @@ On trouve par experience que le greffe qui ha son entrée -dans l’insition du costé du soleil prend bien peu souvent, quand il +dans l’insition du costé du soleil prend bien peu souvent quand il est aussy tortu. @@ -24451,6 +24475,8 @@ gasteroit la peau. Elle se coust avecq fil noir. + + ~~~~~~~~~~~~~~~094v~~~~~~~~~~~~~~~ @@ -26757,7 +26783,7 @@ Provisions pour l’oeuvre de Colchos 7 cornues -2 lb. de ☿ +2 lb de ☿ Une mesure de gros sel @@ -26778,7 +26804,7 @@ Une mesure de gros sel 3 ou 4 lampes -2 lb. de cotton +2 lb de cotton Un payre de petits ciseaulx @@ -26808,7 +26834,7 @@ Un fusil Ciment royal -Une lb. & demye de vitriol +Une lb & demye de vitriol Aultant de salpestre @@ -27710,6 +27736,9 @@ vers il entrera. + + + Aulcuns les @@ -30626,15 +30655,6 @@ puys le reste. - - -L’eau de vye - - -de trois passes. - - - Si aprés que @@ -30698,7 +30718,11 @@ de terre, nettoye bien avecq du cotton, car le sable qui y +L’eau de vye + +de trois passes. + toucheroit seroit @@ -30849,20 +30873,6 @@ luy || donnant forme longue de mandorre. -Rascle & coupe aussy le derriere du moule qui -est tousjours le plus - - -foible, et l’aproprie proprem{ent} ainsy. Et n’oublie de - - -fayre autour des coches, affin que le second gect s’i encre - - -& lye mieulx - - sans varier. - Si tu peulx, emplis @@ -30998,18 +31008,34 @@ tu le destrempes. -L’eau de sel armoniac n’est pas -necessaire aulx petits moules, qui ne requierent pas grand ne -long foeu pour estre recuits, +Rascle & coupe aussy le derriere du moule qui +est tousjours le plus -touteffois quand tu y en mettras il ne sera que mieulx. + +foible, et l’aproprie proprem{ent} ainsy. Et n’oublie de + +fayre autour des coches, affin que le second gect s’i encre + +& lye mieulx + + sans varier. + +L’eau de sel armoniac n’est pas + + +necessaire aulx petits moules, qui ne requierent pas grand ne +long foeu pour estre recuits, + + +touteffois quand tu y en mettras il ne sera que mieulx. + ~~~~~~~~~~~~~~~114r~~~~~~~~~~~~~~~ @@ -31559,7 +31585,8 @@ avecq de petits ciseaulx. ~~~~~~~~~~~~~~~115r~~~~~~~~~~~~~~~ - + + si tu veulx, qui sera assés, @@ -31688,7 +31715,7 @@ en recuisant. Advertisseme{n}t sur tout ce -que dessus|-| +que dessus |-| Si ton serpent a esté long temps sans manger, il advient que, quand @@ -34163,33 +34190,52 @@ Un peu d’axunge et de l’arsenic + + Garder fleurs seiches en mesme estat toute l’année -+ - -Les fleurs se gardent aussy en leur mesme beaulté dans le vinaigre -distillédans un vase +C’est un rare secret & qui donne du plaisir pour orner + +les tables, chambres & cabinetshors de +saison quand l’hiver -bien sellé qui ne prene aulcun vent, qui soit bien sellé de -cire & mastic. Les oeillets & -roses, + +desnie des fleurs. Advise doncq de les cueillir +lorsqu’elles + +sont en leur parfaicte vigueur & qu’elles croissent. Car si tu +les -la resideure du vinaigre commu{n} les faict -pourrir. + +prenois quand leur saison passe ou qu’elles +commancent à fanir, + +elles ne se garderoient point. Les ayant doncq ainsy choisies, -Si le sable faict poulssiere & tient + +ayes du sable le plus maigre & aride que tu pourras +trouver, + +qui soict fort subtil co{mm}e celuy duquel les +orfevresse servent pour -sur les fleurs, & qu’aisem{ent} avecq un -pinceau il ne s’oste, il n’est pas bon. + +user l’esmail ou co{mm}e celuy d’estampes. Mays il ne +fault pas sur + +tout qu’il fasse poulsiere, ne qu’il demeure sur la main +ou y -Le plus maigre est le meilleur. + +laisse marque quand tu l’y as pulverisé & puys versé. +Car c’est @@ -34213,48 +34259,30 @@ la pou dre. ++ + +Les fleurs se gardent aussy en leur mesme beaulté dans le vinaigre +distillédans un vase -C’est un rare secret & qui donne du plaisir pour orner - - -les tables, chambres & cabinetshors de -saison quand l’hiver - - -desnie des fleurs. Advise doncq de les cueillir -lorsqu’elles - - -sont en leur parfaicte vigueur & qu’elles croissent. Car si tu -les - - -prenois quand leur saison passe ou qu’elles -commancent à fanir, - - -elles ne se garderoient point. Les ayant doncq ainsy choisies, - - -ayes du sable le plus maigre & aride que tu pourras -trouver, - - -qui soict fort subtil co{mm}e celuy duquel les -orfevresse servent pour - - -user l’esmail ou co{mm}e celuy d’estampes. Mays il ne -fault pas sur + +bien sellé qui ne prene aulcun vent, qui soit bien sellé de +cire & mastic. Les oeillets & +roses, + +la resideure du vinaigre commu{n} les faict +pourrir. -tout qu’il fasse poulsiere, ne qu’il demeure sur la main -ou y + +Si le sable faict poulssiere & tient + +sur les fleurs, & qu’aisem{ent} avecq un +pinceau il ne s’oste, il n’est pas bon. -laisse marque quand tu l’y as pulverisé & puys versé. -Car c’est + +Le plus maigre est le meilleur. + @@ -34302,7 +34330,6 @@ tirer tout. - Advise bien de ne coeuillir pas tes fleurs en temps de pluye et humide, mays lors @@ -37570,8 +37597,8 @@ Si tu as haste, il sera mieulx que tu destrempes tes couleurs long à seicher -et coule s’il est couché cler, co{mm}e les herbes requierent, -et si tu +et coule s’il est couché cler, co{mm}e les herbes requierent. +Et si tu veulx encores avoir promptem{ent}faict, destrempe @@ -37592,7 +37619,7 @@ terre, de blanc de plomb ou ceruse, d’un peu de massicot -et scudegrun +et scudegrun, et de cendré d’azur. Mesle & compose ta couleur selon @@ -37608,7 +37635,7 @@ C’est le plus beau serpent qui se puisse mouler, à cause qu’il ha -fort belles escailles & rudes & transparentes. Sa couleur +fort belles escailles, & rudes & transparentes. Sa couleur naïfve @@ -37623,7 +37650,7 @@ endroit plus obscur, parfume ceste premiere couleur de soufre, -co{mm}e tu sçais. Et s’il fault esclarcir et blanchir +co{mm}e tu sçais. Et s’il fault esclarcir et blanchir, co{mm}e soubs @@ -37636,10 +37663,11 @@ co{mm}e une demy balle d’harquebus faicte en genitoires et toute -plaine de aiguillons fort veneneulx +plaine de aiguillons fort veneneulx. + + Mects un peu de metalline dans ton estein & ton @@ -37686,7 +37714,7 @@ Plantes les sur une plastre de terre, les disposant avecq -des poinctes de fil de fer co{mm}e si tu les +des poinctes de fil de fer, co{mm}e si tu les voulois mouler et @@ -37712,7 +37740,7 @@ Note qu’il leur fault donner leur plant & les -mectre dans le sable +mectre dans le sable, co{mm}e les fleurs, @@ -37743,7 +37771,7 @@ bien sec, car aultrem{ent} il seroict puant. -Toutesfois advise +Toutesfois, advise que le four ne soict @@ -37780,7 +37808,7 @@ de mesme. Advis sur le gect - Prens garde de ne faire ton gect gueres espés et + Prens garde de ne faire ton gect gueres espés, et n’oublie @@ -37825,16 +37853,16 @@ Les fort grandes ont communem{ent} les pieds velus, qui est fascheulx -à mouler si tu ne les couches ou fais flammer avecq une +à mouler si tu ne les couches, ou fais flammer avecq une bougie, -ou les affermis & couches, les +ou les affermis & couches , les oigna{n}t de huile de froma{n}t. -Fais les mourir dans le vinaigre & urine -co{mm}e les serpents +Fais les mourir dans le vinaigre & urine, +co{mm}e les serpents, ou dans l’eau de vye, et puys fais leur plant @@ -37885,8 +37913,7 @@ molettes. Fays le semblable du bout des petites corniches de l’iraigne. -Retourne -🜊 +Retourne 🜊 Pour faire le gect @@ -37902,7 +37929,7 @@ le bout de la queue & le bas du corps d’un peu de cire fondue & -apliquée avecq le fil de fer chault co{mm}e tu +apliquée avecq le fil de fer chault, co{mm}e tu sçais. En @@ -37922,7 +37949,7 @@ racle le superflu avecq la poincte d’un -trancheplume, affin que +trancheplume affin que le bout des pattes @@ -37935,13 +37962,13 @@ pose le cercle de terre aultour & gecte ton -sable destrempé comme +sable destrempé, comme des aultres. En ceste -maniere il te fauldra +maniere, il te fauldra brusler la foeille de @@ -38010,7 +38037,7 @@ l’eschine en bas. En ceste sorte ils prenent leur ply & -se seichent & le ventre s’estroissist & la queue demeure +se seichent, & le ventre s’estroissist & la queue demeure hauste ou avec le reply que tu luy auras donné. Estant par ce @@ -38094,11 +38121,11 @@ Les pieds pelus des grosses yraignes, co{mm}e tout poil d’animal, ne se moule pas bien s’il n’est -couché l’ayant oint +couché, l’ayant oint avecq de l’huile de -froment qui l’afermist, +froment qui l’afermist & est bien tost sec. @@ -38129,7 +38156,7 @@ moule. Ayant faict prise, descouvre le revers & fais -le second gect, lequel estant prix tu peulx retirer la foeille. +le second gect, lequel estant prix, tu peulx retirer la foeille. Et ne te faudra recuire ton moule qu’une fois, pource qu’il n’y @@ -38241,7 +38268,7 @@ point besoing de le tremper, car estant -recuit il souvrira +recuit, il souvrira de luy mesme. @@ -38289,7 +38316,7 @@ Herbes qui sont malaisées à brusler dans le moule -Moule les à deulx ou trois gects, qui estant recuit s’ouvriro{n}t +Moule les à deulx ou trois gects, qui estant recuit s’ouvriro{n}t, & il te sera plus aisé à retirer le charbon de dedans. @@ -38432,7 +38459,7 @@ rien en ta cire que tu præpareras pour cet effect de -toutes ses drogues, sinon y gecter du soufre fondu +toutes ses drogues, sinon y gecter du soufre fondu, co{mm}e @@ -38553,7 +38580,7 @@ trop de plomb, il ne court pas bien tanvre. Et pour le sçavoir, -si l’estaim crie fort, c’est signe qu’il n’y ha pas +si l’estaimcrie fort, c’est signe qu’il n’y ha pas trop de plomb. @@ -39273,6 +39300,7 @@ ou moisissure. + + Quand tu moules de petites lesardes et que @@ -39427,7 +39455,7 @@ sinon à l’eslevem{ent} de la teste, aulx plus espés endroits du -corps, & des +corps & des simples & deliées au milieu des pieds des lesards, les @@ -40785,10 +40813,10 @@ que tu pourras vers la medaille, -& l’embrasse bien. +& l’embrasse bien, -Que l’entrée du +que l’entrée du gect soict ample, @@ -41190,7 +41218,7 @@ plomb noeuf & non sophistiqué. Le moule se faict du sable susdict commun -à tous metaulx, co{mm}e il est recuit le laisser froidir +à tous metaulx; co{mm}e il est recuit le laisser froidir jusques @@ -41301,6 +41329,7 @@ si chault que quand elle est tanvre. + + Note que si tu @@ -42957,6 +42986,7 @@ imprime. + + Recuits tes moules @@ -43733,6 +43763,7 @@ boit l’huile. + + S’il y a du crocum @@ -44631,7 +44662,7 @@ qui peult tenir. qui est co{mm}e soubdure fort basse/ -ard +ard et vieulx K et quelque R sur @@ -44783,7 +44814,7 @@ limaille d’espingle. ~~~~~~~~~~~~~~~148r~~~~~~~~~~~~~~~ -pas venu si cler que je desirois. Je l’ay encore recuit, +pas venu si cler que je desirois, je l’ay encore recuit, laissé froidir, remis au blanchiment & grattebroissé. Il @@ -45412,7 +45443,7 @@ ne gecter pas par le milieu du trou, ains par le costé, -car, à cause que le moule desja faict, boit & succe +car, à cause que le moule desja faict boit & succe l’humeur . Le nouveau que tu gectes sur le bort du moule, estant bien @@ -45603,6 +45634,7 @@ souldure. X + Note qu’aprés que ton @@ -45745,7 +45777,7 @@ paressent gueres, & par consequent les baves sont fort petites & tanvres. Tu peulx reparer & par le trou du ventre tirer -la terre du noyau, le laissant long temps tremper, +la terre du noyau, le laissant long temps tremper; @@ -46179,6 +46211,7 @@ moule qu’il ne soict recuit & le rat bruslé. + + Le rat, pource qu’il @@ -47340,7 +47373,7 @@ l’estain, estant ainsy tanvre, est fascheux à soulder, et se -peult fondre quelque foeuille. Et qu’aussy les fleurs +peult fondre quelque foeuille, et qu’aussy les fleurs gectées & principallement la rose ne sont pas belles sans @@ -47434,7 +47467,7 @@ Tu peulx empraindre de cire colorée le relief d’une medaille, & tu auras un cave, dans lequel tu pourras gecter -en noyau un relief de ton {sable}, sur lequel tu feras un cave +en noyau un relief de ton sable, sur lequel tu feras un cave de plomb @@ -47787,6 +47820,7 @@ gect à la mouche. + + S’il vient quelque @@ -49224,7 +49258,7 @@ en six jours il avoient debité. Navigatio{n}, -marchandise. +marchandise @@ -49251,7 +49285,7 @@ pateras aureas sex pondo 30 talentorum. -Vases d’or. +Vases d’or @@ -49274,7 +49308,7 @@ raportées. Vase de fer -raporté et souldé. +raporté et souldé @@ -49299,7 +49333,7 @@ Estant pulverisé subtillem{ent}, il moule tres net & ha une -certaine graisse qui luy donne liaison |, plus qu’au +certaine graisse qui luy donne liaison, | plus qu’au Crocum, @@ -49745,9 +49779,9 @@ lesardes & animaulx, car il vient mieulx. J’en ay moulé net co{mme} le principal ainsy une petite -vipere d’argent, et fis la ligue de 4 -realles -, +vipere d’argent, et fis la ligue de 4 +realles, + de 20 s{ols} d’Espaigne, & une piece de xx s{ols} de @@ -50302,6 +50336,7 @@ secrets des arts et que les deesses eleusines se plaignent co{mm}e à N. + pytagorien de ce que on ha divulgué leurs mysteres, excuse @@ -51279,7 +51314,7 @@ couvre tout. ~~~~~~~~~~~~~~~170v~~~~~~~~~~~~~~~ -Première page d'origine +Première page d'origine (1578–1579) L’an mil cinq cens septante huict le deuxiesme de juillet a esté faict diff --git a/allFolios/txt/all_tl.txt b/allFolios/txt/all_tl.txt index df8a66b7e..96badcb54 100644 --- a/allFolios/txt/all_tl.txt +++ b/allFolios/txt/all_tl.txt @@ -26,40 +26,55 @@ nefas. Trumpets, see the book of funerals. -List of books +List of books and authors + + Vuolfangus Lazius Petrus Appianusmathematicus + Ingolstadiensis, Comment. urb. rom. + Hieronimo Ruscelli Hermolaus Barbarus -Angelius Bargaeus, De aucupio et +Angelius Bargaeus,De aucupio et venatione Nicolaus Damascenus + Caresariensis,De rebus Persarum Isidorus + Osorius -Eupolemus, historicus gentilis qui de rebus Davidis & -Salomonis -scripsit +Eupolemus,historicus gentilis + +qui de rebus Davidis & Salomonis +scripsit +           +           +           +           +           +           +           +mons{ieur} -Cathalogue des villes @@ -87,20 +102,8 @@ Olaus Magnus +Mestre Bernard Palissi, inventor of rustic figulines to the -king and the queen mother - - -List of books - -Aquatilium animalium historiae, Hypolito - -Salviano Typhernate authore, Romae 1554 - - -List of books and authors - -Les Annales de -Normandie +king + and the queen mother Alexander Aphrodisaeus Polydorus Verg @@ -160,12 +163,22 @@ Dion Cornelius Nepos Flavius Vopiscus -Monsieur + +List of books + +Aquatilium animalium historiae, Hypolito + +Salviano Typhernate authore, Romae 1554 + + + +Les Annales de +Normandie ~~~~~~~~~~~~~~~001v~~~~~~~~~~~~~~~ -For easing the belly +For loosening the belly Prunes of Saint Antonin, & if you like you want put among them leaves of mallow & @@ -176,7 +189,7 @@ Or else marshmallow root in a chicken broth. The fresh kind is more mollifying. Beating syrup of sweet jujubes with water & -taking it in the morningeases the belly. +taking it in the morningloosens the belly. ~~~~~~~~~~~~~~~002r~~~~~~~~~~~~~~~ @@ -251,7 +264,12 @@ grains. Fusion 6hours. ~~~~~~~~~~~~~~~003r~~~~~~~~~~~~~~~ Counterfeit coral -+ + + +            +            + + + One needs to first make the branches of wood or take a bizarre thorn branch, then melt a lb of the most beautiful clear pitch resin and put in one ounce of @@ -609,7 +627,7 @@ size. After, place the concave face of the mirror toward the hole, & it will represent to you all those who pass by in the street on the sheet of paper. Similarly with the pierced door of a closed room. You can make wavy ones -& triangular ones, in the fashion that Ptolomée describes, & +& triangular ones, in the fashion that Ptolemy describes, & Archimedes. The concave one also sets fire to straw from quite far away, and lights a candle with the sun. Also, it heats through the reverberation of fire. @@ -636,7 +654,7 @@ or green or blue Ceruse & lead white is not appropriate for polished white nor for burnishing because it is fatty, but it is quite good for or mat which is made with oil, mixing it with yellow -ochre & mine & tempering +ocher & mine & tempering all of it with oil. And this or mat thus applied keeps in the rain like gilded lead work & similar things. Therefore for burnished gold take good chalk, quite white, @@ -1682,11 +1700,17 @@ quintals. + + + + The miners, to make the iron run, put at the mouth of the melt, two or three handfuls of wallwort when they want to make the melt run, and this renders the iron wonderfully ductile and flowing. + + It is also necessary that the blast-pipe enters through to the middle of the mouth of the furnace, which is a principal part of the secret because the wind will hit the edge & the wall which makes @@ -2497,9 +2521,7 @@ Orgues Then one mounts them on a medium thick board close to one another & one makes -notches on the board this way . - -& through these notches one passes the hook of the arquebus which +notches on the board this way & through these notches one passes the hook of the arquebus which has a hole through which one passes iron pegs from under the board. Then, when one wants to aim it, one mounts the middle one & that on both sides. If you want to make a double row, or triple or @@ -2608,6 +2630,8 @@ pans. Others only put the ball. ~~~~~~~~~~~~~~~023v~~~~~~~~~~~~~~~ + + powder. When the sausage is full, dip it lightly, to wet the canvas & not the powder, in two parts of vinegar & one of @@ -2704,7 +2728,23 @@ pioneers or more to flatten the tracks by levelling ditches & similar things to make gabions on the way. Once one is close to the place one wants to batter, the gunner goes at night to reconnoiter the most convenient place to mount the -battery & if he does not see well, one gives a false alarm in order +battery + + + + +Know the magazines of France for the +artillery. + + + +It is good if the platform is slightly inclined toward the front because +the piece is more quickly mounted for battery & holds the blast +better & batters more fiercely. + + + +& if he does not see well, one gives a false alarm in order that those on the inside throw torches. Very often, one batters where it is strongest because the assailed, disdaining the battery, do not make repairs there. Commonly, there are not many garrets & other defenses in @@ -2716,7 +2756,20 @@ fortified towns, pioneers bring gabions and behind the gabions to keep the pioneers safe, while behind, they fill the gabions with some earth by means of their shovels. And while one does this, one raises some false alarm -on another side. And before, one has fired a volley at the defenses. +on another side. And before, one has + + +Fowlers + + are those which have a +reinforcement inside, in the entire space which contains the powder, and the +ball can only roll up to the opening of the said +chamber. These do not penetrate so much & are irritating to load but +they do not heat up as quickly. + + + +fired a volley at the defenses. The pioneers carry the boards to make a level ground or a platform of four fingers or half a foot thick, and @@ -2727,35 +2780,7 @@ there are more, the platforms touch. The distance which is between the pieces is the width of two gabions. As long as the battery lasts, the gunners sleep & eat close to a cannon. In small spaces, one does not bother to dig trenches to reach the pieces -but one puts plenty of gabions that are high and goes running to them. In large -places one digs trenches. There are always in trenches or behind -barricades some companions-in-arms on guard duty to defend -the pieces. One keeps the small powder magazine, of three or four -kegs, separately, - - - - - -Know the magazines of France for the -artillery. - - - - - -It is good if the platform is slightly inclined toward the front because -the piece is more quickly mounted for battery & holds the blast -better & batters more fiercely. - - -Fowlers - - are those which have a -reinforcement inside, in the entire space which contains the powder, and the -ball can only roll up to the opening of the said -chamber. These do not penetrate so much & are irritating to load but -they do not heat up as quickly. +but one puts plenty of gabions that are high & goes running to them. In large A steel touch-hole @@ -2767,6 +2792,13 @@ are prone to blow off & cause damage to the gunner. There is nothing for it but to use a proper touch-hole. + +places one digs trenches. There are always in trenches or behind +barricades some companions-in-arms on guard duty to defend +the pieces. One keeps the small powder magazine, of three or four +kegs, separately, + + A touch-hole at the level of @@ -2814,10 +2846,6 @@ several stones. - - - - Some put small wheels of the piece and a thick board to the end of the carriage of the piece in order that it may be drawn more quickly and without making a noise. Others put leather all around the @@ -3220,7 +3248,7 @@ they rub with a little putty on leather nailed onto a piece of wood, and this in such a way that the flesh or grain is on the outside, for if the sharp edge of this plane was not thus rubbed & burnished, it would -not polish & burnish the tin, +not polish & burnish the tin, which would stay white, & not black & burnished like a mirror. Moreover, they repair the work for the second time with this plane as they did with the @@ -3408,7 +3436,7 @@ water, but they are breakable. A quintal of fine coppersmith’s rosette is sold for xxx or 40 lb. Another, which founders use, is sold for xii or xv lb. The quintal of metal, -six lb. +six lb. #Gold, silver, copper, latten, iron. @@ -3453,10 +3481,10 @@ good hocus-pocus words so that they look at his face & not at his hands. -X For relighting an extinguished candle between your +X For relighting an extinguished candle between your hands without blowing -X Take a small stick of well dried +X Take a small stick of well dried wicker and cut from it a small piece like a toothpick, & put one end between your index finger & middle finger and @@ -3534,16 +3562,16 @@ For telling someone that by holding a finger to his forehead, you will prevent him from exiting a chamber -XMake him put his arm around a +X Make him put his arm around a bedpost or something similar, & with the same arm, let him hold a finger to his forehead. -XWager someone that walking +X Wager someone that walking to a certain place and back, he cannot say boot without spur four times in a row -XIf he tries to say it, +X If he tries to say it, but be sure that he speaks loudly, once he has been there & back, you will tell him that he has lost, because he needed to say boot four times without saying spur, for that is your @@ -3552,15 +3580,15 @@ wager. For making a candlestick hold to the wall without making a hole in it -X -Make a servant hold it to the + +X Make a servant hold it to the wall. -XHow not to break a glass with a +X How not to break a glass with a log or a large stick -XYou will cut from it a small piece as thick as a +X You will cut from it a small piece as thick as a toothpick, & thus you will give him something from a log or a large stick with which he will not be able to break the glass. @@ -3705,7 +3733,7 @@ invisibilium the grain pass into the bell, which you will have tapped shortly before on the table a little strongly, & the grain will fall to the bottom & cover the piece of leather. -Then lift the hat; the bushelwill be found empty and the bell full +Then lift the hat; the bushel will be found empty and the bell full of grain, which you will scrape deftly along with the piece of leather @@ -3750,7 +3778,7 @@ the leather, the ball seems to be the same, although it is the hollow one. Then you cover it again & command it to become invisible. And then, lifting the sheath while pressing it, you will remove it & the ball along with it; & -putting it aside with the sheath, + putting it aside with the sheath, in its place will be found a thimble for the ladies whose bottom hurts, that is to say, the bottom of the needle. @@ -3798,7 +3826,7 @@ plate glass can be melted with a candle & not that from Lorraine. That of plate is blown in a long bubble, of which another cuts the end, then the blower flattens it while turning it & while touching it to a surface that is on the ground, -, then puts it to anneal. Thus the + then puts it to anneal. Thus the middle whence it is begun still remains. @@ -3979,9 +4007,7 @@ vapor of aquafortis boiling in copper, or aquafortis boiling with silver & sal ammoniac. & some cut amber in facets on a wheel of soft wood with putty instead of -emery, & jet also. The salt called by the Englishde armonic is a mineral salt that -resembles marble stone and is a very hard mineral with large -pieces, like that of Cardona & Monserrat. +emery, & jet also. The salt called by the Englishde armonic is a mineral salt that resembles marble stone and is a very hard mineral with large pieces, like that of Cardona & Monserrat. @@ -4039,7 +4065,7 @@ double-entry books. Scarlets Because one aulne costs seven or eight -lb. to dye, they use cloths worth seven or eight +lb to dye, they use cloths worth seven or eight francs an aulne. But whoever wants something beautiful should buy white cloth worth fifteen francs an aulne & have it dyed with @@ -4103,7 +4129,7 @@ Enamel takes more readily on copper than on silver. It is true that the cut needs to be well hollowed out & rough. Azure in body & the red called gules, white enamel & dense green take to it very well. Having -enamelled, one gilds the fœillages of the +enamelled, one gilds the foeillages of the engraving. Copper has a similar hardness for engraving as fine silver or pistolet @@ -4606,7 +4632,7 @@ The range of an arquebus The proportion of the fowling piece is 4 king’s feet long & the ball xviii deniers, the charge vi -deniers of powder, its range iiiixxpans & 3 feet& a half, two +deniers of powder, its range iiiixxpans & 3 feet & a half, two inches & a few lines, which is the Parisaulne. The medium hackbut, which is the usual one & the @@ -4620,7 +4646,7 @@ Pewterer They mix viii lbor ten of lead, per quintal of tin in cities where they are sworn masters. But elsewhere, they add as much as they can. One -also uses ii lb of looking glass tin to bind it & +also uses ii lb of looking-glass tin to bind it & three lb of debris, that is to say the copper shards that coppersmiths make. This makes the plate more sonorous and it is not as breakable. @@ -4702,7 +4728,7 @@ White soporific oil Take x or 12 mandrake apples, put them in quarters in olive oil, the whole in a glass bottle which you will place in a bain marie for two days and your oil will turn white. If you -rub the sole of your feet with the same, you will soon feel +rub the soles of your feet with the same, you will soon feel like sleeping. @@ -4848,7 +4874,7 @@ profit. One ought to leave only two buds on the graft. Scribe, Oil of sulfur -If the writer wants to clean his quill promptly +If the scribe wants to clean his quill promptly of the thickness of the ink which has dried on it, one only needs to soak in oil of sulfur. And it will immediately be white & clean. Urb. @@ -4916,7 +4942,7 @@ For teeth Sal ammoniac i ℥, rock salt 1 ℥, alumhalf an ℥. Make water with the retort, and -as soon as you touch the tooth with, the tartar & blackness will go +as soon as you touch the tooth, the tartar & blackness will go away. It is true that it has a bad odor, but you can mix it with rose honey & a little cinnamon or clove oil. @@ -4927,7 +4953,7 @@ clove oil. Antimony oil It yellows quite strongly, even silver, if you put it on it -once heated. +being heated. @@ -4959,7 +4985,7 @@ Against diarrhea and dysentery Against diarrhea, it is very good to use preserve of symphytum, also called consolida maior. And if it is against dysentery, you can rub with it the temples, -the hollow of the hands, & the sole of the feet +the hollow of the hands, & the soles of the feet with wax oil & take one drop or two of it with a spoonful of broth. The root of consolida maior, pestled & put between cuts @@ -5086,8 +5112,8 @@ a saulmon, the tin thickens at the bottom if, while casting, one does not stir it often. It is best for casting to melt little lead or tin & to renew it at each melt. The antimony renders -them breakable. The looking glass tin whitens them. -Pewterers put in one lb of looking glass tin per one +them breakable. The looking-glass tin whitens them. +Pewterers put in one lb of looking-glass tin per one quintal of fine tin & two lb & a half or three lb of red & soft cauldron copper, which is better than latten. There is fine & soft tin & @@ -5142,7 +5168,7 @@ Those who make very neat lead casts, use puncheon. Pewterers cast in a copper mold. One says that one makes lead take hold on glass with resin. Some put into the lead a quarter of -tin. Looking glass tin renders the work stronger. +tin. Looking-glass tin renders the work stronger. Poncet @@ -5174,7 +5200,7 @@ bound with glair of egg. Pewterers They put into one quintal of fine tin one -lb of looking glass tin, which renders the tin +lb of looking-glass tin, which renders the tin thicker. There are two kinds of tin, one of them nearly like lead, which runs better, the other brittle, which becomes thicker. They cast in solid & thick tin molds or, to @@ -5342,7 +5368,7 @@ Curried steel and files The steel that farriers & iron workers commonly use is not refined like that from Germany or Biscay, which is reduced in hardness - in the bath of a molten iron, but + in the bath of molten iron, but in the iron bars which are transported in flat ingots from the forges of Foix & elsewhere, there is a harder & whiter & finer kind than the other, as it @@ -5381,8 +5407,8 @@ if you oil your paper with spike lavenderor turpentine oil, it will represent from the the right on the other side. Then follow these lines with a paintbrush or a quill, then heat the paper & the oil will go away & leave your -paper white. And if you want this not to be known, if, by chance, -you borrowed the piece, moisten the paper and the polishing that +paper white. And if you want this not to be known, if by chance, +you borrowed the piece, moisten the paper, and the polishing that the burnisher has made on the back, which shows what has been done, will not be known. The soap water will turn the piece yellow, but well-gummed water, which has the same effect, does @@ -5419,7 +5445,7 @@ These rollers are good for promptly printing with cut cartons different kinds of One can place the plates among the linen when the -lye is quite pure, or else in a pot. +lye is quite pure, or in a pot. ~~~~~~~~~~~~~~~051v~~~~~~~~~~~~~~~ @@ -5455,14 +5481,14 @@ bare hand but with a piece of paper applied on top. & having cleaned the plate perfectly, rub again with a piece of paper, fold the edges & sides. Next, take a -small smooth table & on this a piece of +small even table & on this a piece of felt, then a few sheets of paper & finally the one you want to print on, which should be moistened between two wet napkins. And on this sheet put your plate then another piece of paper, & finally anotherfelt. Then pass between the rollers. And you can print a dozen pieces consecutively by -always charging the plate with ink & cleaning it as +always charging the plate with ink & cleaning it as you have done. But if you desist from printing, the rest of the ink will dry in the grooves of the plate. Thus you will have to boil it in lye or urine, as already said, to clean it. The @@ -5612,7 +5638,7 @@ Almond trees, apricots They come in quite straight if one grafts them. And all trees with pitted fruit, like pavis, -mericotons, alberge, +mericotons, alberges, apricots &c, come in best shield grafted on an almond tree. @@ -5656,7 +5682,7 @@ produced in France, only x or xii come out of it. Three ounces of seed are for producing such a quantity of worms, that with them you will be able to furnish a room accomodated with three or 4 levels of large shelves. Willingly -they begin to molt around holy week. And to do +they begin to molt around Holy Week. And to do this, one puts them in a fir box, like those where one puts sweetmeats, warmly among feather cushions. And at the beginning, they molt like little @@ -5823,7 +5849,7 @@ Cut a chicken or a dog to test & in the wound put sap & pestled herb which is called semperviva, that is the small one which has leaves like small grains, which some call -vermicularis. And one takes for certain that it +vermicularis. And one holds for certain that it will not die. @@ -5906,11 +5932,11 @@ tepid. & take three or four double handfuls of fatty red earth, soak it & throw it into the cauldron with the said water. Take as much pigeon dung as the said earth, & as much horse -dung & as much iron filings, & soak the -all of it separately, & throw it into the cauldron & leave +dung, & as much iron filings, & mix the +whole separately, & throw it into the cauldron & leave it for two or three days. Then throw it afterward into the said muid and stir the whole thoroughly together. And -the older this tempering bath is, the better it will be. +the older this temper is, the better it will be. Varnish for distemper @@ -6055,7 +6081,7 @@ the cracks & chinks of the wood. It has more body than chalk & it has a certain fattiness. One mixes it with the aforesaid chalk or with the colors collected from the vessel where one cleans the -paintbrush. It is desiccative and spares colors. +paintbrush. It is desiccative and spares the color. Once this first imprimatura is made on the wood, one scrapes with a knife to even it. Next, one makes there a second imprimatura of ceruse or of the meanest colors mixed together. In @@ -6276,7 +6302,7 @@ Azure is more beautiful when imbibed on the panel with walnut oil with which it has been first thinned, without putting in spike lavender oil. And if you want to know if it is dry, breathe on it and it will -not shine, thus appearing to be well-imbibed. If not it will shine. +not shine, thus appearing to be well-imbibed. If not, it will shine. Azur d’esmail tempered in oil, leaves it & returns to its primary nature if you mix it @@ -6380,7 +6406,7 @@ will be not be able to soften them thoroughly. Also do not layer color on color if they are not similar, such as white on black, but rather flesh color on flesh color, & thus with the others. And leave blank the space for shadow or a different color. - in this way, layering each manner of color + In this way, layering each manner of color on the imprimatura itself, they will not die & you will work neatly. @@ -6388,7 +6414,7 @@ neatly. Oil Walnut oil extracted like peeled -almonds is very white. The one of Palma +almonds is very white. The one of palma christi. And when the oil has a little body, the colors soften in it. For if the oil is too clear, the colors run & do not have bond, even those that hardly have any body. Fatty @@ -6513,10 +6539,10 @@ Certain colors do not want to be ground, like minium and massicot. The ashes do not want to be ground at all. -Rounding off +Rounding If you want to model relief well, soften round -things by rounding them off with the point of the paintbrush +things by rounding them with the point of the paintbrush & the rest with the flat part if it is flat, & thus for the others according to their nature, & lightly with the point of the dry & flattened paintbrush& with @@ -6569,7 +6595,7 @@ rat whiskers. Azur d’esmail in oil -One needs too choose the most delicate that +One needs to choose the most delicate that will be possible, for if it is coarse one cannot work with it in oil. And if you do not find any that is subtle enough, you can grind it well, not with water but with oil, & grind it @@ -6616,7 +6642,7 @@ of the point. One commonly makes two or three of them, sometimes five. -Ochre +Ocher It is put for faces, hair, skulls, and rocks. @@ -6640,7 +6666,7 @@ the charcoal be thin, & in order not to render it dull & blunt soon, drag the tip flat, thus you will constantly sharpen it. Also, hold your charcoal as far at the end as you can, & accustom yourself - make a light line. For if you accustom yourself + to make a light line. For if you accustom yourself to drawing delicately with charcoal, you will do likewise with colors. And he who is rough with charcoal is never exquisit with colors. And by a @@ -6648,7 +6674,7 @@ line of charcoal, masters pass judgement on their apprentices. First make the outline of your drawing, that is the contour, lightly & without any too careful work, but boldly. In so doing, you will teach yourself to be an artist, and if you -need to to undo anything, you will not waste as much time as if you had +need to undo anything, you will not waste as much time as if you had elaborated it. Next, re-work all the distinctive lines, & do not keep too close to your panel, but occasionally step away from it to better judge the proportions. Once the first drawing seems good to you, retrace @@ -6729,7 +6755,7 @@ Casting The Germans use lead from Flanders because it is very soft. And to cast better they take lead ore & melt -it, & separate what is melted from the from the filth & +it, & separate what is melted from the filth & ore, & pour it into a separate vessel, then they make their cast with it. For the lead must not have been put to work before, but rather completely new. Some cast into molds of iron & copper. @@ -6747,7 +6773,7 @@ Shadows Germanpainters make their shadows on flesh color of men with ground jet, stil de grain yellow -& ochre. +& ocher. Bistre @@ -6836,7 +6862,7 @@ muddled nor mixed together, they do not die & you soften the colors better, since they are not so thick. -Yellow ochre +Yellow ocher @@ -6952,10 +6978,10 @@ Shadows Because blacks make different colors, some a reddish black, others tending toward blue, and others toward green, choose those which tend -toward yellow to make beautiful shadows in oil, for shadow, +toward yellow to make beautiful shadows in oil, for the shadow, especially that of men, is yellowish. And for this effect use very strongly ground jet, which you will mix with a little -yellow ochre & lead white. Or else, after +yellow ocher & lead white. Or else, after you have ground your lead white and gathered it with the , grind the jet into it. Thus it will be more desiccative, & making on its own a yellowish black. A little white @@ -7017,7 +7043,7 @@ color with the paintbrush. All fatty colors, such as ceruse and minium, -massicot, ochre, lead white, are good for making +massicot, ocher, lead white, are good for making gold color. @@ -7134,7 +7160,7 @@ Or mat It is made with massicot, minium, ocre de ru, -& yellow ocher, in order that the composition +& yellow ochre, in order that the composition resembles gold. Gild the day after it is laid down if you make the seat for the color in the evening. After having gilded, let it dry & rest one day, next rub the gilding @@ -7217,7 +7243,7 @@ on the molding, then mix lamp black or soot black with the same glue & let dry. Next they pounce some moresque in the corners & paint it with minium, massicot, & ocre de ru, -and a little yellow ocher, tempered with fatty oil +and a little yellow ochre, tempered with fatty oil in which they clean their paintbrushes for oil, because the three aforesaid colors are gripping & dry immediately. Next they lay down the gold, then varnish on top of all. And it @@ -7310,7 +7336,7 @@ whitish from the root to the middle. When it pleases you, bind and tighten it very well with a thread in two places, then cut the excess & fit it in a quill of a convenient thickness for it, of a duck or a crow for the -small ones. Good paintbrushes are those that, once soaked +small ones. Good paintbrushes are those that, once dipped in water, do not bulge when you trace on your hand. @@ -7331,7 +7357,7 @@ some. Bellows furnace Before putting in the metal, it is necessary that it be red -at the bottom, like like a charcoal & well inflamed. Next, +at the bottom, like a charcoal & well inflamed. Next, you fill it & cover the charcoal & adjust the bellows, otherwise the metal on top would melt by means of the bellows & its bottom would be @@ -7384,7 +7410,7 @@ sand of bone. It is the neatest sand that can be found for copper. -Huiles d’essence +Essential oils Walnut oil mixed with as much of turpentine & distilled through an alembic renders an @@ -7441,7 +7467,7 @@ saltwort all together, which both help fusion, the glass once calcined & reduced as if to its prime substance. In order to calcine it perfectly, throw your pieces of glass, whichever it be, among the largest possible lit charcoals that you can, if you are -lacking another amenity of violent fire. +lacking another amenity for violent fire. And when it is well red, throw it into water @@ -7520,7 +7546,7 @@ because that one is best, provided that it is very fine. You will recognize the vein of it if, among the greyish rocks or quarries that seem to be made of arene, you see, after rainy weather, certain small patches like dust attached to the said rocks, or if due to the -humidity, a small piece of it flakes off, which easily crushed between your +humidity, a small piece of it flakes off, which easily crushes between your hands. You will also find in lean soils some which comes off in large lumps like stones of tuf, or among terres @@ -7533,7 +7559,7 @@ comes apart easily. One needs to make sure that when breaking it up it is quite granular, & that when cushed between the fingers, it renders itself into very great subtlety, , keeping nevertheless its sandy asperity, without muddying the fingers like clay. It is dried slightly on the -fire, then it is pestled & passed finely through a double + fire, then it is pestled & passed finely through a double sieve or a linen sleeve, then is moistened with wine or magistra &c / Verte @@ -7575,7 +7601,7 @@ boiled wine with elm tree roots & similar things. But very fine sands, like burned linen, which is fatty & soft on its own, want to be applied dry. -All moistened sand wants to be strongly beaten & stirred to +All moistened sand wants to be strongly beaten & stirred, to be ground finely & to flatten out the clods that it makes in itself when it is bathed. @@ -7755,7 +7781,7 @@ wine. Varnish To a half lb of spike lavender oil, put in -4 ℥ of sandarac & pulverized subtly mastic. +4 ℥ of sandarac & mastic subtly pulverized. And first, boil your oil in a pot on a chafing dish, and then mix in little by little the aforesaid gums, stirring continually with a @@ -7795,8 +7821,7 @@ copper, but one ought not to take those of cutlers, because it is only sludge, but rather those of those who mold large shears. -Pierres de filieres, with which those who grind -whet, mold very neatly, once scraped, for lead. It is +Pierres de filieres, with which those who sharpen, mold very neatly, once scraped, for lead. It is commonly slate-colored. One frequently brings them to Toulouse from around Carcassonne . @@ -7814,7 +7839,7 @@ and is good for casting in lead. Casting in copper -It is necessary that the frame be quite smooth & that +It is necessary that the frame be quite even & that it fits well also on the board where it is set, so that it holds firm & does not shift when one molds. It is necessary that the sand be clean & well chosen and well reheated, & pulverized very @@ -7862,7 +7887,7 @@ more so than tin. And when it is not hot enough, it makes lines in the medal. Straw burns in it, however little hot it is. One can make a solder so soft & runny that it can be melted in a tin dish. It is composed of one -partlooking glass tin, one partsoft +partlooking-glass tin, one partsoft tin, & another part lead. It runs very neatly and is cast in leaves, but the work is very brittle & breakable. The best solder is the common one for casting well, but leaves certain points lumpy. Alloy lead with @@ -7881,7 +7906,7 @@ moistened. One ought to pass it through a shirt sleeve for the finest one, in order to put it first on the piece to mold. -One makes a solder with quicksilverwhich is white, but it is brittle. Make it so that your frame +One makes a solder with quicksilver which is white, but it is brittle. Make it so that your frame joins well & that one does not see the light between the joints. The Germans cast their leads very thinly, because it seems @@ -7906,7 +7931,7 @@ quicksilver. -Rub cuttlefish bone on a well smooth table to +Rub cuttlefish bone on a well evened table to flatten it & one against the other & pierce through the two bones with pegs to mark the place. @@ -8066,7 +8091,7 @@ Take one pound of linseed oil, and then you will put it in a earthen pot, mixed with a crust of bread and three onions, and put it on top of a charcoal fire, and you will cook it on a little fire, so that it -boil for the space of five hours. You will take +boils for the space of five hours. You will take half an ounce of flour glue, & you will make it boil just as before and stir with a spoon. And then, after, you will put in two ounces of well-pestled @@ -8186,7 +8211,7 @@ Or moulu Take fine gold & put it on a quite clean -marble & put aquafortis & start crushing. Then take saltpetre & sal +marble & put aquafortis & start crushing. Then take saltpeter & sal ammoniac, and put it into a shell which should be large & washed, for safekeeping. @@ -8217,7 +8242,7 @@ take the the white of one egg & stir it vigorously. If your gold does not have beautiful enough color, you will take -a partridge feather, & make it burn it in a +a partridge feather, & make it burn in a chafing-dish, and make the smoke go against what you have gilded. @@ -8482,7 +8507,7 @@ with a tooth of a wolf or dog. For making bronze in the color of gold -Take copper filings & ochre & gum & +Take copper filings & ocher & gum & alum, & grind it all together in a stone mortar, and when it is well ground, you will lay it on the work with a paintbrush, then polish it with a tooth of a @@ -8646,7 +8671,7 @@ tin They usually cast with solder, even the things that should not come out empty, for the latter require fine & soft tin, which however would not release, & would not come out empty if it -was mixed or had some looking glass tinin it, just like they put in a little of it in soft +was mixed or had some looking-glass tinin it, just like they put in a little of it in soft tin. They engrave their works on stones of which are made the sharpening stones or files of barbers, which are found in great flakes near the mountains, & resemble @@ -8701,7 +8726,7 @@ Sand One can find an excellent one on the little hill of Puy David near Thoulouse for lead, tin & copper. It does not want to be -too reheated much because, drying out all at once, it loses its +too much reheated because, drying out all at once, it loses its bond & burns at the first arrival of metal, which makes the work lumpy & not neat. It is better to reheat from a distance, rather than with a straw flame, which generates @@ -8721,7 +8746,7 @@ Earth for molding Tanner’s earth, or the one with which potters make a whitening on pots to make lead run better on them & to prevent the lead from being absorbed into -them, is very good for molding the hollow forms of things you want mold in +them, is very good for molding the hollow forms of things you want make in relief. It releases better than plaster or sulfur which become hard once they have set. For the earth being ready, one ought to beat it hard so that it does not crack. If the piece is very @@ -8794,7 +8819,7 @@ Frame casting It is good to make it with boxwood. Turn it in order to make it even, as this is important for the casting. Lute also, or cover the mouth of the frame with sand in order that the melted -metal, or lead,or copper does not touch the +metal, or lead, or copper does not touch the frame’s iron or latten, because it makes it brittle, & makes it porous. Also make sure that the cast is always higher than the mold. Also guard against the cast being too @@ -8870,7 +8895,7 @@ well hot. -One can make a lead mold. & to cast in it, smoke +One can make a lead mold, & to cast in it, smoke it with candle black. But it is never that neat. @@ -8902,7 +8927,7 @@ lute it as you know founders do. And also, one ought to maintain the charcoal between the bellows & the crucible. Also take heed to cast all at once & not in increments & drop by drop, which would stop & plug up the -conduit of the substance. And if you were to make in the cast an +conduit of the substance. And if you were to make in the cast a trough to feed the medal, it would be even better. And in order that the substance heats well at the bottom, stir it, once melted, with a wood stick, for iron only makes it brittle. @@ -9214,8 +9239,8 @@ Sand for lead, the most excellent of all, for high and low reliefs I took ceruse and crushed it dry on -porphyry, to make it very fine, then I moistened so -much, with well-beaten glair of egg, that it was like a paste, +porphyry to make it very fine, then I moistened so +much with well-beaten glair of egg that it was like a paste, smoothing it perfectly with the dull side of a knife. I left it a little @@ -9231,14 +9256,13 @@ One ought to mix it well with a knife. to rest on a very clean & smooth table, & since it is desiccative, I knew it would dry out , which I -let it do in order to reduce it to powder, & molding it with sand, -once broken up with my fingers & the sharp edge of -a knife. I oiled my medal because oil cleans it +let it do in order to reduce it to powder & to mold it with sand, broken up with my fingers & the sharp edge of +a knife. I oiled my medal, because oil cleans it without spoiling it. And having dried it & cleaned it -with a linen, & very small hog bristle +with a linen cloth & very small hog bristle brushes, I once again lightly anointed it with clear -walnut oil, & gently passed a linen -over it, so that it does not remain too anointed, and I noted that, +walnut oil & gently passed a linen cloth +over it so that it does not remain too anointed, and I noted that, by this means, it would come out better in release, because the ceruse, once moistened with water of glair of egg, would not attach to the oil. This worked very well and I molded a medal of @@ -9247,17 +9271,16 @@ good sands, such as felt, burnt bone & iron dross, had failed to do on the first try. I reheated it & my mold became hard like marble, and by this I knew that sands for molding high relief should be well moistened with some -water, which gives them body & compactness, like glair, +water, which gives them body & compactness, such as glair, gummed water, wine boiled -with elm root, &c, and lightly oil the medal, it +with elm root, &c; and lightly oil the medal, it withstands as many castings as you wish, for it is as hard as glass. But even soft lead & brittle tin want to be cast very hot. Since then I have realized that this sand, even though it is -excellent & endures many castings & molds very neatly, it is -however fat and makes things porous. Thus, soft lead does not come out so well. But try to mix it with a lean -sand, such as pumice, flakes, & similar things, to -give them body, & so that they release better. For lean sands +excellent & endures many castings & molds very neatly, nevertheless is fat and makes things porous. Thus, soft lead does not come out so well. But try to mix it with a lean +sand, such as pumice, scales & similar things to +give them body & so that they release better. For lean sands barely release well and yet they receive metal well. @@ -9273,21 +9296,21 @@ away when reheating, for the oil makes it porous. One ought to moisten with glair, then mix it well. And once in -the frame, beat it on top with a pestle, or other -proper thing, for this makes it mold better and release better. +the frame, beat on top with a pestle, or other +appropriate thing, for this makes it mold better and release better. It would be good to fill the frame all at once, for the -mixture, made of several sands with the one of the +mixture that is made of several sands with that of the mine, with which you fill the frame, corrupts it. Green varnish for medals of copper -Having casted them very neatly, cover them with sel de -verre that we use for sand, & moisten it, & in three or +Having cast them very neatly, cover them with sel de +verre that we use for sand & moisten it, & in three or 4 days it will be green. Next, oil them & keep them under the dung. @@ -9295,7 +9318,7 @@ them under the dung. Glue The Flemish reglue their earthen pots with -gold color, that is to say minium, massicot, & +gold color, that is to say minium, massicot & varnish. @@ -9311,8 +9334,8 @@ substance. En noyau for a small work, glair is also good. Rosette, to come out neatly, wants the mold -to be a little hot, & lead, which has also been mixed with the -rosette, similarly for small pieces. +to be a little hot, & lead which has also been mixed with the +rosette, especially for small pieces. Mortars @@ -9329,17 +9352,17 @@ metal. It is true that those that are of metal have more of a ring for the apothecaries. -Grenades must be of fine metal +Grenades must be of fine metal. Sand from the mine It wants to be well reheated for great metals. Some burn it -in the furnace until it is very black, and grind it finely on +in the furnace until it is very black and grind it finely on porphyry. Others burn it with aspalte, but -when it is too burned, it does not mold so neatly, because it does not -have body, and is too lean. You can give some with tripoli or -burned felt. +when it is too burnt, it does not mold so neatly, because it does not +have body and is too lean. You can give it body with tripoli or +burnt felt. Experimented sands @@ -9350,10 +9373,10 @@ twice, in a skillet, I passed it through a fine sieve, like the apothecaries’ double, without finely grinding it further on the porphyry, as I have done previously. I moistened it with wine boiled with elm -root, and molded with it a large piece of a portrait of +root and molded with it a large piece of a portrait of Jésus. I found it easy to release, without having it to knock -on it & molded neatly with one side in -relief, & on the other in hollow, & of the thickness of a +on it, & molded neatly with one side in +relief & on the other in hollow, & of the thickness of a coin of forty sous. I cast very hot X @@ -9374,39 +9397,39 @@ lit charcoals on top of it, that it became as if red. I let it cool and cast. It came out very neatly in relief on one side & in hollow on the other, as well for the figure as the letters. It is true that the material was whitish, almost like metalline, but this was because -of the potin. I made another cast with the material of -a skillet, alone in the same sand, but not so reheated, it did not +of the potin. I made another cast with only the material of +a skillet in the same sand, but not so reheated; it did not come out well. -Since then I molded the bone of oxen feet, burned, -pulverized, & sieved through a double sieve +Since then I have molded the bone of oxen feet, burned, +pulverized & sieved through a double sieve & moistened with glair of egg or wine boiled with elm root. I knocked -on it moderately while molding. Having opened the +on it moderately while molding. Having opened the frame, I found that the figures had not released neatly & left the molds floury & crumbling. I moistened the bone sand further, so that -it gives a good hold between the +it gave a good hold between the fingers, and in this way, I molded neatly with a good release. And even though it seemed to me that the pulverized bone was coarse, if there is some material of a skillet thrown in, my figures came out very neatly. It is true that I had very very reheated -my frame, it withstood only one cast. I find that +my frame; it withstood only one cast. I find that when a sand is so finely grounded that it renders itself dense as ceruse & even, without knowing it to be arid, rarefied, sandy & rather spongy, that it molds -very neatly, but it does not receive metal so well, as if it were +very neatly, but it does not receive metal so well as if it were porous to absorb the substance. But rather, once fat & even, it becomes porous & does not receive fine features. I believe that the secret to cast well lies in finding a sand that receives the metal well, one for lead, the other for another, for each one has its particular one. Let it be molded slowly & carefully, and leave it for a few days to become compact by itself, if you have the -time for this. And next, reheat it very well not all at once nor over +time for this. And next, reheat it very well, not all at once nor with a large fire, but little by little, otherwise it crumbles & always has some fault. Finally, you ought to cast copper or -latten or other great metals very hot, & if it -possible in large quantities of substance, which contain more heat than +latten or other great metals very hot &, if it is +possible, in large quantities of substance, which contain more heat than small quantities. It is necessary that the frame be cold, & that you cast all at once. Always lute the entrance of your frame, for the metal, touching iron or @@ -9414,22 +9437,22 @@ metal, -This bone wants to be well pestled in a mortar, and does +This bone wants to be well pestled in a mortar and does not want be reheated because it crumbles. ~~~~~~~~~~~~~~~086v~~~~~~~~~~~~~~~ -becomes porous. Most importantly, make that the cast is always +becomes porous. Most importantly, make it so that the cast is always higher than the molded thing, because usually the sand, being reheated, swells in the middle, & in this way, the molded thing remaining higher than the cast, the -metal cannot run into it easily or enter at all. Also make sure +metal cannot run into it easily or enter at all. Also, make sure that the mold & the cast are well reheated. Cast also all at once & out of the wind. And if your medal is really -thin, put a card, or two or three thicknesses of -paper, underneath, when you want to mold it. In +thin, put a card or two or three thicknesses of +paper underneath, when you want to mold it. In this way the mold will be lower than the cast. Cast also at the place where your medal will be the least thick & where there will be less relief. @@ -9440,22 +9463,21 @@ copper D -Since then, I molded with burned bone, iron dross -& burned felt, very pulverized & ground finely on +Since then, I have molded with burnt bone, iron dross +& burned felt, thoroughly pulverized & ground finely on marble and well mixed together. I moistened them very well with beaten glair of egg. And having covered the medal with it, as in the others, then filled the frame with sand from the mine, I knocked moderately. I found it to be of very good -release & molded very neatly. I let it sit all -night long. The next morning, I reheated +release & molded very neatly. I let it sit an entire night. The next morning, I reheated it little by little, over the course of seven or eight hours(for if possible, no humidity ought to remain in the frame). I cast twice in copper alloyed with ☾, as old K. The substance -came very beautiful, shiny, & sonorous, & without a +turned out very beautiful, shiny & sonorous, & without a crust, and my sand was not corrupted at all. Since then, I -have cast with it several casts of soft lead & tin, +have cast with it several casts of soft lead & tin that came out better & more neatly than any other that I have ever found. @@ -9463,8 +9485,8 @@ When you mold, make certain lines around your mold, in the frame, in order to attract the substance to all sides, in this way. -Potin from seringue & other - works, runs even better than fine latten. +Potin of syringe & other + works runs even better than fine latten. But I think that it is better halfcopper & halflatten, which have been used & have been in very thin works, such as skillets & other similar things. I have @@ -9474,8 +9496,8 @@ seen this mixture of half and half come out well. ~~~~~~~~~~~~~~~087r~~~~~~~~~~~~~~~ -In order to mold well, one ought to cast in a big frame several -medals together, for when there is a lot of substance, & the +To mold well, one ought to cast in a big frame several +medals together, for when there is a lot of substance & the crucible is almost full, it heats more, & then, if one medal does not come out well, the other will be good. @@ -9491,22 +9513,21 @@ Tuesdays, Thursdays, and Saturdays. The others, for them, are unlucky. When you mold, do not knock excessively on the medal, which is in -the sand, because it prevents it from releasing very neatly, & +the sand, because it prevents it from releasing very neatly & shakes loose the mold. Take heed also that the sand does not surpass the edges of the frame, for it makes the molded medal higher than the cast, & in this way, metal will never enter the mold. Therefore, -always make sure that the surface of your cast object directly lines -up with surpasses the mold, and to do this, if it seems good to you, put a +always make sure that the surface of your cast object surpasses the mold in a straight line, and to do this, if it seems good to you, put a piece of carton of whatever thickness you please. Founders, in order to prevent their large cast works from becoming porous, are careful to reheat their molds very well. And -to know if they have been reheated enough, they knock against it with +to know if they have been reheated sufficiently, they knock against it with their finger, & if they start to ring like a pot, -then they are enough. +then they are sufficiently reheated. To cast their cannons neatly, they mix their earth with some fine casting sand, if they can find any. @@ -9518,30 +9539,30 @@ The usual good one is the one which is found in a vineyard near Puy David, but the one which is most excellent is the one is from the Touch, near Sainct Michel & toward Blagnac, in a -vineyard that is quite high up. The latter is thinner, +vineyard that is quite high up. The latter is thinner & a little fatter than the other, & better for small works. It -does not want to be too reheated. +does not want to be reheated too much. ~~~~~~~~~~~~~~~087v~~~~~~~~~~~~~~~ Sand, slate, and burned earth -Very burnt sand loses its bond. Slate is reheated & molds -neatly. Next, it is true that it often becomes porous, like burned -earth also does, like fat sand also does. +Thoroughly burnt sand loses its bond. Slate is reheated & molds +neatly. Next, it is true that it often becomes porous, as burned +earth also does, as fat sand also does. I find that one ought not to knock on very finely ground sands, for it -shakes them loose, & prevents them from releasing +shakes them loose & prevents them from releasing neatly. But one ought to press hard and moisten them sufficiently. Magistra Founders take the roots of a young elm -when it is in sap, & boil it in wine, or better yet +when it is in sap & boil it in wine, or better yet vinegar, and keep it all year long in a barrel. @@ -9551,8 +9572,8 @@ Sand of the mine of Thoulouse Casting sand coming from the mine, once passed through a double sieve, next put in with melted resin, burns & inflames & becomes all red & inflamed like iron. Once -cold it is completely black and can be ground very finely on -porphyry. Thus having prepared it & rendered it +cold, it is completely black and can be ground very finely on +porphyry. Having prepared it thus & rendered it without asperity on the fingernail, I moistened it with beaten glair of egg & beat it well, until it was not pasty but rather powdery. I found it of very good release, & molded with @@ -9562,19 +9583,19 @@ reheated & at ease. Others beat it well in a mortar, in small amounts at a time, & thus it is pressed together and rendered very fine. Then they reheat it moderately, only to dry it. Next, they grind it dry on -porphyry. And thus it becomes as if impalpable, and not +porphyry. And thus it becomes as if impalpable and not too dried out, and it retains the body & the bond of the -earth to which it is kin, and is better than when it is so +earth to which it is kin and is better than when it is so burnt. Once moistened with glair of egg passed through a sponge, it releases very neatly in low relief, but not for figures in high relief. Therefore, -since then I have experimented with +since then, I have experimented with moistening it only with very strong vinegar. It released a figure which I could not release previously. And I believe that, -moistening the finest in a fashion as with glair & the +moistening the finest in a fashion as with glair, & the coarsest, for filling, with gushes of salt water or wine, that they do not join so well. But as they are of one -nature & are moistened the same, they embrace each other, & hold +nature & are moistened the same, they embrace each other & hold together one with the other. To mold well, after having prepared your sands, mold in @@ -9614,15 +9635,15 @@ higher. Mortars Fine copper mortars do not throw fire, as long as -the iron pestle is not tempered. If well made, the -metal mortar, because it is +the iron pestle is not tempered. The +metal mortar does the same, because it is sour. One makes, for this purpose, the bottom of large mortars from fine copper. Varnish -Turpentine oilturpentine & good eau-de-vie +Turpentine oil, turpentine & good eau-de-vie to render it desiccative. Heat it without mixing on the chafing dish, so that it mixes by itself when melting. Next, test on a very clean knife, & you will know @@ -9632,18 +9653,18 @@ then if it has enough body & if it does not run too much. Grafting One finds by experience that the graft that -has its entrance into the incision on the sunny side takes very rarely, +has its entrance into the incision on the sunny side takes very rarely when it is also bent. Baker Dust keeps wheat from becoming infested with weevils. And to clean -it well when it is stained & like rust, pass ashes through +it well when it is stained & as if rusty, pass ashes through the sieve & mix them with the wheat, then boult the whole with a boulting cloth of rough cloth or canvas. The ashes will pass through & your -wheat will stay yellow, clean, & very +wheat will stay yellow, clean & very beautiful. @@ -9660,13 +9681,13 @@ mine finely ground on marble The one and the other, once very finely ground on marble, after having thoroughly pestled them dry & beaten in the mortar, I mixed as much of one as the other, and having -reworked them together on porphyry, & passed them +reworked them together on porphyry & passed them through a double sieve or through the sleeve of a shirt to mix them even better, I put them in paper & put them on a marble in a cellar. In -one night, they had been been moistened enough by +one night, they had been moistened enough by themselves without dampening them further, because rock salt, like -all other salts, dissolves in dampness. I molded very +all other salts, dissolves in the damp. I molded very neatly with it, because both were very finely ground. They want to be humid enough to release well. @@ -9674,34 +9695,34 @@ neatly with it, because both were very finely ground. They want to be Mineral sand It does not matter if the color is white or yellow. Above all it -must be in one piece, & as if taken from a quarry or +must be in one piece & as if taken from a quarry or rock formation, & the deeper one takes it from, the -better. The signs of its goodness is that it is thus amassed, and that -when removing in the form of rock, it comes out in lumps & - bricks which demonstrate its bond, & that it +better. The signs of its goodness are that it is thus amassed, and that +when removing itself in the form of rock, it comes out in lumps & + bricks, which demonstrate its bond & that it is not too lean. However, it should break apart between your hands & have very small & delicate grains & of the same nature. If it is not delicate enough, you can pass & grind it finely, either -through water, or through a sieve, or on the porphyry, & in this way, from +through water or through a sieve or on the porphyry, & in this way, from lean they become fat & well bound. You can mold with it in frame or en noyau without cloth waste, & try it with -lead, for if with this one it does not become porous & casts +lead, for if with this it does not become porous & casts neatly, it will also behave well with copper. Some say that the fat sands do not want the metal to be cast too hot. -Artisans who work on big works & to save time, do not +Artisans who work in large works &, who for profit, do not need to grind & seek the curiosities of artificial sands, -benefit from seeking some ready-made by nature, which has the -finest grain possible, & for small works, they only pass it only +benefit more from seeking some that is ready-made by nature, which has the +finest grain possible, & for small works, they only pass it through a sieve. But those who work in small works, finely grind it & grind it impalpable, because they do not need a lot of it. Orberé grain makes a tawny powder, very -delicate & very soft, which once mixed could mold +delicate & very soft, which, once mixed, could mold very neatly. Trywheat flour burned over a closed fire. @@ -9714,19 +9735,19 @@ I have pulverized them separately & finely ground them on porphyry, as much as I could. Then I mixed as much of one as the other & reworked them on porphyry. Next, I moistened it in paper, -folded in a wet napkin, which is rather made in the +folded in a wet napkin, which is previously made in the serain of the night or in the moisture of the cellar. And I have not found anything else which releases more neatly than this one. It wants to be rather humid. And if you want to cast very thin, make sure it is very hot. It came out very neatly in soft tin, like the principal, and withstood several casts. For tin, I believe that it is not necessary to -seek a better one, nor for fine lead also, which comes out almost -as neatly as tin. the bone of the foot +seek a better one, nor for fine lead either, which comes out almost +as neatly as tin. The bone of the foot of oxen is always so lean on its own that, without being -mixed with one or two parts of some fat sand & having bond +mixed with one or two parts of some fat sand & one that has bond, such as tripoli, salts, felt, ashes & -similar things, it would not release, & would not mold neatly for it +similar things, it would not release & would not mold neatly, for it crumbles. @@ -9749,14 +9770,14 @@ Sal ammoniac and alabaster Sal ammoniac, well pulverized & ground dry on marble, molds very neatly & is of a very beautiful release, & once mixed with alabaster, pulverized similarly, ii ℥ per lb of -alabaster, makes it release well. It suffices to moisten it in +alabaster makes it release well. It suffices to moisten it in a cave or in the serain or, to be done more quickly, in a piece of paper between a wet napkin. Take heed that it does not stay for too long, for it would become so wet that it would not be good for molding -in frame, but rather en noyau, in which you will be -able to use it well as long as dries well at ease & far from the -fire. Otherwise the heat makes it swell, & pushes the salt onto +in a frame, but rather en noyau, in which you will be +able to use it well as long as it dries well at ease & far from the +fire. Otherwise the heat makes it swell & pushes the salt onto the surface, which renders it lumpy. You can anoint the medal with spike lavender oil, molding en noyau. It is better to put in 4 ℥ of @@ -9764,19 +9785,19 @@ sal ammoniac per lb, and moisten it in a damp place for two or three days, & so that when you take fistfuls, it holds together, without, however, attaching itself & being pasted to your hand. You -will with it mold very neatly. But let it dry & reheat really well, -leaving the mold inside, so that it acquires strength by -reheating, for it becomes hard as stone, & in this way is +will mold very neatly with it. But let it dry & reheat very thoroughly, +leaving the mold inside so that it acquires strength by +reheating, for it becomes hard as stone &, in this way, is more certain to release well. Otherwise if you release before having -reheated it, there would be danger of it crumbling in some place, -because of its delicateness & fineness, even if the medal of high +reheated it, there would be danger of it crumbling in some place +because of its delicateness & fineness, even if the medal has a high relief. Once you have molded with it, pulverize it as before and put it -back in dampness. +back in the damp. All sand that releases well has body & gives a good hold. Ammoniac -is fat and however, is sandy +is fat and is nevertheless sandy, which makes it release well. There is no better bond than salts appropriate for metals, for once mixed in powder, they get moistened together & dry & reheat together. @@ -9786,23 +9807,23 @@ Glassmakers’ white sand from the mine, mixed with sal ammoniac There is found in Cominge, near the town of -Aurignac, a sand, white , like -salt, and lean, that glassmakers & -potters use, which renders impalpable crushed on -porphyry & is easy to crush. And once crushed, it +Aurignac, a sand white like +salt and lean, that glassmakers & +potters use, which becomes impalpable ground on +porphyry & is easy to grind. And once ground, it resembles calcined alabaster. It molds very neatly, and I have not found any that molds as delicately as this one for low relief. It is -excellent to molden noyau without a frame, having crushed it +excellent to molden noyau without a frame, having ground it impalpable with gummed or pure water on porphyry, then placing it, thick as mustard or a little more, on the medal, anointed lightly with oil either of olive, walnut, or even better spike lavender. But to do it better , let it dry by itself, without fire, for one or two days. Although, if you are in a hurry, you can -heat it well, & it will not crack, if it is not put on too lightly. +heat it well, & it will not crack if it is not put on too lightly. It is true, being thus suddenly exposed to heat all at once, it makes some holes & pustules, which it does not do when dried in the cold or -at ease, rather than being reheated. Once dry, reheat it & it will +at ease rather than being reheated. Once dry, reheat it & it will withstand several casts. @@ -9810,12 +9831,12 @@ withstand several casts. Sal ammoniac and iron dross -I have pulverized sal ammoniac, well dried in the fire & +I have pulverized sal ammoniac, dried well in the fire & in a hot bronze mortar, and passed it through the -double sieve, it became very fine. But to render it even -delicate, I have crushed it dry on porphyry. Then I mixed +double sieve; it became very fine. But to render it even more +delicate, I have ground it dry on porphyry. Then, I mixed it with pulverized & finely ground iron dross, in the same -way, and both mold very neatly things in low relief, without being +way, and both mold very neatly things in low relief without being moistened in the serain, or in the cellar, or otherwise with the napkin, & it releases very neatly. @@ -9828,26 +9849,26 @@ medals crosswise, use crocum ferri and calcined slate. It is for very flat things. -All sands can be rendered good +That any sand can be rendered good -Artisans who work in big works, & who need to further -their profit, by seeking things already prepared in nature, because she +Artisans who work in large works & who need to further +their profit by seeking things already prepared in nature, because she does not sell her wares to her children, and to also save the time they would use for grinding finely & for artificially preparing sands, seek the one of the mine, which is not too fat, the one that is a kin of earth, not too lean & -consequently without bond, but rather which is pulled from the +consequently without bond, but rather that which is pulled from the depths of the sand-bed in bricks & clods that show its natural compaction, which is quite difficult to break & which has a very small & delicate grain, & which is found soft -when handling it between your fingers. And +when handling it between the fingers. And because the latter is only found near the rocks in mountainous -areas, or lean territories & akin to the +areas or lean territories, & akin to the arene, it cannot be found in the -surroundings of all the bonnes villes, where -artisans willingly gather themselves. And thus, if they do +surroundings of all the bonnes villes where +artisans willingly gather. And thus, if they do not have it close to their house, they prefer to have it come -from afar, like from Lyon, Venise, Parys near the +from afar, like from Lyon, Venice, Paris near the Sainct Chappelle & similar places, rather than prepare it. However, you can be certain that in all places you can render the sand from a mine @@ -9858,21 +9879,21 @@ sand from a mine good & proper for molding. For if it is coarse, pass it through a sieve, and if it is not yet fine enough, wash it, & when -the water will be a little rested, empty the one which is still +the water has rested a little, empty that which is still troubled in some separate vessel. The coarse will promptly fall down to the bottom of the first vessel, but the one which will have come from the troubled water, set apart, having settled, will be very fine. And then, if it does not have enough -bond, grind it well dry on porphyry, & you will +bond, grind it quite dry on porphyry, & you will render it impalpable, & which will have bond like chalk. -Then, if it seems to you, you will reheat it, & again will grind it & mix it with salts, or linen, or burned -felt or ashes of paper & similarly washed things. +Then, if it seems right to you, you will reheat it & again will grind it & mix it with salts, or linen, or burnt +felt, or ashes of paper & similarly washed things. Terre fondue of potters Grind it in a mustard -mill with some water, & render it impalpable, +mill with some water & render it impalpable, dry it & next moisten it with salt water, which gives strength to all sands to withstand several casts. @@ -9882,15 +9903,15 @@ Orange trees In Italy, those who are in the colder regions, like Lombardy, make square wooden cases, a little larger at -the bottom than at the top, and thereon affix buckles on the +the bottom than at the top, and affix buckles on its sides for transporting them with straps, as one carries gout sufferers, because the wheels with which one could make them roll spoil the pathways of the gardens. And every two years, they do not forget to open the sides of the -cases for trimming & dexterously cutting, including the soil, +cases for trimming & dexterously cutting, with the soil, the ends of the orange tree’s roots, because otherwise, as they find the wood, they contract & fold back on themselves & dry at -the tips, & would make the tree die. But as they are trimmed, it +the tips & would make the tree die. But as they are trimmed, it preserves for them new space for expanding, without finding resistance from the wood that hinders them. And know that, for this effect, it would be better to join the sides of the @@ -9902,7 +9923,7 @@ order to not shake the soil when one opens them. Grafting -Every tree that has coarser marrow, the graft is awkward +With any tree that has coarser marrow, the graft is awkward to cut well, because there is a danger of wounding the marrow, & if it is wounded at the point of juncture, it takes uneasily, like from the vine, from all @@ -9929,26 +9950,26 @@ grow. Molding with cuttlefish bone Guard against keeping them in a damp place, for they are -well prone to getting moist. If your medal is small, cut the bone -in two then even it out with a knife. And on a hooked -rooftile, well dry & well smoothed & covered with -pulverized willow charcoal, rub & smoothed the two +very prone to getting moist. If your medal is small, cut the bone +in two, then even it out with a knife. And on a hooked +rooftile, quite dry & quite smoothed & covered with +pulverized willow charcoal, rub & smooth the two halves of the bones. Thus they imbibe this willow -charcoal, which makes them release well, & guard against removing -anything. Then on a counter bone, that is to say a piece of -brick, evened to the size of your bone, place +charcoal, which makes them release well & guards against removing +anything. Then, on a counter bone, that is to say a piece of +brick evened to the size of your bone, place your medal, & then on this one, place the bone, -& press well with some other piece of the same size above. And for +& press well with some other piece of the same size on the top. And for the second time, mold it, but before, pounce on top with willow charcoal & blow lightly, then press as before, and it will come out neatly. If it is for a spoon handle, one needs two whole bones. All cast work is brittle & subject to breaking, because the metal expands when cast, & retracts -& condenses under the hammer. That is why, one ought to +& condenses under the hammer. That is why one ought to retrace the cast thing with a chisel, & in this way the metal retracts. Let it thus escrouir. If the piece for molding is of high relief, first trace the mold & hollow it -with a penknife, to make way for the medal & then +with a penknife to make way for the medal, & then mold. And if the medal has two sides Before casting, heat the @@ -9965,34 +9986,32 @@ calcines. since the two bones are joined, cut them evenly all around, & make notches around it in different places which cross over the -joining of the two bones, in order to recognize well the -place of the first joining. Or else, with little shards of +join of the two bones, in order to recognize well the +place of the first join. Or else, with little shards of wood, pierce them, or coat the -joinings with some clay, & dry. Press -your hands joined between your two knees; +joins with some clay, & dry. Press, +your hands joined between your two knees & not with a press, because the bones would -burst. Mold also at your leisure & two or three times, until you see -that it is well pressed tightly together & well imprinted. And each +crack. Mold also at your leisure & two or three times, until you see +that it is pressed quite tightly together & well imprinted. And each time before replacing the piece, pounce with some willow charcoal, for it makes it release well. When you have cast, rub the medal with oil & with willow -charcoal powder & with a brush, to make it dull. Guard -against your medal being too greasy or oily, when you will mold in +charcoal powder & with a brush, to make it dull. Take care that your medal is not too greasy or oily when you mold in cuttlefish bone. When you have cast, leave it to cool before taking the medal out, for when one takes it out hot, it -brings with it some bone. And, cast moderately hot, -something you will know when the bone is about to change -its whiteness. But when it is too hot, it really turns -the bone red. The proportion of lead -& tin is as much one as the other. If the piece is difficult -to come out, & of several pieces, make the cast forked with three or +brings with it some bone. And cast moderately hot, +which you will know when the bone is about to change +its whiteness. But when it is too hot, it turns +the bone very red. The proportion of lead +& tin is as much of one as of the other. If the piece is difficult +to come out & of several pieces, make the gate forked with three or four grooves, & direct these grooves to the -place of thickest parts. Also make these grooves around the medal, like -directly on the head, for this attracts the metal & feeds -the figure best. Shake your frame a little when you have cast, +place of the thicker parts. Also make these grooves around the medal, like straight on the heads, for this attracts the metal & feeds +the figure better. Shake your frame a little when you have cast, and thus you will make very neatly several casts. Tin that is too hot burns the bone, which is corrupted. Also, once taken -out hot from the mold, it risks +out hot from the mold, it risks breaking. @@ -10002,8 +10021,8 @@ breaking. Mixture easy to melt -One partsoft tin, one partfine lead, one partlooking glass tin & one partfixed quicksilver makes an alloy & a -solder, so easy to melt that it can easily be melted in a +One partsoft tin, one partfine lead, one partlooking-glass tin & one partfixed quicksilver makes an alloy & a +solder so easy to melt that it can easily be melted in a dish of fine tin. @@ -10011,18 +10030,18 @@ Molding hollow on one side and in relief on the other 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 frame, & presses it a little so that +it in one half of the frame & presses it a little so that it holds better. And next, you will cast in your frame some solder described above, or another more meltable than fine tin. And thus, the second medal will melt & mold itself on the first one without spoiling it. But to make sure this is done right, mix -some lamp black with water, & with a +some lamp black with water &, with a paintbrush, give a light coat of this to the medal, which remains in the frame, & leave to dry. Thus it will not melt. But if you have a medal of copper or silver, you can -leave it in the cast, if you want to cast with lead or +leave it in the cast 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. @@ -10044,9 +10063,8 @@ do. Molding statues -Halffounder’s earth, which -founders use, & halfclay earth, - renders very neatly. +Halffounder’s earth which +founders use & halfclay earth renders very neatly. ~~~~~~~~~~~~~~~092v~~~~~~~~~~~~~~~ @@ -10055,30 +10073,30 @@ Sand from rivertellins and mussels The long shells that one finds in fresh -water rivers, being calcined, make an impalpable white sand, which +water rivers, once calcined, make an impalpable white sand, which molds very neatly. Congealing mercury It congeals, just as I tried, by boiling it one or two -hours in a rather large iron pots, +hours in a rather large iron pot, putting in, for an ℥ of ☿, ii ℥ of verdet and vitriol of -saltpetre, ana, with sufficient quantity of old +saltpeter, ana, with sufficient quantity of old water from farriers. Or else, melt 4 ℥ of tin, & as it cools, purify it of its filth, which is on top, then, make a -hole in it & put in there i ℥ of +hole in it & put in this i ℥ of ☿ & it will come out like tin if you remelt it, but it will be breakable. And if you want to assay if it is tin or ☿, redden a shovel & put a small piece of your ingot on top. If it is tin, it will melt & stay, but if it is ☿, will quickly melt, -then on crackling very strongly, it will evaporate. One ought to congeal it in -a spoon or in a hollow crucible, & make a +then, crackling quite strongly, it will evaporate. One ought to congeal it in +a spoon or in a hollow crucible & make a moderately sized hole. It can also be congealed, as I assayed, in aquafortis which beforehand will have eaten a little silver. @@ -10088,8 +10106,8 @@ This one, mixed, makes tin & lead run. Mixture Fine tin, congealed mercury with the smell of -tin, looking glass tin, fine lead, as much of -one as the other, makes a substance that melts very promptly, but +tin, looking-glass tin, fine lead, as much of +one as the other, makes a substance that melts very promptly but is breakable & white. I think that it would be good for solder. A long time to cool. @@ -10106,7 +10124,7 @@ with the hands, for this makes them spoil. Observation from rustics That when it freezes on Palm Sunday, it -freezesall the months of the year +freezesall the months of the year. That when the first flowers fall & are lost from the frost, the others are usually lost @@ -10115,7 +10133,7 @@ also. Grafts -It is necessary that the graft not be from old wood for it is never +It is necessary that the graft be not from old wood, for it is never a beautiful tree. One needs to leave only two shoots at maximum on the graft, for when @@ -10123,15 +10141,15 @@ it has more, its strength is weakened. The wind torments it, & it does not have enough strength to bud. Trees which have coarse marrow, like peach trees & all -their kind & the plum trees, do not want grafts in +their kind & plum trees, do not want grafts in freezing weather because the cold damages their marrow, which one also needs to protect from wounding by cutting the foot of the graft. -All grafts must not be made earlier than their tree will be sapping, +All grafts must not be made earlier than their tree is sapping, for the humor grows them quickly. Otherwise -, they dry too quickly that the humor of -the sap does not grow them. +, they dry before the humor of +the sap pushes them. Sand @@ -10144,11 +10162,11 @@ neatly. Sand -well pulverized tallow molds & +Well pulverized tallow molds & releases very neatly. The one from the kitchens, which is fat & shiny, from the big kitchens, is better. -Finely pulverized quicklime works. The same for broken up +Finely pulverized quicklime works. The same for broken-up flint, which works better in the cavity. @@ -10163,7 +10181,7 @@ sponge. Then, with a small paintbrush, one makes the shadows, which do not come undone. Next, one lays the flesh color, which does not prevent the already painted shadows from appearing. And again with a more lively flesh color, one touches the more prominent -areas. And with another paintbrush one does the shadows +areas. And with another paintbrush, one does the shadows again by hatching. The shadow strokes do not come undone because they are made of bistre, which stains the canvas like rust. The said bistre is good for @@ -10177,8 +10195,8 @@ difficult to grind & screeches on the marble. Azure -Azur d’esmail always wants to be cleaned because the -filth that can be perceive in the wash water makes it die. One needs +Azur d’esmail always wants to be cleaned, because the +filth that can be perceived in the wash water makes it die. One needs to layer it two times, & the first very thick, moving the paintbrush by layering it first lengthwise then across. It is better used on canvas, where it is imbibed @@ -10194,12 +10212,11 @@ washing it. Violet and lake -It is made of azure & lake which is also assayed -on the palette with white. It is deemed beautiful that -which, on a polished knife or on glass, +It is made of azure & lake, which is also assayed +on the palette with white. The one is deemed beautiful that, on a polished knife or on glass, gives a clear color of red rose, tending a little toward violet. -The kind which is dark red is not as pleasant. +The one that is dark red is not as pleasant. ~~~~~~~~~~~~~~~094r~~~~~~~~~~~~~~~ @@ -10235,8 +10252,8 @@ quillon block, by which the sword tail enters and to which all the branches return & are held, is called the eye of the guard. -Then follows the wood of the grip which one glues, or -according to the most competent, with gummed wax which is of +Then follows the wood of the grip, which one glues, or +according to the most competent, with gummed wax, which is of wax & pitch, because rosin would be too hard. They heat it lightly, then rub the wood of the grip with it in order that the tang or the thread takes hold there. Otherwise, if a @@ -10267,6 +10284,8 @@ aquafortis, for if it were too hot, it would cook & spoil the skin. It is sewn with black thread. + + ~~~~~~~~~~~~~~~094v~~~~~~~~~~~~~~~ @@ -10274,7 +10293,7 @@ The gold grips are made by putting underneath thin yellow canvas or a different canvas yellowed with chalk. And this canvas is set with glue or the aforesaid gum, this is in order that the thread holds better on it. These are made of -cords like the silk ones & between two cords one sets one or +cords like the silk ones, & between two cords one sets one or two threads to make it show up better. The silver kind is made similarly, and there is not as much trouble as with silk, and even less because it takes more to twist silk, because one @@ -10289,7 +10308,7 @@ chameau, it is commonly of rowan, which is hard & even. -The lower stick which is folded like a bow is called the +The lower stick, which is folded like a bow, is called the arson. The upper is called the stick of the @@ -10300,12 +10319,12 @@ on the sword to burnish it, is called the fustée. There are two horns: one is called the oil horn and -the other the emery horn . +the other the emery horn. There is an iron which is made like a halberd point, square, & of very even steel, & well filed, which is called the -grateau which +grateau, which serves to soften the traces of the file on sword guards & to give an edge to swords after they have been ground, which is better than with a stone or a @@ -10329,8 +10348,8 @@ boxwood, which is fitted in the middle of the stick of the fustée to furbish. The fresil stick is of willow -wood which is to clean the rust off weapons with -fresil which is the iron scale falling +wood, which is to clean the rust off weapons with +fresil, which is the iron scale falling at the farriers’ forge. @@ -10342,23 +10361,23 @@ at the farriers’ forge. ~~~~~~~~~~~~~~~095r~~~~~~~~~~~~~~~ -The furbisher buys his blades by the dozen which +The furbisher buys his blades by the dozen, which are not fully drawn by the tang because he does this himself to adjust them well to the pommel & guards. Spanish ones are deemed better for being of better steel -& iron but they are not as well-forged as swords from +& iron, but they are not as well-forged as swords from Vienne in Dauphiné. The Spanish ones are not as well ground coming from the -forge because they grind them with the -foot & this is what +forge, because they grind them with the +foot, & this is what makes them wavy. Blades from Vienne commonly cost xviii or 19 lb a dozen. The first thing the furbisher does when he gets his new -blades is to draw out their tang, which he does himself, or has done by +blades is to draw out their tang, which he does himself or has done by locksmiths or farriers, giving him some liard for his charcoal. Next, they pass it over a grindstone to make it @@ -10366,13 +10385,13 @@ cut, then lay it down on the chameau, and with some pulverized emery, fine & soft as flour, & mixed with oil to make it hold, they furbish the sword with the stick used to -remove the traces of the grindstone and then +remove the traces of the grindstone, and then clean the swordwell with the -emery, and give it a drop or two of oil which +emery and give it a drop or two of oil, which they spread with the finger to give it luster. Having put the oil, they furbish the sword again on the chameau with the -felin which is a +felin, which is a thunderstone mounted in the middle of a stick like the fustée, and this stick is called the baton à felinder. Next, having passed it on the @@ -10388,16 +10407,16 @@ the whole ricasso is held in the hand, one conjectures that it will be just as heavy once mounted. One puts the blade in a vise between two pieces of -wood, then with a file they enlarge the opening of the +wood, then with a file, they enlarge the opening of the guard if it is necessary. Then, to rivet it, one places on the rivet -& the pommel a piece of wood & with a hammer, +& the pommel a piece of wood, & with a hammer, one beats on it to align & secure the pommel well. Then, with the hammer, one works the rivet when the pommel is well secured & does not wobble. The wood is put there so as not to spoil the pommel. Next, one finishes the rivet with a file or chisel. And some make the rivet in a -square diamond-shape but it is not as good +square diamond-shape, but it is not as good as the round one, for, when faceted, the rivet breaks. @@ -10405,13 +10424,13 @@ as the round one, for, when faceted, the rivet breaks. The end is bought ready-made by the -dozen which costs six sous for +dozen, which costs six sous for the small ones, but for the the big ones 2 carolus. The end is put either -with nails which are put on the sides of the cutting edge, but +with nails, which are put on the sides of the cutting edge, but this only spoils the sword & destroys the scabbard because the water enters through the joint of the nail. It is best to -apply rosin or glue on it, but the rosin is better. +apply some rosin or glue on it, but rosin is better. And it is best when the end is well adjusted & set so hot that the pulverized rosin melts on the end. In this way, it does not fall and cannot be undone unless it is put in the fire. @@ -10422,14 +10441,14 @@ Guards are of several kinds: Worked -Guttered which is with round moldings +Guttered, which is with round moldings Pearled -Scarfed when the bands are crosswise +Scarfed, when the bands are crosswise -Onioned which is with a flat head +Onioned, which is with a flat head In the King’s manner, which are plain @@ -10442,7 +10461,7 @@ fashion. The first thing the apprentice does is to furbish as said. -And next, to garnish the sword & make a scabbard which is the +And next, to garnish the sword & make a scabbard, which is the height of the art. They buy the wood pieces of @@ -10456,9 +10475,9 @@ very neat & without any knots & are one finger’s thickness across. Then the furbisher puts them on a small bench, called a -scabbard bench and with a gsmall iron +scabbard bench, and with a gsmall iron tool similar to that of the joiners’ bench, -they make it hold firmly. Then with aplane which is like a knife with two +they make it hold firmly. Then, with aplane which is like a knife with two handles, one works the wood roughly from the top, next one passes the joiner’s plane on it the better to even it. Next, one scours it on the @@ -10476,33 +10495,33 @@ Without this scraping, the sword would always cut the scabbard. -The opening of the scabbard is called the mouth & on top is the +The opening of the scabbard is called the mouth, & on top is the shape of the blade. The stop, which is a leather rim set on the edge of the blade -shape is made to stop the hangers. +shape, is made to stop the hangers. -When the estelles are well levelled, one lays the sword on top -& with a black stone one marks the width of the -blade, & the length, & then with a chisel one cuts the +When the estelles are well levelled, one lays the sword on top, +& with a black stone, one marks the width of the +blade & the length, & then with a chisel, one cuts the excess. And one passes a joiner’s plane to even it well, according to the mark. Next, one glues the two estoilles edge to edge and all -around only as far as the shape of the blade extends & not +around, only as far as the shape of the blade extends & not elsewhere. And this is to make the leather or velvet of the scabbard hold. -Then one puts the sword into the estelles. And precisely thus -they set it in the scabbard which is all sewn, and rub what is +Then one puts the sword into the estelles. And precisely thus, +they set it in the scabbard, which is all sewn, and rub what is glued along the shape of the blade with tallow to make it run into the scabbard. @@ -10522,11 +10541,11 @@ one does not leave it there for long. Next, the same worker who made the wood piece has to adjust the scabbard to be well made. It is true that for common people, one may well get ones which are ready made, but they are never carried -as well. When the scabbard is made & sewed with black thread, +as well. When the scabbard is made & sewn with black thread, one rubs it with a piece of boxwood or with a cloth, having daubed it a little in oil. The scabbard of a good cow is better than any and also costs more, except the -velvet kind. Under the velvet one commonly puts plain +velvet kind. Under the velvet, one commonly puts plain canvas or a sheep scabbard or a parchment cover. But the best scabbard of all is a waxed scabbard, of either velvet or calf. It is because one covers the wood @@ -10547,7 +10566,7 @@ well, then put them in the fire, & make them pass to blue. And one needs to take good care that they do not pass too far beyond blue, for neither gold nor silver nor any color would take on it. To do this, which is called making them pass, one takes -a cauldron full of ashes which one covers with +a cauldron full of ashes, which one covers with thoroughly lit charcoal, & thus one heats them quite strongly for an hour or two, and when the ashes are very hot, one pulls the charcoal to one side & one puts the guard where the @@ -10557,7 +10576,7 @@ one rotates the guard onto the other side, and in this manner, the grey cannot pass too much, unless some hot charcoal touches it. The grey can be done well in the ordinary fire in the fireplace, but there is a danger that it may pass too much & -produce filth which will prevent it from taking color. Blue is +produce filth, which will prevent it from taking color. Blue is obtained as soon as the ash has heated the guards a little, but it is still grey in some places. After blue comes grey. @@ -10573,9 +10592,9 @@ only in several passes. And if the guards were not warm, the bloodstone would scrape & undo the color. One needs to take heed that the guards do not pass too far beyond grey, for they would throw off filth that would prevent the color from taking. One needs almost one -day for preparing, softening, & setting the +day for preparing, softening & setting the color of water, but as they pass a little beyond blue, it is enough for -grey & another color. Grey is the lesser color after varnish +grey & another color. Grey is the lesser color after varnish, which is of two colors, either yellow or black. @@ -10604,14 +10623,14 @@ Gilding One prepares the guards thoroughly with a soft, very soft, file such that there is nothing black left on any of the guards, and next heats them, & passes them as is said. But to gild & gild with silver, they ought not to pass more than a little -beyond blue. Then while the guards are hot, one attaches them to an vise -& with some tweezers one layers the gold & one +beyond blue. Then, while the guards are hot, one attaches them to a vise, +& with some tweezers, one layers the gold, & one sets it with bloodstone that is quite clean & rubbed with putty. And when the guards are cold, one reheats them, -then one layers the gold as above. And first one gives +then one layers the gold as above. And first, one gives two layers, until the entire guard is well-garnished. And -next one reheats as at the beginning, & one gives the third covering -of gold. Then one burnishes very thoroughly & with great +next, one reheats as at the beginning, & one gives the third covering +of gold. Then, one burnishes very thoroughly & with great force with a large bloodstone. But note that to burnish well, the guard always needs to be warm. And to know this, one smells it & brings it close to the @@ -10631,12 +10650,12 @@ One needs to prepare the guards & whiten them with a file, a little coarser than for gold. And one makes them pass beyond grey, as for gilding. And when they are hot, one needs to double the -silver foil, then separate it with a knife, next apply +silver foil, then separate it with a knife; next, apply it to the guard with tweezers -& a small burnisher. And then reheat & apply until they +& a small burnisher. And then, reheat & apply until they are all gilt with silver. Next, one needs to cover them for the third time with the doubled foil, as has been said, then burnish them -very well & with force, not with the bloodstone, but with a +very well & with force, not with the bloodstone but with a strong burnisher. Just as the burnisher ought not to burnish gold. @@ -10647,8 +10666,8 @@ Mastic varnish dry in a half hour -Some take 2 ℥ of mastic, a half ℥ of turpentine & a half ℥ of -turpentine oil & eau-de-vie, a little at your discretion, +Some take 2 ℥ of mastic, a half ℥ of turpentine, & a half ℥ of +turpentine oil, & eau-de-vie, a little at your discretion because it evaporates when heated & nonetheless makes the varnish more desiccative. But I made it thus: I take turpentine oil at discretion & put in a good bit of turpentine, because it remains always moist & attaches @@ -10666,7 +10685,7 @@ And when you wash it & dry it to render it very white & clean, it will be even better. For if you do not purge it well, these straws & marks, pulverized into it, will remain within the varnish, & when you set it on white or flesh color, -it will appear that they are fleas & blemishes. Once well +it will seem that they are fleas & blemishes. Once well chosen, pulverize it in a mortar and pass it through a very fine sieve, and next mix it in oil, as is said. But if you want to make it more carefully, extract a tear of mastic, as you @@ -10685,8 +10704,8 @@ It almost dries when working. One knows that this varnish does not have body enough when it -does not take well on a panel in oil for it is like water. -Add in therefore pulverized mastic & heat until it is good. +does not take well on a panel in oil, for it is like water. +Therefore, add in pulverized mastic & heat until it is good. This varnish is very white & beautiful, & does not go to your head like that of spike lavender. @@ -10710,7 +10729,7 @@ vigorously. The Italians scarcely varnish their paintings because they layer -their paintings very thick & they are a long time drying +their paintings very thick, & they are a long time drying on the inside, though on top they make a dry skin & crust. @@ -10739,31 +10758,31 @@ bad one, their work will break in the fire in reheating. Varnish for lutes -They take a little turpentine & oil of turpentine or -of spike lavender & amber pulverized & -passed very subtly, & make like that from mastic, & add in to -color it a little dragon’s blood and make it reddish, +They take a little turpentine, & oil of turpentine or +of spike lavender, & amber pulverized & +passed very subtly, & make like that of mastic, & add in a little dragon’s bloodto +color it and make it reddish, and others some terra merita for yellow. Borders of a garden One needs to work the earth, then make it thinner with the -rake. And next, if it is dry, one needs to moisten it. Then +rake. And next, if it is dry, one needs to moisten it. Then, stretch the cord very close, and hit on the entire length of the cord with the back of a pruning knife, in order that the cord -marks a straight line, the length of which you will make holes with an iron stake, where you -will plant your rosemary. Behead & cut to measure and +marks a straight line, the length of which you will make holes with an iron stake where you +will plant your rosemary. Behead & cut to measure, and prune from the bottom up. Locksmith To tin nails well, and other work, they file their -work very neatly. Then to clean it well & rid it of fattiness, they +work very neatly. Then to clean it well & rid it of grease, they make it boil in vinegar, then they wipe it well with a -linen. Next, they heat it & pass some +linen cloth. Next, they heat it & pass some rosin over the top, which coats it with a shiny skin like varnish. This done, they melt some pure & fine tin in their estamiere, which is a little square iron @@ -10779,7 +10798,7 @@ as before & let it cool. When the work cools, it becomes yellow, which is a sign that the tin is the right temperature. But it becomes blue if the tin is too hot. Things thus tinned are durable & are not undone like tinning done -in leaf, thus at the end of a year they can be clarified +in leaf, thus at the end of a year, they can be clarified & renewed by heating & rubbing them. Leadsmiths say that making a lizard die in the @@ -10798,10 +10817,10 @@ they have a larger muzzle than others. Salted artichokes One puts them whole & not too ripe in a firkin that one -fills with brine. Then one serves them all -year, among salads, raw with oil & vinegar, +fills with brine. Then, one serves them all +year among salads, raw with oil & vinegar, for being thus prepared, they take long to cook. But take heed to test -your brine with an egg for if it is good & strong +your brine with an egg, for if it is good & strong enough, the egg will float on top. If not, it is not strong enough and would not preserve the fruits. @@ -10816,31 +10835,31 @@ Birds Which have been fed by the rod do not whistle among the company of others if they are not in a separate cage. For teaching them to whistle well, one needs to take them from the nest before they can see & cover them with down or a hare skin. Thus, -having not seen their father and known his voice, they learn the whistle -that one teaches them better. +having not seen their father and known his voice, they better learn the whistle +that one teaches them. Founding The putty is made of burnt earth which has -served in the founding, this is earth bourre bolvene +served in the founding; this is earth bourre bolvene, in which one has founded. One grinds it on a big stone, & with this one makes the first coat of the cope of bells, where there are letters & works, & -only needs to be reheated in the flame of straw, and mold very +only needs to be reheated in the flame of straw, and molds very neatly. The earth which molds en noyau is subject to making it porous, if you do not rub well with a brush or your -finger piece to be molded, which should be well +finger the piece to be molded, which should be well oiled. And do it coat by coat, & not all at once. ~~~~~~~~~~~~~~~099r~~~~~~~~~~~~~~~ -Earth, or sand, moistened or ground with water, wants +Earth or sand moistened or ground with water wants to be reheated more than sand. Latten from a candlestick is not pure, for one mixes in it @@ -10855,8 +10874,8 @@ alloyed, but take them pure & mix them. Iron hardly agrees with being cast in a mixture of copper or latten. -It is better to mold all with one sand, either in frame or -noyau, rather than various mixed. +It is better to mold all with one sand, be it in a frame or +noyau, rather than in various mixed ones. @@ -10868,11 +10887,11 @@ then blow & cover the crucible with large charcoals let it consume two or three feedings of charcoal, which fill the furnace above the crucible. At the end, stoke it to a violent fire, & when the -flame will be very white & that the substance will be in a liquid +flame is very white & the substance is in a liquid bath like water & casting off pale blue flames, cast. The secret is to cast very hot & in one go. -Lean white sand without bond renders well +Lean white sand without bond renders quite proper for casting, &, having body, if you grind it very finely on porphyry or calcine it, reddening it several times in the fire, & spread it in @@ -10891,7 +10910,7 @@ use it. -One needs very little of sal ammoniac dissolved in +One needs very little sal ammoniac dissolved in water. @@ -10899,8 +10918,8 @@ Bell handles -They can be put back on, without remaking the bell, which one ought to -put back in the pit, & mold it there. But should you +They can be put back on without remaking the bell, which one ought to +put back in the pit & mold it there. But should you solder a cracked bell, it is considered impossible to give it its first voice. @@ -10923,13 +10942,13 @@ that case, one makes the muzzle of the cannon bigger than the ball in order to avoid the necessity of boring, because the substance is cast & expands & pushes the mold. If the borer, which should be neither like a swallow -tail, nor a point, but be cut in the round like a wimble, if it breaks, one ought not to leave it there to rust +tail nor a point but be cut in the round like a wimble, if it breaks, one ought not to leave it there to rust + + but immediately take it out of the touch-hole. This -you will do by pouring a little oil on it; then +you will do by pouring a little oil on it; then, turn the place of the touch-hole downward & strike the opposite side of the piece, & it will fall down. One needs to bore gently & at ease when the piece is of @@ -10953,13 +10972,13 @@ better. Orpiment orange -One sublimates it & one grinds it & some put in a little +One sublimates it & one grinds it, & some put in a little arsenic to make it melt instead. Varnish -Some make this of mastic with two ounces of +Some make the one of mastic with two ounces of mastic and one of clear & white turpentine oil & eau-de-vie as above. Heat it on ashes until it is melted, then let it rest & put it in another vessel to purge it of @@ -10974,8 +10993,8 @@ To quickly make a layer of or mat on canvas or other oil panel, one makes fatty walnut oilin the sun or on the fire, as said above, for it thickens by itself in this way, -although there is neither lead, nor ceruse. And with this, -grind massicot, minium, & other desiccatives, +although there is neither lead nor ceruse. And with this, +grind massicot, minium & other desiccatives, not verdet nor orpiment, for they cause the gold to die. It will be dry soon. However, if the weather is not serain & dry, do not soften it, @@ -10985,7 +11004,7 @@ turn black. Portraying from nature -One needs to carefully observe the eyes, the nose, & +One needs to carefully observe the eyes, the nose & the beard, for these three things make strong resemblance. @@ -10993,11 +11012,11 @@ Gemstones You need to pestle your materials in a mortar of thick glass & encased & stuck with mastic -into another mortar of wood in order that it does not -break. This can serve for perfumers. & the pestle also of glass. +into another mortar of wood, in order that it does not +break. This can serve for perfumers. & the pestle, also of glass. Mortar of glass and -slab of glass for grinding. +slab of glass for grinding Vitrified saltpeter @@ -11018,14 +11037,14 @@ Take the aforementioned calcined saltpeter & expose it to a humid air or place, and it will convert itself into a liquor which, if rubbed on both sides of the windows, the sun will not pass through; rather, it will give shade. One -needs to put the saltpeter on some clean place, & put glowing charcoals on it, +needs to put the saltpeter on some clean place & put glowing charcoals on it, and continue all over until it no longer burns. -It also serves for melting & for adding in with alkali salt +It also serves for melting & for adding to alkali salt for cleaning hands. @@ -11034,13 +11053,13 @@ for cleaning hands. Gemstones Take white pebbles that are found by the rivers & -among the sand bank, & paths, which are +among the sand bank & paths, which are somewhat transparent, & if they are perfectly transparent it will be better. If not, use the best & whitest that you can. Calcine -them three or 4 times in your four à vent & extinguish +them three or 4 times in your four à vent, & extinguish them in water or vinegar. Next, take a ℥ of them and pestle them in a -totally pure copper mortar, & with a pestle of +totally pure copper mortar & with a pestle of pure copper, and grind them until they become very fine & soft powder, and this is a sign that they have taken the substance of copper, enough for giving them greenness. At that time, on your @@ -11051,7 +11070,7 @@ well in a bronze mortar. And on all of this, put in a gros of sel de verre; & some & the common people put in sandiver that they find at the -glassmakers or apothecaries. But alkali +glassmakers' or apothecaries'. But alkali salt, as you know, is better. In this way, the common people make emeralds & cast in @@ -11066,7 +11085,7 @@ of pure copper. One needs to reheat crucibles before putting in materials, and put them in the fornaise or four à -vent, before making & increasing the fire. +vent before making & increasing the fire. @@ -11084,7 +11103,7 @@ They are made in an hour & a half. A gros of salt on the four ℥ of pebbles & minium. When one says, for ℥, this is to be understood: on -one ℥ of the body & not of the +one ℥ of the body, & not of the salts & the minium. @@ -11092,7 +11111,7 @@ salts & the minium. Emerald -For ruby take some gold leaf +For ruby take gold leaf Raise your furnaceby two tiles all around, because one needs more heat for making rubies than for @@ -11115,7 +11134,7 @@ saltpeter, it makes the color of a peach tree Others say that it is necessary that the gold be cemented several -times then beaten into leaf. +times, then beaten into leaf. ~~~~~~~~~~~~~~~101r~~~~~~~~~~~~~~~ @@ -11130,15 +11149,15 @@ again very well, then add in iii ℥ of minium, & pestle well again all together, & put it in the crucible, which you will cover with an appropriate tile, a bit thick, in order that heat reverberates better -there. Then set it on the grate of your furnace, +there. Then, set it on the grate of your furnace, having put under a few thick rounded squares. Next, fill your furnace to the opening with charcoal, so that it will be heaped, and let it kindle, and always maintain the heat evenly without letting the charcoal decrease. And for this effect, -always make so that the furnace is heaped & full of +always make it so that the furnace is heaped & full of charcoal, and maintain it thus for one day. The first experience that I made of it, it only returned a yellow mass, -as is only vitrified minium, & some grains of +as is vitrified minium alone, & some grains of gold in a mass at the bottom. Try cemented gold and accompanied with antimony. @@ -11146,8 +11165,8 @@ and accompanied with antimony. -If you need greater heat, put on the edge of -the opening of the glowing furnacetiles, one against +If you need greater heat, put, on the edge of +the opening of the glowing furnace, tiles, one against the other, for making the heat reverberate. @@ -11156,7 +11175,7 @@ Topaz The same dose is observed for all gemstones, namely one weight of calcined pebbles on three of minium, pestling all separately in a -copper mortar for emerald, & in an +copper mortar for emerald & in an iron mortar for making topaz or amber color, with pestles identical to the mortars. The emerald & the topaz are of the same heat, & for an @@ -11175,7 +11194,7 @@ more yellow. Salt for melting -Mix saltpeter & common salt and melt them together +Mix saltpeter & common salt, and melt them together, & cast on melted copper or in a bath, & it purifies & makes it run marvellously. First, one ought to decrepitate the common salt, that is to say @@ -11228,15 +11247,15 @@ One holds that rubified antimony makes jacinth. Topaz -I melted one part of pumice stone calcined & pulverized - with three parts of minium +I melted one part of pumice stone, calcined & pulverized, + with three parts of minium, and the stone pulverized in a steel mortar. It returned me a very beautiful -yellow, without any grains more yellow than any others. It is true that +yellow without any grains, more yellow than any others. It is true that it was well saturated with color. I believe it would be better to pulverize the pumice in a glass mortar, because it & the minium make enough yellow by themselves. It returned to me a mass, the top a beautiful yellow, as was -said, the bottom like fire stone, without transparency. With +said, the bottom like firestone, without transparency. With which, by mixing other @@ -11244,12 +11263,12 @@ Varnish The Germans make minium boil well in linseed oil, & to give it the body of -varnish, they mix in very pulverized yellow amber. +varnish, they mix in thoroughly pulverized yellow amber. Gum ammoniac -One puts it by small pieces into a little good vinegar, & +One puts it in small pieces into a little good vinegar, & one heats, then one passes it through a cloth strainer. All medicinal gums dissolve in vinegar. @@ -11261,7 +11280,7 @@ Provisions for the work of Colchis 7 retorts -2 lb. of ☿ +2 lb of ☿ One measure of coarse salt @@ -11282,7 +11301,7 @@ One measure of coarse salt 3 or 4 lamps -2 lb. of cotton +2 lb of cotton One pair of small scissors @@ -11291,34 +11310,40 @@ One pair of small scissors For the furnace A coffer with a stone ten square -thumbs in size, and one -foot thick, pierced in the middle +thumbs in size and one +foot thick, pierced in the middle + 2 earthenwareboxes or pots with a lid + 2 small pipes of fer blanc to evacuate the -smoke from the furnaceRapeseed oil for the lamps to heat the +smoke from the furnace +Rapeseed oil for the lamps to heat the furnace + A fire-steel Ciment royal -One lb. & a half of vitriol +One lb & a half of vitriol + As much saltpeter + As much rock alum Glass vessels The glass vessel must be made like a pear or round -pyramid, of the thickness as a small knife back, round +pyramid, of the thickness of a small knife back, round on the bottom without bending like vials, its opening of such a size that a Dutch quill can just about fit -in, & with a lip at the end. Thus of height of seven +in, & with a lip at the end. Thus of a height of seven fingers’ width. @@ -11334,7 +11359,7 @@ flesh color. And as for the ground, they make it with azur d’Acre for more beauty, or with lake for a quickly-done red, or with dragon’s blood for the most beauty. But one needs to layer it little by little so that it appears even & of -one color, & thus for other colors. Next they put underneath it a +one color, & thus for other colors. Next, they put underneath it a foil backing for topaz, or one of gold or silver. @@ -11344,15 +11369,15 @@ rosemary In the month of August, the flower is better cooked & more suitable for making oil. Take of it whatever -quantity you like and put it into a bottleafterward well stoppered, & leave to wilt in there +quantity you like, and put it into a bottleafterward, well stoppered, & leave to wilt in there in the shade for a day. Then put in it -the first substance of wine & +the first substance of wine, & leave it to rest three or four days, and next express the -whole into another vessel & into this very same +whole into another vessel, & into this very same substance of wine, put in seven or eight infusions of new flowers. Next, leave the last infusionin the sunfor a month. -Next, distil it through an alembic. , And take ii +Next, distil it through an alembic. And take ii ounces of this water in two or three spoonfuls of white wine, but this is for the elderly. Paul tiers used it. @@ -11360,13 +11385,13 @@ elderly. Paul tiers used it. Cast -Tin comes out better being thin & fine, rather than +Tin comes out better being thin & fine rather than thick, because being thick & in great heat, it retracts. Therefore, if you want to mold a thick piece in tin, mold it only on one -side, & with a cavity on one side, if it is possible, in that way +side & with a cavity on one side, if it is possible, in that way you will have it more neat, and then you will be able to solder two halves together. But if you must mold it thick, make it in the -form & mold a lot of feeders +form, & mold a lot of feeders around the figure, in this way. @@ -11376,8 +11401,8 @@ around the figure, in this way. Against burns, excellent -Heat linseed oil on a gentle fire, without letting -it boil & simmer, but once it is hot put in a quarter as +Heat linseed oil on a gentle fire without letting +it boil & simmer, but once it is hot, put in a quarter as much of the newest wax you can. Once melted, let it cool, & once they begin to curdle, stir continuously with a new wooden spatula for as long as it takes @@ -11422,7 +11447,7 @@ Enema In order that the tube does not harm, for example children, or those who have protruding or swollen hemorrhoidal veins, one covers the end of the tube with a piece of -chicken gut & one folds it back over the end, & +chicken gut, & one folds it back over the end, & in this way, one gives the enema. @@ -11431,7 +11456,7 @@ Cast Tin retracts when it is thick, thus it is best to cast it thin & to make two pieces out of one, then solderthem if need be. One uses a strong piece of taffeta to sieve the fine -sand, with which one first covers the medal to the thickness of a +sand with which one first covers the medal to the thickness of a teston. @@ -11439,10 +11464,10 @@ For making colors run -Mix vinegar a little with bile, & put +Mix vinegar a little with bile & put it into a glass bottle, & if -you want to keep it for a long time, add some salt to it & of -this, mix some of it among your colors & that will make them +you want to keep it for a long time, add some salt to it; & of +this, mix some of it among your colors, & that will make them run. @@ -11461,7 +11486,7 @@ Enamels For recognizing well their difference and their true color by candlelight, you need to put your candle behind a -crystal mirror, or a glass globe or jar +crystal mirror or a glass globe or jar full of water, because this light is like sunlight. @@ -11471,7 +11496,7 @@ sunlight. For eating away and dissolving entirely pure gold ℞ put common salt into aquafortis in a -matrass and let it rest two hours without +matrass, and let it rest two hours without putting it on the fire. Put in the very thin gold, and draw it out as if it had been parted from silver. @@ -11482,11 +11507,11 @@ One ℥ of verdet, ii ℥ of coarse salt & a little sublimate, or else grind massicot with linseed oil, and cover - the blade or quite clean & polished -iron with it & let dry in the fire or in the + the quite clean & polished blade or +iron with it, & let dry in the fire or in the sun, and draw on it what you please. Then, to etch it & make the water, take a liard’s worth of -verdet & put in twice as muchcoarse salt +verdet, & put in twice as muchcoarse salt, & about four grains of sal ammoniac, & six grains of sublimate, & the water ought not to be hot. @@ -11494,7 +11519,7 @@ be hot. Good mixture to color gold -Sulfur & small gravelas much of one as of +Sulfur & small gravel, as much of one as of the other, & the third part of salt, & as much terra merita as sulfur. @@ -11534,14 +11559,14 @@ Approved. For casting -If you have some piece which will not release, & is big, +If you have some piece which will not release & is big, mold it with wax, either in hollow or in relief, because it is malleable once soft & obeys, and thus separates itself from the piece without leaving anything. But take heed that the melted wax be neither too hot nor too cold. Some mold with wax heated in hot water, but in pressing, the mold becomes clumsy & makes itself false. When you have the hollow wax form, you can cast in some -very soft clay & very moistened & clear, & let it dry +very soft clay & thoroughly moistened & clear, & let it dry at ease. Then you will make a hollow form on it of lead or tin, in which what you will form will be of good release. @@ -11556,7 +11581,7 @@ archers’ haquetons. Spinet playing by itself -Make an axle surrounded with wheels pierced all around the edge and +Make an axle surrounded with wheels pierced all around the edge, and attach quills as for a cittern or a spinet, & arrange them according to the song you want to be said, leaving a suitable distance between. And, turning the @@ -11583,25 +11608,25 @@ did not put verdigris with it. Painter Colors laid down twice are thicker in and of themselves, if they -are not managed. Otherwise, one paints on wood; otherwise on -canvas; otherwise on walls. +are not managed. Otherwise, one paints on wood, otherwise on +canvas, otherwise on walls. Gardening For shield grafting, one needs to take the new issue that the tree that you want to graft has made in that year, & -there cut a branch on which you see that, next to +there cut a branch on which you see that next to the sprouting of leaves there are little buttons that one calls œillets, which are the beginnings of sprouts. One needs to nimbly, with a very sharp penknife, cut in the shape of a shield a little bit of the skin which -contains an œillet or sprout with the leaf, thus marked B. Then carefully make on the -tender wood which is in sap, on which you +contains an œillet or sprout with the leaf, thus marked B. Then, carefully make on the +tender wood, which is in sap, on which you want to graft, two lines thus cut , then make in the middle a cleft thus -. Next, separate with the point of the penknife the bark & +. Next, separate, with the point of the penknife, the bark & open it from the cleft in the middle, and having neatly lodged your shield so that nothing comes out but the sprout, bind it well & wrap it entirely with a slip of linen or very @@ -11611,18 +11636,18 @@ whether the shield should take, accordingly it will be green. Leave your graft seven or eight days thus, then unbind it & join it well to the bark, especially at the sprout, & then rebind all gently but not as strongly as before; & if there is any output -or growth, leave it space to go out; & do thus three or 4 +or growth, leave it space to go out, & do thus three or 4 times. ~~~~~~~~~~~~~~~105v~~~~~~~~~~~~~~~ -Next, when it will be well taken, cut the top +Next, when it is well taken, cut the top of the tree that exceeds your tree, three or 4 fingers above the shield for the first time, and - then, at the closest point, in order that is -closed. But heed well that when you will make your shield no small hole + then, at the closest point, in order that it +closes. But heed well that when you make your shield no small hole remains at the back of the sprout, for this would signify to you that its root would be broken, & your graft would never take; but make it so that the back is intact. This type of grafting is practiced @@ -11636,7 +11661,7 @@ best there, they are grafted in the month of January. Generally trees with pitted fruit, like mericoton peaches, are grafted in clefts. One says that trees grafted en piolet or by -shield are later to bear fruit than those by cleft. +shield are later in bearing fruit than those by cleft. Nightingale @@ -11650,14 +11675,14 @@ day, taking it out from its cage into the hand & opening its beak, & with a small wooden pin, put it in its throat & make it swallow. And continue thus until it is no longer opinionated. This is -done for sustaining it, for if it would become thin it would die. +done for sustaining it, for if it were to become thin, it would die. Gardening It would not be very careful to cultivate oraches in one’s -garden, because, when soup & -broth is kept a little bit cold, it engenders worms in it. +garden, because when soup & +broth is kept a little bit cold because of it, it engenders worms in it. Nightingale @@ -11668,22 +11693,22 @@ It needs to have a cage made in the barn, like those for calendras, doubled with green cloth, because it fears the cold. And for making it accustomed to eating when first it is put in the cage, one needs to give it -ants with soil at the bottom of the cage to +ants with soil at the bottom of the cage, to make it accustomed to pecking , and give it -chopped sheep’s heart, & immediately some -eggs, & mealworms. +chopped sheep’s heart & immediately some +eggs & mealworms. Fountain maker As you will see below in the discussion of the molder, reheated plaster promptly mixed into -water & put on the joints of the conduits of fountains, +water & put on the joints of the conduits of fountains resists as much as any stucco. Catching nightingalesSee the 15th folio after -this. +this For trapping them, one needs to observe their nature, the food that they like the best, & the season of their pleasure. The @@ -11698,8 +11723,12 @@ ground & put in some worms and your device of little crossed sticks. It will be anxious for you to leave so it can go see what you have done, and seeing worms, it will enter. -Some sell nightingales on -trees. + + + + + +Some sell nightingales on trees. The coolness of the evening and the morning, near fountains & shaded places, are @@ -11750,7 +11779,7 @@ be kept for a long time, for if they are alive, they get thin, and if they are dead, they wither. Plaster of Paris is as firm as stone & -very good. When you will want to choose some for your sand, take it raw, +very good. When you want to choose some for your sand, take it raw, the hardest possible & which does not make any powder. The transparent one and the one that thus makes powder retracts, which is not good for this work. A sign of the @@ -11777,10 +11806,10 @@ to be red & one needs to press it promptly with iron presses. The shell of crabs & crayfish are -uneasy to burn & there is a proper fashion of molding them. +awkward to burn & there is a proper fashion of molding them. Rats & birds can be molded, and the feet are -uneasy to extract, when burnt, because they are small & delicate. +awkward to extract, when burnt, because they are small & delicate. The bodies are extracted more easily from the mold. The feet are cast in many pieces. @@ -11790,7 +11819,7 @@ Tiles Tiles with which one covers houses, the hardest & firmest, and purged of stones & coarse gravel, are used to mix in with the sand for molding. But, before, it is necessary to heat -them just until they have been well red for one or two +them just until they have been quite red for one or two hours, & pestle them & pass them finely through a sieve. @@ -11833,10 +11862,10 @@ If the plaster is mixed with some dust or is not the hard kind, it bursts in the fire & causes flashing. The hardest plaster, as was said, is the best -being from stone, therefore take it raw of this kind. Pestle it +when it is from stone, therefore take it raw of this kind. Pestle it as finely as possible and pass it through the finest sieve or sleeve that -you can. Being thus b fine, put it, +you can. Being thus fine, put it, in a good amount, in a cauldron or skillet over an open flame, & as it begins to heat up, stir it continuously, and heavy & coarse as it is, it will become so light @@ -11860,10 +11889,10 @@ gold. It is that one, which being mixed among the sand, receives it # remains reheated, & the -quickest it is put to use, that is the best, for it sets more quickly. +more quickly it is put to use, the better it is, for it sets more quickly. One ought not to reheat it until you want to mold. And to reheat it, put it, as finely ground raw powder, in a cauldron on - a clear flame & do not make it neither too strong nor + a clear flame & do not make it either too strong nor too violent. Always stir with a long stick, to avoid the vapor, turning it around the cauldron & in the middle, in a figure 8. At the beginning, you will find it heavy to @@ -11889,8 +11918,8 @@ finger. Seeing it in this state, remove it from the fire for it is heated enough, because if you were to reheat more, it would be too much & would not set as well. For, when it becomes red & overheats, it loses its strength & spoils the sand. Leave it -to cool before mixing it within the other sands. And when it is cold, -mix and mold, for as soon as you will use it after its cooking, the +to cool before mixing it with the other sands. And when it is cold, +mix and mold, for the sooner after its cooking you use it, the sooner it will set. @@ -11898,8 +11927,8 @@ Catching lizards and snakes Take a stick and attach a string at the end, which has a slip -eyelet at the end. And, being two to three, to distract the -lizard while whistling, approach the eyelet toward its neck, +eyelet at the end. And there being two or three to distract the +lizard by whistling, approach the eyelet toward its neck, and when its head is inside, pull. The lizard is more tedious to catch by hand than the snake & bites without letting go & grips like pincers. @@ -11916,7 +11945,7 @@ The sand mixture is of two parts of plaster pulverized & reheated as said, & of one part of tile, reddened in a good fire, after the first cooking & then finely pulverized, and of -feather alum, half of brick, namely two +feather alum, half as much as of the brick, namely two full crucibles of plaster, one of brick & a half of feather alum. There can never be too much feather alum, for this is @@ -11934,10 +11963,10 @@ getting spoiled. Feather alum is awkward to pestle, and it does not pass through the sieve. Thus one needs to grind it finely on -marble. And the one white +marble. And the white one in powder that apothecaries sell is good. It is ground better in the mortar by pestling -& dragging the pinon, thus you will render it very +& dragging the pestle, thus you will render it very fine. Crocum ferri must be set ablaze in a @@ -11955,12 +11984,12 @@ the twice reheated things dissolve easily. Otherwise, you would not be able to release your work without danger of spoiling it. -Good feather alum is white and as lustrous -aswhite silk. It is in pieces +Good feather alum is white and has a luster as +ofwhite silk. It is in pieces long as a finger, & is very breakable & wooly as down. The one made of stone is harder & not so -good. The best of the above mentioned quality is -brought in France near Rouan. The feather alum for our sand is pestled in a mortar, and is +good. The best of the aforementioned quality is +fetched in France near Rouan. The feather alum for our sand is pestled in a mortar, and is further ground on marble, especially since one cannot think of passing it finely through the sieve, for it is so fat & wooly that it would not pass through it. It is this, with @@ -12035,7 +12064,7 @@ the edges, which are thinner. One casts with common silver with which goldsmiths commonly work, which alloys indifferently . -And when one would cast with solder, it would run even +And when one were to cast with solder, it would run even better. Spat is a whitish stone which can @@ -12044,11 +12073,11 @@ one uses for the most excellent sand that can be found for lead, tin, copper, silver & gold. And the more it is used, the better it is. It is appropriate for casting flat things in a frame. For round things, it is not as fitting nor does -it hold in the fire as well as the above mentioned made with +it hold in the fire as well as the one mentioned above made with plaster. The shreds of thick, greasy leather -are good to cast in the melted +are good to cast in the molten copper and latten, for it cleans it & removes from it all its filth. @@ -12076,7 +12105,7 @@ earthen vessel in the fornaise of those who make pots, and one leaves it there until the pots are cooked. Next, one mixes it again with sal ammoniac water & one grinds it very well, -and one empties the muddy & clean water in a separate +and one empties the muddy & clean water into a separate vessel. Again, one puts the same water on top & one grinds & again one puts the muddy water with the other. And one does thus, until it has passed everything. In this way, one @@ -12090,7 +12119,7 @@ has not reheated enough & that one needs to reheat it further. This one is appropriate for molding all metals, and especially gold & silver, and the more it is used, the better it is. One needs to set aside the one in which you cast lead or -tin, for it would sour the gold you would cast. +tin, for it would sour the gold you would cast in it. Feather alum should be reheated in a crucible covered @@ -12107,13 +12136,13 @@ inside it remains white & better dried out # # After your feather alum is cooled, -pestle it in a mortar, then grind it on marble, and it will be rendered in very fine wooly -filaments, which gives binding to the sand, without getting burned as +pestle it in a mortar, then grind it on marble, and it will be rendered into very fine wooly +filaments, which give bond to the sand, without getting burned as other things do, which is a beautiful invention. Pestle it in the mortar, by dragging the pestle, for the flying dust could enter your throat or land on your face, which -will give you reason to scratch yourself well. Put a little -every time in the mortar, to avoid the flying dust. It is +will give you reason to scratch yourself well. Put it in the mortara little +at a time to avoid the flying dust. It is better to grind it thus, in the mortar, dragging the pestle, than on marble, where it spreads & in @@ -12122,7 +12151,7 @@ soft to the touch. Clay, to make circles around molds, should be very fat & handleable, and serves only to make the surrounding of -the molds. Thus, one needs only choose it well fat, and beat +the molds. Thus, one ought only to choose the quite fat kind, and beat very well & moisten it moderately with some water & keep it in a pit or in a terrine and make numerous holes with a stick in it, which fill with water, in @@ -12137,7 +12166,7 @@ Modeling in wax When wax is too hard, one mixes in turpentine or a little butter, which renders the wax more amiable, and more appropriate than the tallow -that the Italians put in, because one has to, often, put the +that the Italians put in, because one often has to, put the tools in the mouth, which are better in boxwood or bone of hart. @@ -12145,20 +12174,20 @@ Wax for molding - As the wax is melted, they have sulfur that is melted, in a spoon or crucible, & they pour some -in the melted wax. And the sulfur going to the bottom or -remaining on top, it leaves & mixes only its substance amongst the +in the melted wax. And going to the bottom or +remaining on top, the sulfur leaves & mixes only its substance amongst the wax, & renders it more meltable when warming it, such that -having molded, it melts in the mold gently like butter, without leaving any pustule or bubble in it. Also be warned to not give it too much strong fire. +having molded, it melts in the mold gently like butter, without leaving any pustule or bubble in it. Also be advised not to give it too strong a fire. If Molding wax -In order that your mold grips, without repelling in any place, on -a shape or image of wax, one needs to anoint it with oil +In order that your mold grips without repelling in any place on +a shape or image of wax, you need to anoint it with oil and moisten your sand with lukewarm water, for the cold -water would repel more the oil & would not have a good seating on it. +water would repel the oil more & would not have a good seating on it. @@ -12172,7 +12201,7 @@ oil. Bellows of the forge -It is better that, through the blast-pipe, they be fixed in some piece of +It is better that they should be fixed through the blast-pipe in some piece of thick plank, for they are more secure for it; next you can lightly secure them from above. It is necessary that blast-pipes be 4 fingers above the sole of the forge. @@ -12186,7 +12215,7 @@ removed, they get sore gums & mouth, & can no longer eat. You can keep them in a barrel full of bran or even better of earth, in a cool place, or in a glass bottle. And give them any live frog or other little live animal -for they eat nothing dead. Also I have noticed that +for they do not eat anything dead. Also I have noticed that ~~~~~~~~~~~~~~~109v~~~~~~~~~~~~~~~ @@ -12205,8 +12234,8 @@ that is to say bones and everything. And the remains are found as fresh as when it had devoured them, such that sometimes, when one presses & torments it, it renders up what it has engulfed, parts of which are found totally consumed & others as fresh as if it were alive. It -can keep for two to three hours a frog -engulfed & renders it up completely alive. +can keep a frog +engulfed for two to three hours & renders it up completely alive. Toad @@ -12223,7 +12252,7 @@ A frog is not so beautiful molded because it has lively skin, You can mold it hollow, and leaving under its belly an open notch, you will make it jump with the twisted cord of the saw. Or else, if -it is a small, put it on a magnet of its size, cut thinly, then +it is small, put it on a magnet of its size, cut thinly, then put it in good vinegar. @@ -12235,7 +12264,7 @@ cotton some melted wax. Killing snakes for molding Some put a drop of aquafortis in the mouth, -that which stuns them well, such that the head & the part behind +which stuns them well, such that the head & the part behind seem to be dead, but the mouth remains alive, and when you pierce it with a needle to fit it to the mold, it moves & spoils & undoes everything. Therefore, to put them to death entirely, put it @@ -12333,7 +12362,7 @@ Is made on a blade of iron reddened in the fire. And the oil drips off, which is appropriate for anointing the hair of a butterfly or similar thing, for this oil is instantly dry & makes the remainder dry out. It is necessary that the hair or -down of any animal that you want to mold be flat, for it were upright it +down of any animal that you want to mold be flat, for being upright it would elevate the sand & become porous. # @@ -12367,7 +12396,7 @@ nature. -I cast tin almost red, and lead the same, which however +I cast tin almost red, and lead the same, which, however, had not remained in the fire for too long, for it becomes brittle and calcines. @@ -12405,7 +12434,7 @@ Clay earth This one, moistened & well beaten & kneaded as you know, is necessary for you to make the contour for containing your -molds. But take heed that it not be too soft, but rather as if +molds. But take heed that it is not too soft, but rather as if half dry, that it does not attach to your hands, because otherwise it would attach to your work. Always keep it in a damp place, @@ -12426,9 +12455,9 @@ Iron wire You also need to have provision of different sizes, according to the molds that you want to make; thick like cord, smaller & thin , -like the thick strings of a spinet, for the small works. You -make, once reheated, clamps from it to close the -molds & points, like needles of different lengths, +like the thick strings of a spinet, for the small works. Once reheated, you +make clamps from it to close the +molds, & points, like needles of different lengths, according to your need, to pierce the animal to be molded & keep it held down. Needles would not be good for this because their points have to be empty & of the same thickness throughout, except at the point. And then, one must make them as long as @@ -12497,7 +12526,7 @@ like pincers Composition of sand -Everything once reheated as it said here above, take four 4 full +Once everything is reheated as said above, take four 4 full crucibles of plaster, two 2 of brick, & one of feather alum. Do not pass through the sieve to mix because the @@ -12606,8 +12635,8 @@ lizards have, and then arrange it thus. -now, put enough in a glass, & soak there & keep there -continually the head of the animal, or the whole of it, if it is not +Now, put enough in a glass, & soak & continually keep in it +the head of the animal, or the whole of it, if it is not big. @@ -12640,11 +12669,11 @@ pierce it from underneath, in the middle of the throat, & up to needle, & in its place & its hole, put the point of an iron wire, of such a length that it suffices to hold the head of the animal as high as it must be, & if -the skin gets in to the inside when you put in the +the skin moves into the inside when you put in the point, pull it out with the edge of your small pincers, & arrange it as it was. Push the other end of the point in the cake of clay. Thus, the head will be held high, -which will have better grace, &, being secured, next arrange the gesture +which will have better grace, & being secured, next arrange the gesture of the body, & the feet, & the entanglement as you think will look best. And so that it is secure & does not move at all when you cast in the sand, secure the legs @@ -12695,7 +12724,7 @@ point pass through the bottom of the throat, bit, so that you can take it out if you need to. And take heed that it is necessary that these points be of the most delicate iron wire possible -to bear the size of the animals. For, the more delicate it is, the +which can support the size of the animal. For the more delicate it is, the smaller the hole that it leaves appears. However, one needs different thicknesses of these, because the points which are put in the body & in thicker places, like under the throat, ought to be longer & @@ -12735,17 +12764,12 @@ which evaporates promptly. And wet it thus. -and make sure that the point is long according to the height -you want the head, and that it be pointed on both ends. Once placed +and make sure that the point is longish, depending on how much you want to elevate the head, and that it be pointed on both ends. Once placed thus, plant your snake on the slab of earth, & arrange the head first and then the rest. -Eau-de-vie in three goes. - - - @@ -12758,7 +12782,10 @@ does not dry & attach itself to the earth If, when you pierce your animal, it renders water from the bottom of the side of the belly, on the slab of earth, clean it well -with cotton for the sand that would touch it would be lumpy. If +with cotton for the sand that +Eau-de-vie in three goes. + +would touch it would be lumpy. If it is on top of the animal, clean it very carefully and touch it & moisten well with eau-de-vie. @@ -12790,32 +12817,26 @@ put your sand in it & not the water in the sand & add it with such discretion that , while stirring & mixing it promptly with a wooden spoon, it does not become thicker -than mustard. And thus cast, shaking, - first the non-thick part, as is always at the surface & - a little bit higher in your mold. And doing so, -since your animal is nearly covered, blow strongly everywhere in order +than mustard. And thus first cast into your moldthe lighter part, as is always at the surface, with a shaking motion, & + from a little height. And doing so, +when the animal is nearly covered, blow strongly everywhere in order to dissipate the small and big bubbles that the wetted sand makes & continue without delay to put all the rest which is at the bottom, & -a little thicker than the top, until everything is filled, up to the +a little thicker than at the top, until everything is filled, up to the mark for thickness that you made. - And do not forget to shake the mold while throwing, in order that the wetted sand runs + And do not forget to shake the mold while casting, in order that the wetted sand runs & enters well everywhere. Also tip your mold up on the side of the head, which is higher than the body, and thus your mold will have the same thickness, & you will spare sand. All of this being carefully done , let it set, which will take a quarter of an hour. Then release the clay circle, which can be used another time. And leave it to dry -a little bit, & separate your mold from the +a little, & separate your mold from the cake of earth, which also will be appropriate for molding right away, and trim the excess with a big knife, giving || to it the long shape of a mandore. - Scrape & cut also away the back of -the mold, which is always the weakest, and adapt it -cleanly thus. And do not forget to make notches around, in order that the -second cast anchors itself there & binds better - without changing. If you can, fill your half mold in one go & with @@ -12829,7 +12850,7 @@ to put sal ammoniac water at the first bowlful. Make it clear like a pureed broth, or like starch water, that women use to make their starch. For -there is no risk in it being very clear, because sand always settles in +there is no risk in it being very clear, because sand always settles at the bottom & water separates & remains on top. The sand that one scrapes as well mme too weak & soft. And it will not let itself set quickly, for all things calcined dry out promptly from mixed @@ -12840,14 +12861,23 @@ If you do not fill in one go your mold with tempered sand, take heed to stir you second cast with the surface of the first, by mixing with your spoon or spatula with which you temper it. -Sal ammoniac water is not necessary to small -molds, which require neither a big nor long fire to be -reheated, however, when you put some in, it will only be better. +Scrape & cut also away the back of +the mold, which is always the weakest, and adapt it +cleanly thus. And do not forget to make notches around, in order that the +second cast anchors itself there & binds better + + without changing. + +Sal ammoniac water is not necessary to small +molds, which require neither a big nor long fire to be +reheated, however, when you put some in, it will only be better. + + ~~~~~~~~~~~~~~~114r~~~~~~~~~~~~~~~ Second cast @@ -12855,13 +12885,13 @@ Second cast When you have well molded the first part of the animal, that is the back, the backbone, and the entire top part, and the half-mold where it is enclosed has set -and is hard enough + uncover the whole bottom part & side of the belly, +and is hard enough, + uncover the whole bottom part & side of the belly, first with a knife at the thickest places, & then with a penknife, where the most delicate parts are enclosed, such as the legs, the tail, & similar things, and because the head is higher, you will also need to look for it & uncover deeper, and make a deeper notch there which -ought to release easily. That is to say widening by the outside, in order that +ought to release easily. That is to say widening on the outside, in order that the second mold that you will cast on it can come out well, which even the animal can help with, which is malleable and obedient, being natural. However , be more careful @@ -12927,7 +12957,7 @@ And if some bit of nail from a leg, or from a tail, or from another should separate from the mold, put between the two a small grain of wax, & with the point of a hot iron wire join it, then adapt your mold with a -knife, & make there notches at the sides so that the other +knife, & make notches on its sides so that the other half binds to it.🝋 @@ -12944,9 +12974,9 @@ paintbrush, moisten well everywhere the uncovered half with eau-de-vie, without leaving anything, if it is possible, which is not moistened, for this is the secret, which makes it come out neat. And next, as promptly -as will be possible for you, before the eau-de-vie evaporates, wet your sand, and cast it, shaking, and while blowing, & moving the mold, as you did +as will be possible for you, before the eau-de-vie evaporates, wet your sand, and cast it, shaking, and while blowing, & moving the mold as you did for the first one, making sure that the -first thing you pour on the animal should be a little clearer than the +first thing you pour on the animal should be a little lighter than the next one, so that it moistens everywhere & closely follows the more delicate parts. So, leave it for a quarter hour to set, then remove the circle & the claycake. And, with a @@ -12964,10 +12994,10 @@ the mold. The latter being empty, enters it, & put them aside until you want to reheat them, make the gate & vents, & place clamps. As for the animal, so that it does not dry & that you might be able to mold it four of -five times, put in water. And I think that it would keep even +five times, put it in water. And I think that it would keep even better in eau-de-vie. However, the best would be to mold in the same day the 4 or 5 molds that you can do, -because these corrupt animals in themselves are in one daystinking. Having left your molds one or two +because these corrupt animals in themselves stink within one day. Having left your molds one or two days to dry, for they stay damp for a good month, make the vents on one half. @@ -12989,7 +13019,7 @@ joints & makes it separate. -However, take heed your second mold be of good thickness & +However, take heed your second mold is of good thickness & that it is hard enough because if it is lacking in this, after having dipped it in water, & you want to open it, there is a risk that it breaks. Take heed therefore to avoid this, and wanting to open @@ -12997,7 +13027,7 @@ it, dip all of it in water, and rub it everywhere, where it will harden if it has set well. Then, take your two molds, joined with a rough linen cloth, in order to have a better grip, and separate them with strength as if you -wanted to tear apart a loaf of bread. But if happens to break, join +wanted to tear apart a loaf of bread. But if it happens to break, join it & on the reverse, strengthen the joints with clamps. @@ -13012,6 +13042,7 @@ Next, you can repair the faults with small chisels. ~~~~~~~~~~~~~~~115r~~~~~~~~~~~~~~~ + if you want, which will be enough, or else on the two halves. @@ -13019,17 +13050,22 @@ But because one needs to cast by the tail or from the back of the animal, make it so that the vents come from the head & the middle of the body to join to the said tail, where the gate is done, which is the end of the mandore. And having done your cast, do not forget to make in -it some holes and notches because the metal will run more neatly, as if -the cast was even, for it gets corrupted in its notches & holes, +it some holes and notches because the metal will run more neatly as than if +the cast were even, for it gets corrupted in its notches & holes, & does not go so much at once, & does not become as porous. This done, join the two halves of your mold & strengthen the joints, -putting around these some small clamps of iron wire of this shape. They -prevent the molds from deforming & corrupting while reheating. +putting around these some small clamps of iron wire of this shape. + They +prevent + +the molds from deforming & corrupting while reheating. + +Note about everything -Note about everything above |-| +above |-| If your snake has been without eating for a long time, it happens that, when you want to put it to death in urine & @@ -13052,12 +13088,12 @@ lead & tin. However do not put too much in either one. Animal after release -If, by chance, you gave your snake such a writhing shape, -such that the place of the belly cannot easily come out, especially +If, by chance, you gave your snake such a writhing shape +that the place of the belly cannot easily come out, especially since the head & the tail, which are the two ends, are thinner, cut everything which is outside, & reheat the mold so well that what remained inside burns, then pass some -quicksilver inside & attracting +quicksilver inside, & attracting the ashes & the burnt bones from the inside, it will also come out, because the conduit is big, & thus will not sour at all your material. You can pull really strongly the molded @@ -13085,7 +13121,7 @@ Cast of tin If the plant or flower that you want to cast is delicate & fine, it is necessary that the tin exceeds -lead in the mixture & on the contrary, if it is thick, it is +lead in the mixture, & on the contrary, if it is thick, it is necessary that lead exceed. Therefore for the fine thing, put in some fine tin, not all the quarter part of lead. And make sure that your mold is @@ -13128,9 +13164,9 @@ by little and not all at once. Finally as they will begin to become white, beat the thus half-lit large charcoals on top & blow with your little bellows, until they are warmed. And thus, little by little, invigorate the fire, -without haste, until your molds are well red on the outside -& the inside. If it is for casting some plant or some animal which -does not release well, &, in this case, one needs to burn +without haste, until your molds are quite red on the outside +& the inside if it is for casting some plant or some animal which +does not release well, & if, for this reason, one needs to burn it in the mold & when you look through the gate, & through it, you see the molds are very red & inflamed inside, this will be your signal that they are reheated enough. But if you do not see this signal, increase & continue the fire until it is @@ -13186,9 +13222,9 @@ Molding bouquets, plants, and flowers wilt & dry out. Dip them, therefore, immediately in good eau-de-vie & then put them in your tempered sand mold, like snakes. For which one needs no -release, for while the molds being +release, for while the molds are being reheated, the plant burns, which does not happen with -animals, which have bones . It is necessary +animals that have bones . It is necessary that for bouquets, the sand be not as thick as for snakes because, if it were thick, it would crush the flower. @@ -13196,7 +13232,7 @@ because, if it were thick, it would crush the flower. Molding en noyau with the same -sand, wax images or lead medals and suchlike +sandwax images or lead medals and suchlike Check if they release well. If they do not, fill with wax what does not, and then anoint your images of wax or of @@ -13206,7 +13242,7 @@ medal. Then, heat a little eau-de-vie & when it is lukewarm, moisten the oiled medal with it, for if the water were cold, it would reject the oil, it would not sit well on it. Next, cast your sand of plaster, brick, & -wet alum on top. Having arranged your image on the claymandore & having made a circle around it +wet alum on top, having arranged your image on the claymandore & having made a circle around it to give it the necessary thickness. These medals are oiled and rubbed thus with eau-de-vie because they are firm & hard & would not be malleable for taking @@ -13335,7 +13371,7 @@ One needs to choose them in their full verdure & vivacity, & one will want to mold them, so that they do not wilt. Or if you need to carry them from afar, soak their stems in a bottle of water, or better still wine. Make, first, a -wax stick pointed like a big peg, of a size appropriate to what +wax stick pointed like a large peg, of a size appropriate to what you want to cast, as you see in the margin, marked A. Put & prick at the foot of this small peg a bit of rather thickish & strong iron wire. And at the point of this, you will fit your flower stem or your @@ -13353,7 +13389,7 @@ pour in it will be of equal thickness everywhere, & exceeds everywhere by the height of two good fingers the top of the plant. And having secured the wire stem well, promptly pour -your tempered sand, much thinner than the one for snakes, in the +your wetted sand, much thinner than the one for snakes, in the mandore. And the sooner the better, in order that the eau-de-vie does not dry. And take heed to put in a little more sal ammoniac water among the @@ -13432,7 +13468,7 @@ together that the enamel would muddle together there. Sand that was used Do not cast it. But because it is mixed with feather alum, -you can use it in the mixture of other things & it can serve in +you can use it in the mixture of other sands & it can serve in place of brick. @@ -13444,7 +13480,7 @@ it be so lightly that your medal is almost rubbed dry & that it hardly appears to have been anointed. Next, rub it with eau-de-vie and heat the water with which you will temper your aforementioned sand, with plaster, brick & -alum, in order that being like lukewarm +alum, in order that being as if lukewarm when you cast it, the oil will not refuse it, as it does with cold water, & do not forget when moistening your sand to always mix in it a little sal ammoniac. @@ -13500,7 +13536,7 @@ found in the forests & mushrooms and potirons of trees, once dry, are better than any other because they are light. One mixes in small pieces of looking-glass tin which has a shiny luster. One finely pestles diverse sorts of marcasites which one washes to cleanse them of -earth, &, one sprinkles the work with it, which is very +earth, & one sprinkles the work with it, which is very beautiful. If there is no fountain in the grotto, one glues all of this with strong glue, and it is soon done. Take @@ -13620,17 +13656,17 @@ rough & firm & hard on one side and the other, which is a good sign of their being quite dry, I left them to cool. I took some fine tin, one lb, & one ounce of lead, fine & new. I melted it in a crucible until -it was like a bit red. Being in this way quite hot - & being ready to cast & not +it was as it were a little red. Being in this way quite hot + & being ready to cast, & not before, I smoked with the smoke of a tallow candle all sides of my frames & imprint & cast & everything. I set my frame, well joined, in the press. I drew my -crucible from the fire. I left it a bit so that +crucible from the fire. I left it a little so that the redness at the bottom of the crucible could die down. And wanting to cast, I threw in two or three grains of something like pitch rosin, & when & when the size of a bean of looking-glass tin & I -mixed, & stirred a little the crucible, and I cast. And the +mixed, & stirred the crucible a little, and I cast. And the medal came out as neat as the principal. I smoked it with the candle & cleaned it with small brushes. @@ -13639,7 +13675,7 @@ brushes. Always cast through the foot of the medal because the head, which is lower, will come out better, & make the cast longish. And when you -will cast in a large frame several medals, they will come out +cast several medals in a large frame, they will come out better. @@ -13666,9 +13702,9 @@ Germany, which is soft as flour when wet, and almost all the others are lumpy. Nota that the cast must be thin & hardly thick -in order that it does not overtax the material at all, and must not +in order that it does not overtax the material, and must not exceed the thickness of the width of a grain of -wheat, likewise for tin, that wants to be cast +wheat, likewise for tin, which wants to be cast very thinly. For lead, a little thicker. There is no need to make the vents very large & deep either. @@ -13694,9 +13730,9 @@ filth go to the bottom, and the pure aspalte, which is light & soft and handleable as wet flour, adheres with the water and goes to the surface, clouding the water, which murkiness is emptied into a separate vase. -Having sat, one empties the water by tilting, or by taking +When it has settled, one empties the water by tilting, or by taking it away with a sponge, and the pure aspalte -remains at the bottom. Dry it & employ it in a frame, having +remains at the bottom. Dry it & employ it in a frame that has been moistened with sal ammoniac water. And try it in the frame, in which it shrinks when reheated or dried, that is to say that one needs to reheat it again on a good fire and redden it. @@ -13719,7 +13755,7 @@ See Gesnerus, De lapidibus It endures ten or twelve castings without corrupting, it withstands the fire & reddens, it is suitable for all metals. It is so -tenacious that should the frame be straked, it holds. +tenacious that should the frame be furrowed, it holds. @@ -13866,22 +13902,10 @@ Sciscitatio dubia A little tallow and arsenic. -Keeping dry flowers in the same -state all year -+ -Flowers are also kept in their same beauty in distilled vinegarin a well sealed vessel which does not -allow any wind, which should be well sealed with wax & -mastic. Carnations & roses, the residue -of common vinegar makes them rot. If the sand makes -dust, & clings to the flowers, & is not easily removed -with a paintbrush, it is no good. The leanest is the -best. - -River sand washed by the current of the -waters is good, being passed through a linen cloth -to shake the powder. +Keeping dry flowers in the same +state all year This is a rare secret, & which gives pleasure for adorning tables, rooms, & cabinetsout of season @@ -13897,8 +13921,23 @@ make dust, nor remain on the hand or leave a mark on it when you have pulverized it & then poured it from your hand. For it is +River sand washed by the current of the +waters is good, being passed through a linen cloth +to shake the powder. + ++ + +Flowers are also kept in their same beauty in distilled vinegarin a well sealed vessel which does not +allow any wind, which should be well sealed with wax & +mastic. Carnations & roses, the residue +of common vinegar makes them rot. If the sand makes +dust, & clings to the flowers, & is not easily removed +with a paintbrush, it is no good. The leanest is the +best. + + + Make sure your box is well joined in order that the sand does not trickle out. Keep it uncovered in sunlight and remove it from the serain, & the humidity of the @@ -13910,7 +13949,6 @@ vessels, for when one pulls out one, one needs to pull out all. - Take good heed not to pick your flowers in rainy and humid weather, but when the sun has been shining on them. @@ -15043,9 +15081,9 @@ base silver. Painting plants of metal -If you are in a hurry it would be better to mix your color with a +If you are in a hurry, it would be better to mix your color with a not-too-thick gum because oil takes a -long time to dry, and it runs if it is layered thinly, +long time to dry and runs if it is layered thinly, as the plants require. And if you still want it done promptly, temper your color with glair beaten with peelings of the fig tree, and your work will soon be dry. But layer it @@ -15066,16 +15104,17 @@ Viper color It is the most beautiful snake that can be molded, because it has very beautiful scales, & hard & transparent. Its true color -is made with good verdigris, well ground with some good +is made with good verdigris ground well with some good vinegar, if it is of lead or tin. And if it is in some place darker, fumigate this first color with sulfur, as you know. And if one needs to lighten and whiten, like under the throat, rub -with coarse linen. The male, ejects from its +with coarse linen. The male ejects from its nature, which is at the bottom, when it is -firmly pressed, a little mass like half an arquebus ball, +firmly pressed, a little mass like half an arquebus ball made in the genitals and full of very venomous spurs. -+ Put a bit of metalline in your ++ + Put a bit of metalline in your tin & your lizard will resemble silver. @@ -15088,7 +15127,7 @@ They are awkward to mold because the petals are very fine & weak anoint them with wheat oil, which is very dessicative. And having quickly dried, it firms & stiffens the petals to be able to separate them & withstand the tempered sand. The same is done with flies, -with pansies, & similar delicate things, with flowers from +with pansies & similar delicate things, with flowers from the caper plant. @@ -15101,9 +15140,9 @@ time Plant them on a slab of earth, arranging them with points of iron wire, as if you wanted to mold them, and - dry them in an oven, after the bread + dry them in an ovenafter the bread has been taken out. And they always remain thus, as much for -snakes, as birds, and other things. But, it is +snakes, as birds and other things. But it is necessary that they be dried promptly. @@ -15115,7 +15154,7 @@ necessary that they be dried promptly. Note that one needs to give them their shape & put them in the sand, as with flowers, & promptly dry them in the oven, which is hot enough, like when one takes out the bread. And it -should stay there a day & a night, in order that +should stay there a day & a night in order that it is dry, for otherwise it would be stinky. However, take heed that the oven not be too harsh, but rather like the heat of the sun in @@ -15136,8 +15175,8 @@ Advice concerning the gate Be careful to not make your gate very wide, and do not forget to make in its conduit two or three holes and notches, & as your gate approaches the molded thing, divide it -into three or four parts like fingers, which are pointed, & -are not very deep. For the metal runs more gently, without being +into three or four parts like fingers which are pointed & +are not very deep. For the metal runs more gently without being hindered by vapors & fumes. @@ -15151,41 +15190,41 @@ Spider molded on a leaf The very big ones usually have hairy feet, which are vexing to mold if you do not lay them flat, or burn them with a -candle, or stiffen them & lay them flat, anointing them with wheat oil. Kill +candle, or stiffen them & lay them flat , anointing them with wheat oil. Kill them in vinegar & urine, like snakes, or in eau-de-vie, and then shape them on a -well-made vine leaf, or other thing. Next, you can give them back their +well-made vine leaf or other thing. Next, you can give them back their capricious hair with the sieved fine hair of cloth waste, having anointed them with -fish glue, or similar. Their true color is of +fish glue or similar. Their true color is of vinegar & verdet, & then fumigate them in various places with sulfur. Having made your clay slab, place on it your vine leaf, and the dead spider in the middle, & pierce with a point of iron or latten wire the middle of the spider’s body -& the leaf together. Next, place diagonally, small points of +& the leaf together. Next, place diagonally small points of latten wire around the vine leaf to secure it well. Then fix, with a little melted wax and the point of a hot iron wire, the end of the legs, adapting them with the end of small pincers. Do the same thing with the end of the -small cornicles of the spider. Return🜊 +small cornicles of the spider. Return 🜊 -To make the gate for the spider on the leaf, and to +To make the gate for the spider on the leaf and to prevent the sand from covering the spider from underneath the belly, furnish the end of the tail & the bottom of the body with a -little melted wax, & applied with the hot iron +little melted wax & applied with the hot iron wire, as you know. In this way, the leaf burning & the wax having melted, there will remain two little holes in the leaf which will be the gate of the spider. 🜊 -The wax once cooled, scrape the excess with the point of a -penknife, in order that the end of the legs stay neat. Next, +The wax being cooled, scrape the excess with the point of a +penknife in order that the end of the legs stay neat. Next, place the circle of earth around & cast your tempered sand, like for other things. In this manner, you will need to burn the vine leaf in the mold, otherwise not. And to cast more easily, let the animal die fully, in order that, when struggling, it does not mix up its legs. Having made your first cast, uncover the reverse of -the leaf, and make the second cast. +the leaf and make the second cast. ~~~~~~~~~~~~~~~130r~~~~~~~~~~~~~~~ @@ -15212,14 +15251,14 @@ similar fancies. Thus for rats & all animals. -which surrounding the fingers of the paws stick in +which, surrounding the fingers of the paws, stick in the jacket of clay. For reddening live crayfish, which will seem boiled -Rub them in quite good vinegar, in which there should be a +Rub them in quite good vinegar in which there should be a little eau-de-vie & hardly any, & they can be served as cooked & will move around. @@ -15227,7 +15266,7 @@ cooked & will move around. Molding a single spider One needs to plant it on the clay slab, as has been -said, on a vine leaf, and make there your first cast & once +said, on a vine leaf, and make there your first cast; & once it has set, uncover the spider up to half its legs, then make the second cast. @@ -15257,7 +15296,7 @@ to proceed differently than with other animals, because its shell is very difficult to burn & in this case, one needs to sometimes reheat the mold three or four times. And with all of this, it leaves a hard crust, grey like -ash. But because it does not mold in one piece & one cast, +ash. But because it does not mold in one piece & one cast like plants, but rather in two casts like snakes that release well, one removes this crust, not with quicksilver, which would do nothing, after it @@ -15266,8 +15305,8 @@ dexterity, as with the little crusts of the second cast, which enter in the nooks that the sand or the molded animal made. But, because it has curved legs, here is the craft & secret for releasing it. Therefore, as you have molded it on one side, which is on the back, in the same fashion as others, uncover its -belly, & all its curved legs. Make your second cast in the same fashion -as others, but, as it will have set, keep from opening the mold +belly & all its curved legs. Make your second cast in the same fashion +as others, but as it will have set, keep from opening the mold until you have first reheated it well. Otherwise, because of its curved legs, you would break everything. In this lies the dexterity. If you recognize, after having reheated & opened it, that the crust is not @@ -15294,7 +15333,7 @@ before taking away the figure of wax, in order that the mold does not corrupt. Next, make a small lasagna of paste of such thickness as you would like, and having anointed with butter the hollow of your first hollow -mold, adapt the paste to it and then make your second +mold, adapt the paste to it, and then make your second mold on top. If you were to anoint with oil, it would be absorbed & would not be as appropriate as butter. @@ -15303,7 +15342,7 @@ absorbed & would not be as appropriate as butter. Plants that are awkward to burn in the mold -Mold them with two or three casts, which in reheating will open +Mold them with two or three casts, which, once reheated, will open, & it will be easier for you to take away the charcoal from inside. @@ -15327,17 +15366,17 @@ suchlike Rough out some design in half relief on a quite flat slate to adapt it to either round or flat things. And having cast it in mixed tin, quite thin, you can gild it with -gold leaf, & adapt it to whatever you want, and fill the +gold leaf & adapt it to whatever you want, and fill the bottom of the relief with small rubies, -orpiment, & little grains of diverse colors. +orpiment & little grains of diverse colors. For teaching a dog well -It is necessary to keep it tied up & when it does what you +It is necessary to keep it tied up, & when it does what you command it, to make it love you, give it some cheese that has been held under your armpit. Which must be a bad drug, & for -the master, if he is red-haired, and for the apprentice +the master, if he is red-haired, & for the apprentice too. @@ -15348,9 +15387,9 @@ white are not for burning & melting in a mold where you want to cast gold & silver, for this would sour it. And then, if you think about taking away these waxes composed of things coming from the metals reheated in the mold, you -will be wrong, because, the asperity of the fire, making them boil +will be wrong, because, the asperity of the fire making them boil , the wax goes away & the composition -of the ceruse or other metallic color, attacks the mold. +of the ceruse or other metallic color attacks the mold. And for this reason, if you want to rough out something + @@ -15391,18 +15430,18 @@ gold. To prevent this, if you cast thin, the alloy of one ℥ of lead for one lb of tin is good. But if you cast with leadfor a thick thing, one needs for one lb of the latter, two ℥ of tin, for the -lead being fat & weighty, carries more. From this alloy, I -cast a large lizard, like a natural one. In thick things, +lead, being fat & weighty, carries more. From this alloy, I +cast a large lizard like a natural one. In thick things, which keep their heat a long time, if there is little tin, it makes it porous. Your mold must not be cold, but of such a heat that you can handle it without harm, or that you can keep your finger in the gate without burning yourself. It is also necessary that your lead or tin be like red. -Melt first the lead, & then the alloy of tin on top. +Melt first the lead & then the alloy of tin on top. And as you want to cast, put a piece of rosin & then a little looking-glass tin. If you put into the tin too much lead, it does not run very thin. And to know -this, if the tin shouts loudly, +this, if the tinshouts loudly, it is a sign there is not enough lead. If it shouts slowly, that means that is there is too much. Take heed @@ -15417,18 +15456,18 @@ burns, and is fanciful to use, more than gold and silver. Lead wants not only to be red, but also lively & runny & -liquid as water, which is a sign of its perfect heat & the +liquid as water, which is a sign of its perfect heat, & the mold is so hot that you can bear putting your finger in it. Do not open until it is cooled. It is a sign of a good cast, as much for it as for gold -& silver when it exits by the vents. +& silver, when it exits by the vents. ~~~~~~~~~~~~~~~132r~~~~~~~~~~~~~~~ to not open your mold too hot, for this sours it, makes it -porous & contracts the tin & makes the molded thing +porous & contracts the tin, & makes the molded thing break. Also, do not quench your hot mold in water, for this makes the tin or lead contract. @@ -15436,22 +15475,22 @@ contract. Mold made in two casts -It is opened, once reheated, to be cleaned, next, one puts the +It is opened, once reheated, to clean it; next, one puts the clamps on again, one lutes the mold & especially the joints, then one slowly dries the earth. And then, -as it no longer smokes, one leaves the mold to cool until you +as it no longer smokes, one leaves the mold to cool until you can hold it without harm. Next, put in the presses or in the sand in a terrine, & cast in tin. For if you were to cast in silver or gold, it would be necessary that -your mold be reheated twice & cast, when it would be completely +your mold be reheated twice & cast when it would be completely red. If your mold, through the fault of the -plaster, retracts in the fire, one needs to open it, -after the first reheating, to tighten it again & clamp it -and lute again and tighten again. +plaster, retracts in the fire, one needs to open it +after the first reheating to tighten it again, & clamp it +and lute again, and tighten again. Method for reheating the molds @@ -15464,11 +15503,11 @@ the mold, which is the thickest . Your charcoals thus arranged, place your molds on top of them, & not on a grate, as some do, because they would take the fire too harshly. And leave for some time thus, & -little & by little warm your oven, always adding some lit +little & by little, warm your oven, always adding some lit charcoal. And as long as the mold is damp, the charcoals will be as if died down from below. But as it dries, they will kindle by themselves. And when it is dry on one side, turn it to -the other. And when it will be dry on both, & it will no longer smokes. At +the other. And when it will be dry on both, & it will no longer smoke. At that moment, invigorate the fire & cover it with lit charcoals. And as it will begin to redden, do not blow the charcoals with the little bellows, for this would make it @@ -15481,9 +15520,9 @@ cool When you want to reheat your molds, be they luted or not, mark the place on the belly to put it under, -against the lit charcoals because if the +against the lit charcoals, because if the ardor of the fire would make them crack, it would be better that this be -at the belly & from underneath, than on the back. +at the belly & from underneath than on the back. @@ -15502,7 +15541,7 @@ nothing appears black. Common sand from the mine -In a frame, if one casts hot, it becomes porous, therefore +In a frame, if one casts hot, it becomes porous; therefore, one only needs to dry it out. @@ -15511,9 +15550,9 @@ Crocum ferri Having passed it through vinegar & reddened it in the fire, I had it finely ground on porphyry, until no roughness was perceived on the fingernail. Then, -I wet it with very good vinegar, & +I wet it with very good vinegar & left it there two or three days, stirring -it several times each day. Finally I boiled it, +it several times each day. Finally, I boiled it & reddened the pot & crocum all together in the four à vent. It came back in a mass full of small bubbles, but that @@ -15534,7 +15573,7 @@ needles. I have tried to make it so the molds where it is mixed do not crack -during reheating, & thus do not make flashing. +during reheating & thus do not make flashing. @@ -15544,12 +15583,12 @@ It is better made with distilled vinegar. One can put some amongst the molds, where you want to cast silver, for it firms the molds, and you will find it so, -by scraping a little harder than the other where there is none It molds +by scraping a little harder than the other where there is none. It molds very neatly. -This one is appropriate for all molds, & keeps them from +This one is appropriate for all molds & keeps them from breaking & bursting in the fire. And for flat medals, it withstands several casts. The one of steel fillings & needles is redder & better. @@ -15557,7 +15596,7 @@ several casts. The one of steel fillings & needles is redder Gilding animals cast in silver -You can gild them with amalgam, without spoiling any +You can gild them with amalgam without spoiling any of the features, if they are made of silver. @@ -15602,7 +15641,7 @@ which hinders the sand from covering the point & there always remains some little opening . But to avoid this, you can plant in the slab of earth an iron point, cleaned & -rounded at the top end & on this end place there a little hard +rounded at the top end, & on this end place there a little hard wax or a little mastic or cement, and by means of this hot iron wire, hold in place the throat of the animal, which can be removed @@ -15614,7 +15653,7 @@ Clamps and broken mold When you have made the first reheating & removed the clamps, and you have opened your mold -to clean it by blowing, with quicksilver, which is used only in +to clean it by blowing with quicksilver, which is used only in enclosed molds, close the mold again & put the clamps on again, but not in the first place where they were. Lute again & dry again. But if it is for a cast with @@ -15658,17 +15697,18 @@ with chisels in one go, in order that the blood does not fall on the mold & does not create filth, which, once reheated, is difficult to remove. Next, put your mold in the oven or similar heat, in order that it dries promptly & -retracts, before making a crust or mold on the +retracts before making a crust or mold on the mold. + -When you mold small female lizards, and you want to uncover the part + +When you mold small female lizards and you want to uncover the part first molded, begin to uncover the heads & you will recognize its place by the pin. Do not attempt to uncover the legs until you have uncovered the rest of the body, in order that the stripped body, as it moves, does not remove the legs from their place, where it is -vexing to put them back. When you remove little points which +vexing to put them back. When you remove the little points which hold the legs, fix them & press them with something, in order that, when removing the pin, they are not removed from their place, or, in the end, you can put them back with some wax. @@ -15691,7 +15731,7 @@ an elevation of earth suited to support it. And if you put your mold in the oven, the animal, drying promptly, will retract & will burn better afterward. These entwinings are also made to cover a wound or fault in the animals, that one usually -wounds when one catches them. Also, do not forget to attach & join, +wounds when one catches them. Also, do not forget to attach & join with some wax, finely applied with hot iron wire, all the parts of the animal which pass one on top of the other or those that you notice are not well fixed on the @@ -15731,7 +15771,7 @@ For mending a pierced mold If the molded animal comes away in some place and -deviates from the stance that you gave it, because it was not well dead, +deviates from the stance that you gave it, because it was not well dead or because it was not well attached with the iron points or with melted wax, and it does not have the thickness that it needs on the outside, at the middle of the swelling, or is pierced, @@ -15772,7 +15812,7 @@ half of the others, that is to say, as much together as the verdigris. Grind them finely into powder on marble, then grind them again with some good strong vinegar until it is fine, like a couleur and -verdet ground in oil. Next, leave it to dry on its own if +verdet ground in oil. Next, leave it to dry on its own, if you have time, or in the fire of the forge, & make sure it is well dry. @@ -15796,7 +15836,7 @@ For casting of gold in large works -One needs not only to clamp the molds well, but to +One needs not only to clamp the molds well but to fortify them with good bindings of iron wire or little bands made for this. @@ -15819,9 +15859,9 @@ wax, beat some soldering gold very thinly, then cut it in as many small spangles as you need. Take some of this phlegm or white thick saliva that is found on the teeth, & with the point of a burin, -apply it to the place you want to solder & place there a -little spangle of gold & next, with a little fat -earth wetted with saliva make a small layer on the +apply it to the place you want to solder, & place there a +little spangle of gold; & next, with a little fat +earth wetted with saliva, make a small layer on the opposite side to hold the solder better. Next, pulverize on top a little borax & put in the fire. Boiled water of quince seed & others also. @@ -15881,19 +15921,19 @@ Vine leaf and small frog -Take vine leaves to mold, as they are in growth, likewise with -all plants & flowers or a young vine growing again after +Take vine leaves to mold as they are in growth, likewise with +all plants & flowers, or a young vine growing again after having been cut, or when they rebud in autumn, because the new leaves are more lumpy & have more apparent lineation. On the -contrary old leaves are smooth on the inside & pierced in several +contrary, old leaves are smooth on the inside & pierced in several places. Therefore place your leaf bottom down on the clay slab, and secure it with small points, nevertheless leaving it its natural curve. And make a notch in the clay to hide the stem at the first cast, which, once made & dry, you will take away the stem from the leaf & clean with it well with small bristle brushes & fix it with a small mount -of clay. Next, make several gates around the leaf with wax -as you know & make the gate thin & with +of clay. Next, make several gates around the leaf with wax, +as you know, & make the gate thin & with several lines & lumpy. @@ -15920,26 +15960,26 @@ way that the wind of the bellows blows on it from underneath and not at the side, for this would cool it & would not heat it enough. Make sure also that it is distanced three fingers from the wall of the forge, in order that it can be surrounded with -charcoal. Let the said crucible reheat, until it is quite +charcoal. Let the said crucible reheat until it is quite red. Then, make your boy blow on it with long and strong pushes, for in this way it heats better. And -nevertheless when the gold is melted, blow on +nevertheless, when the gold is melted, blow on top with a little bellows, for the gold will become brittle & take on a crust. And as long as it makes -swirling fumes, as you blow thus, it means that is not soft -enough for the cast. Uncover therefore the crucible & +swirling fumes as you blow thus, it means that is not soft +enough for the cast. Uncover therefore the crucible, & without moving it from its place and without interrupting the blowing, make it lean toward you in order to see well -inside. Throw in it the size of a bean of borax +inside. Throw in it the size of a bean of borax, & blow inside in jolts with the little bellows. But if there is charcoal inside, blow a little stronger to make it go out. And if the goldsmokes & swirls, put some more borax in and blow on top, making sure that, if it is still brittle & not softened enough, it does not cover itself when you blow, as if it had cooled. But if it does not make this sign, -it is soft enough. At that point blow very strongly in order +it is soft enough. At that point, blow very strongly in order to heat it well, and as you think it is hot enough, throw in on top, in -the crucible, the couleur +the crucible, the couleur, composed, as said beforehand here, of verdet, saltpeter, sal ammoniac & borax, a little. And blow always with the small bellows, and the @@ -15953,8 +15993,8 @@ crocum. -If you want to cast some large work in gold, or which is -important, make at the foot of the forge, or at one end of it a +If you want to cast some large work in gold or which is +important, make at the foot of the forge, or at one end of it, a four à vent, where you can hold your mold in the completely red sand. @@ -15971,7 +16011,7 @@ little of the couleur & let rest a little, always blowing with the small & large bellows. Finally, arrange your very red mold between the moulets or in a -crucible full of very hot sand & cast. And when it has set, +crucible full of very hot sand, & cast. And when it has set, throw, if you want, in water. For gold does not get damaged like tin, which jumps. @@ -15982,10 +16022,10 @@ For large works, the crucible of sand needs to be put in a fourneau à vent, to become entirely red at the end of the fournaise. -The gold that the wind hits or that one forges, becomes +The gold that the wind hits or that one forges becomes black. But a little aquafortis uncovers it immediately. -If you have some work to forge of sol on latten, like one does small +If you have some work to forge of sol on latten, as one does small statues, put between the gold & the latten a plate of lead. And before reheating the gold & putting it again in the fire, soak in aquafortis & it will be @@ -15995,7 +16035,7 @@ It is enough that the gate be of the thickness of the medal, that is to say from the middle of the gate to the medal. But if the medal is very thick, one ought not, for this reason, to thicken the gate, for a very thick gate never comes out well. - Also, it could be made wide, the most that can + Also, it could be made wide, as much as can be done, to embrace the medal. @@ -16003,7 +16043,7 @@ Enamelling thin works Goldsmiths scrape, with the brim of a burin, -gold leaf & then set the enamel down on it. +gold leaf, & then set the enamel down on it. ~~~~~~~~~~~~~~~136v~~~~~~~~~~~~~~~ @@ -16015,12 +16055,12 @@ little children, which is soft, is appropriate for the cast. Some say that German tokens contain a lot of calamine. However, as they are thin, the calamine exhales out when melting them, as it does in -all remelted latten, which through melting -again returns red. However, fresh calamine & on its own, put +all remelted latten, which, through melting +again, returns red. However, fresh calamine & on its own, put again on melted latten, makes it run & cast neatly, because the one that is in the remelted latten is half corrupted from its nature, & makes it become porous & -blusters because it is disposed to exhaling. Therefore use +blusters because it is disposed to exhaling. Therefore, use calamine alone, on its own, very recent, on the melted latten. Take heed to cast very hot & that your mold be red like for gold, silver, copper & @@ -16036,7 +16076,7 @@ latten is white like water or melted silver & similar to a very polished steel mirror. The second fusion comes out better, for what calamine there is has been exhaled and does not make fumes as much. If it is in a frame which does not break -& withstands , the second cast comes out neat, +& withstands , the second cast comes out neat because it is imbued with calamine fumes, which embrace & receive the second one. Sal ammoniac alone, put in latten, renders it neat & shiny. Huile @@ -16050,7 +16090,7 @@ with the prepared tutty, you will not have any bad fumes. -This metal is very fanciful to cast, because of the calamine +This metal is very fanciful to cast because of the calamine smoke, and one ought not to leave it rest even a little bit outside the fire, like some do with silver, for it is immediately cold when it feels the air and the @@ -16058,11 +16098,11 @@ wind. It always leaves some type of tail, like glass, when you cast it. Casters do not usually take that very yellow latten, because of the calamine passed through the fire. But when wanting to cast red copper, they yellow it either with -fresh calamine, or with prepared tutty. Wanting to cast, -one purifies it well of charcoal, with a stalk of +fresh calamine or with prepared tutty. Wanting to cast, +one purifies it well of charcoal with a stalk of copper or iron, and one covers it with a -cloth, soaked in pig fat, mixed with -saltpeter or sal ammoniac to keep it from +cloth soaked in pig fat mixed with +saltpeter or sal ammoniac, to keep it from the wind & from cooling. @@ -16072,7 +16112,7 @@ For casting in red copper Pure red copper from a cauldron or other thin works is appropriate for casting. And to make it run, throw in some sal -ammoniac & when you are ready to cast, put in a little fine +ammoniac, & when you are ready to cast, put in a little fine tin & very little. And note that one needs to cast copper very hot in the mold, which needs to also be inflamed & entirely red like for gold, silver, latten & @@ -16098,7 +16138,7 @@ like water. Removing your mold from the fire, plant it in - a brazier, that fills a pot or + a brazier that fills a pot or a vessel. @@ -16107,14 +16147,14 @@ Huile tingente to make metals run Take some ☿ sublimate of Venice, true & not arsenic sublimate, a pea, aes ustum, a pea, sal ammoniac, a pea. -Pulverize everything separately & next mix everything in a +Pulverize everything separately, & next mix everything in a glass bottle & put on hot ash. You will see that everything dissolves like wax, making many colors. Let it set & put a little of it on each -melted metal & it will run marvelously. +melted metal, & it will run marvelously. Founders of large casts for statues throw in much -tartar, to clean it of its filth & nastiness +tartar to clean it of its filth & nastiness, & much sal ammoniac to render it thin & neat. And when they want to cast, they put in much tin. The cold & humidity strongly disagrees with it, which renders dangerous the @@ -16125,17 +16165,17 @@ water in the pit to lose everything. Clamps They are made with flat pincers of iron wire, -reheated & refolded then beaten at the ends, on the anvil. +reheated & refolded, then beaten at the ends on the anvil. When they are thus fine, they are subject to burning, being put often -in the molds for reheating. Therefore use the new ones. +in the molds for reheating. Therefore, use some new ones. ~~~~~~~~~~~~~~~137v~~~~~~~~~~~~~~~ Tempering sand for molds of flat medals -Flat medals, of wax or metal, are oiled very -lightly & then are touched with a paintbrush of +Flat medals of wax or metal are oiled very +lightly & then are touched with a paintbrush with eau-de-vie. And in order that the mold, wetted with water, takes without refusing the oiled thing, one heats the water well for tempering the sand, for with cold water @@ -16143,9 +16183,9 @@ it would refuse. Medals are oiled because they are not malleable & thus could break the mold. And animals, which are malleable, do not want to be oiled. Hot water should be of such heat that you cannot hold your finger -there, without feeling strong heat. Temper your sand thicker for flat medals & solids than for lizards & fine things. -Your sand, having set, clean & scrape your mold on one side -& the other & make a notch at the foot & the border of the +there without feeling strong heat. Temper your sand thicker for flat medals & solids than for lizards & fine things. +Your sand having set, clean & scrape your mold on one side +& the other, & make a notch at the foot & the border of the medal on the side of the gate, in order that you can take it away better. Lower also the mold, scraping the surround of the medal, in order that, from all sides, you can take it away @@ -16161,8 +16201,8 @@ tempering in hot water. If you have molded a medal en noyau, having made the first cast & this one having set, outline, with the point of a knife, the surround of the medal, in order that it is raised on the cast & not buried in it. Then -having made the second cast, & having opened your mold, - take away the medal, in one go, with two +having made the second cast & having opened your mold, + take away the medal in one go, with two knife points, and that one takes it from the side of the gate & the other from the side of the head, which is opposite. @@ -16170,7 +16210,7 @@ opposite. Take care not to oil your medal too much, for if the oil -seeps out, it diverts the sand from becoming smooth & amassing & +seeps out, it diverts the sand from becoming smooth & amassing, & makes it wavy & lumpy. One should only touch the middle of the medal with the point of an oiled paintbrush, & then spread the oil everywhere. @@ -16187,10 +16227,10 @@ not forget also to notch the entrance of the gate. ~~~~~~~~~~~~~~~138r~~~~~~~~~~~~~~~ -If you want to cast gold, silver, copper or -latten, it is necessary that they be perfectly red, & +If you want to cast gold, silver, copper, or +latten, it is necessary that they be perfectly red & inflamed on the inside when you cast, & perfectly reheated two -times, if there is something inside to be burnt & cleaned. +times if there is something inside to be burnt & cleaned. The molds of animals that one burns must be heated in such a way that the animal burns. But if it has thick bones, it is @@ -16212,8 +16252,8 @@ also reheats it, & prepares it with sal ammoniac water, as spat from Germany, & it is excellent sand for frames for all metals. -The molds of things where one needs to burn them inside, do - not open until the things which are inside are +The molds of things which one needs to burn inside the mold are + not opened until the thing that is inside is burnt, like with molds of crayfish, crabs, stag beetles, portraits & pieces of sulfured black wax, which do not release well. @@ -16227,8 +16267,8 @@ better. -For medals, and flat things, it is necessary that the sand be thick -enough, wet, because it sets quickly. And when the sand is thus thick, +For medals and flat things it is necessary that the sand be thick +enough wet, because it sets quickly. And when the sand is thus thick, one can hit and shake the table where the mold is placed, to make it run everywhere. But when the sand is thin, like for flowers and plants, one ought not to hit, nor when there is something @@ -16237,8 +16277,8 @@ like crayfish legs or similar things. And if the sand is, by chance, too thick, you promptly put in it some water. Having put the sand in water, examine that it is thick at the bottom & -thin on top. The thinnest is cast at the beginning and then becomes -porous, & the thickest at the end in order to fortify the +thin on top. The thinnest is cast at the beginning, and then blow, +& the thickest at the end in order to fortify the mold. @@ -16259,7 +16299,7 @@ Gold cast very thinly When goldsmiths have something to solder promptly and do not have leisure to forge it, they melt some -gold, and then throw it on a cloth or other +gold and then throw it on a cloth or other things that withstand the fire, and they flatten it immediately with a hammer or similar thing. And it ends up very thin & even receives the impression of the cloth. @@ -16271,7 +16311,7 @@ is not alloyed. A pansy anointed with wheat oil can be cast in alloyed gold. -And other thin leaves, but only if the branch is not too big, and +And other thin leaves, but only if the branch is not too big and the leaves, separately cast, can be soldered. @@ -16279,9 +16319,9 @@ Counterfeit diamonds put in a work Give a light coat on the inside of the setting with black modeling wax, then anoint the inside, thus waxed, with -wheat oil, & then powder this with lamp smoke +wheat oil, & then powder this with lamp smoke, for it is necessary that its color not have -luster for false stones. This done, set in your stone with a bit of wax, then with a +luster for false stones. This done, set in your stone with a bit of wax, then, with a steel point & a small finishing hammer, join the edge of the setting to the stone in order that daylight does not enter in. But keep from knocking the @@ -16293,13 +16333,13 @@ stone, which would break. Casting of lead and tin When it is often melted, it becomes brittle & - frangible, because it is cast very hot & + frangible because it is cast very hot & renders it half calcined. Therefore, use new. The alloy that I have put in use for lizards & snakes is two ℥ of fine tin for one lb of new & unadulterated lead. The mold is made of the -aforesaid sand, common to all metals, when it is reheated let it +aforesaid sand, common to all metals; when it is reheated let it cool until you can hold your finger without harm in the hole of the gate. As for lead, one melts it in a crucible in the fire, with @@ -16307,10 +16347,10 @@ bellows, until the crucible & the lead are red. When it is in this state, purge it of charcoal, either with a scraper made for this purpose or with the wind of the little bellows. This done, let it rest -thus red & reheat a little on its own, then throw in, if you want, -a little rosin, to burn the filth. However some find it +thus red, & reheat a little on its own, then throw in, if you want, +a little rosin to burn the filth. However some find it better not to put any in, because it leaves filth. But, when they -are ready to cast, they ought not to forget to throw inside as well, +are ready to cast, they ought not to forget to throw inside, as well, as much as a bean of looking-glass tin for each lb of lead, and that it should be red like melted metal when it enters in the mold. And if @@ -16318,14 +16358,14 @@ the mold is big, it is better to put it in a press, in order that it joins well & that the lead does not spread outside the mold. However, should this happen & that for the first or second or third time your mold had not filled, cast boldly, for, provided that your metal is red, it will set -again & join with the other, and come out very neat, like the +again, & join with the other, and come out very neat, like the principal. The same can be said for fine tin for thin things. And the alloy of fine tin is one ℥ of new lead for one lb of this. Large molds should be placed in very tight presses, between two sheets of -copper & then bury them in the sand, +copper, & then bury them in the sand, which is better than ash, because by its weight it seals -better. Otherwise these large molds are subject to +better. Otherwise, these large molds are subject to opening slightly by the weight of the metal. Some make square pots @@ -16336,8 +16376,9 @@ is thin. + + Note that if you want to cast them in cuttlefish -bone, they ought not to be very hot, because they will burn the +bone, they ought not to be very hot because they will burn the cuttlefish bone. Test for this effect with paper. If it turns the paper red, it is enough, it is good to cast, but if it blackens the @@ -16347,8 +16388,8 @@ paper, it is too hot. If you want to cast a written paper, make your alloy with halflead & halftin, & as soon as it is melted, cast between two -cartons, in a very flat & -level place & with a point of gold or hard +cartonsin a very flat & +level place, & with a point of gold or hard wood, engrave on the left the writing that you want. And having poured lead on a carton, press on top with the other adapted carton. @@ -16360,15 +16401,15 @@ with the other adapted carton. either of earth or plates of copper, or iron, or wood covered with fer blanc, to bury more easily these aforementioned molds between the sheets of -copper, & the stirrup or screw of +copper & the stirrup or screw of iron. Cast of wax to represent an animal that one has not got -Take some white wax which is more appropriate for this work -than anything else, because it is firmer & does not leave as much +Take some white wax, which is more appropriate for this work +than anything else because it is firmer & does not leave as much filth, as much as you need to mold the animal that you propose, & no more, and half as much charcoal, pestled & finely passed through a linen or a sleeve. @@ -16377,10 +16418,10 @@ which would otherwise be transparent & the features would not be seen as well. Therefore, put your wax to melt in the charcoal fire. And when it will be well melted & liquid, take, for a bowl with handles full of melted wax, as much sulfuras a large -walnut. Pulverize it, melt it over a slow fire & when -it will be melted, do not leave it on the fire because it will become -too hard, but take it away, & always agitate it with a -little stick & let it finish its bubbling &, when it is as +walnut. Pulverize it, melt it over a slow fire, & when +it will be melted, do not leave it on the fire, because it will become +too hard, but take it away & agitate it always with a +little stick, & let it finish its bubbling, & when it is as liquid as water, throw it in the wax that you have removed from the fire. And mix & always stir the one & the other, in order that they mix well. Next, mix in, always stirring & in several @@ -16388,7 +16429,7 @@ goes, the aforesaid pulverized charcoal. And as it will be well incorporated, ta your wax has passed its high heat, which you will recognize when it no longer smokes, when it makes large tracts pulling at the -edges, & motionless, & close one to another. +edges, & motionless & close one to the other. For, if you were to cast too hot, you could not separate your wax from the mold, & it would set in the cast. When it is in this good state, stir it with a little stick, in order that @@ -16402,10 +16443,10 @@ unctuousness, does not flow This black sulfured wax is for modeling round figures that are -not for releasing, and that one needs to burn in the mold à noyau +not for releasing and that one needs to burn in the mold à noyau before opening it, like those which have arms & legs out front or entwined. And then this -wax, by means of sulfur, melts with very little heat, and +wax, by means of sulfur, melts with very little heat and exits without leaving any filth. If, by chance, the pestled charcoal remains there as ash, by opening the mold & blowing inside, it stays neat. @@ -16450,15 +16491,15 @@ first one, you recognize if there are some barbs, which keep from releasing well and you remove them if they do not remove themselves at the second or third first casts. And the more you will cast, the neater you will make it, and your mold will serve -you for more than a hundred times, if it is well managed. But it is +you for more than a hundred times if it is well managed. But it is good to soak it one night or one day before casting in it, in order that it be well imbibed. The same must be done for fruits of sugar. This wax is very soft & amiable & pliant as copper, and it is so strong because of the sulfur, which -renders it meltable much before the other, thus you can prove on a +renders it meltable much before the other, thus that you can prove it on a hot slate. And the sulfur that you will have put -in it, will be found, the second time that you melt it, cracked at the +in it will be found, the second time that you melt it, cracked at the bottom. Having thus passed through the wax, it does not inflame from a candle. And on this occasion, I think it will cast very neatly for medals. One uses the same wax @@ -16476,7 +16517,7 @@ around. Cut down the protuberance of the gates, in order that they are smooth & that the wax has more of the silver to run in one -go, without turning around in the folds of the snake. +go without turning around in the folds of the snake. ~~~~~~~~~~~~~~~140v~~~~~~~~~~~~~~~ @@ -16497,7 +16538,7 @@ For casting in sulfur To cast neatly in sulfur, arrange the bread pith under the -brazier, as you know. Mold in it what you want & let dry +brazier, as you know. Mold in it what you want & let dry, & you will have very neat work. @@ -16511,9 +16552,9 @@ Molding and shrinking a large figure -Mold it with bread pith, having come from the oven, or, -as the aforesaid, & in drying out it will shrink & consequently the -medal that you will cast. You can, by this means, by +Mold it with bread pith coming from the oven, or +as the aforesaid, & in drying out, it will shrink & consequently the +medal that you will cast in it. You can, by this means, by elongating and widening the imprinted bread pith, vary the figure & with one image make many various ones. Bread coming from the oven is better. And the one that is reheated twice retracts @@ -16527,15 +16568,15 @@ Casting of lead and tin in plaster If you want to cast some flat medal or some animal that is not very -weighty, and that does not need to burn in the mold, you can -cast in plaster & brick mixed like above, and not in +weighty and that does not need to burn in the mold, you can +cast in plaster & brick, mixed like above, and not in plaster alone, for it contracts too much, feeling a harsh fire if it is not accompanied. But, with brick, it holds well. However, take heed to dry out your mold at length & on a slow fire & with patience, for there is no need to reheat it. But when your work is of flowers or other things that want their molds reheated & set ablaze, mix in some feather alum & even some crocum. I have -molded in plaster & brick very neatly & it +molded in plaster & brick very neatly, & it withstood several castings. I triedplaster & @@ -16544,18 +16585,17 @@ mold was very neat, having lightly oiled & rubbed with eau-de-vie my medal. I made my gate ample at the entrance, becoming narrower up to the medal, which was very thin. I notched the gate which embraced well the medal. I dried the mold well on a slow -fire & at the end, heated it well without reddening it. I let it +fire &, at the end, heated it well without reddening it. I let it cool in such a way that I could hold my finger to it without burning myself. I made an alloy of 4 -℥ of tin, & six +℥ of tin & six deniers of lead. I cast red, and it came out well. Next, I put in for 4 ℥ of -tin xii deniers of lead, it came out +tin, xii deniers of lead; it came out very well. - When there is nothing to burn in the mold, it is not necessary to reheat it for lead & tin. But for flowers & what should burn, yes. @@ -16571,7 +16611,7 @@ cement, because it can be painted. The crayfish is one of the most fanciful to mold, but also provides an example for casting many other very difficult things. Males -are distinguished by the eggs that females carry, and by the four +are distinguished by the eggs that females carry and by the four little white leglets at the back that males have inside their tail, after the eight main legs. It is only a good thing to dry them out a little, @@ -16589,16 +16629,16 @@ anoint them with olivewheat oil, which is quickly dry & which will keep the hair flat & spread out. Thus, you will have the form of your animal and the hair will also show, but made wavy, and this is something which can be repaired. If your -crayfish has eggs, which are delicate, and which +crayfish has eggs, which are delicate and which would be awkward to uncover without breaking, you would do better to make the first cast on the belly & eggs, in order that - you only need to uncover the back, which is hard, & + you only need to uncover the back, which is hard & easy to handle. And the belly & the eggs will remain in the mold, and one will need to burn them inside before opening your mold for the second time. Thus, it will open easily, for what is burned will no longer be attached. Thus, the second cast, which is made on the first one, which -has set well, separates easily from the first, after having been +has set well, separates easily from the first after having been reheated, which is a singular secret for similar molds. The gate is made by the tail, very @@ -16607,7 +16647,7 @@ thin. Do not forget to rub with eau-de-vie before molding. -Stag beetles, crayfish, +Stag beetles, crayfish & crabs are molded in the same fashion. If your crayfish has no eggs, mold the back on top & the belly on the @@ -16627,10 +16667,10 @@ Layer these oil colors very transparently. To paint it, boil it with wine & a -little salt in order that they become very red & take this as +little salt, in order that they become very red, & take this as a model. Paint the back with vermilion mixed with lake, & the sides & underneath the belly & the legs with -vermilion & yellow ochre and white. +vermilion, & yellow ocher, and white. ~~~~~~~~~~~~~~~141v~~~~~~~~~~~~~~~ @@ -16638,20 +16678,20 @@ vermilion & yellow ochre and white. Having therefore let your crayfish dry a little in the sun or on its own, if it has eggs, they will shrink while drying -and will only be more beautiful. Therefore make your slab of +and will only be more beautiful. Therefore, make your slab of yellow potter’s earth, like for other figures, lay your crayfish on top, the back on the bottom, & the legs, belly & eggs, which are all the most fanciful parts to mold, on the other side and on the top. Push the back down in the clay slab, up to near the legs, which is about halfway. And fix the body with an -iron wire point in the middle & if it seems -necessary, another, at the end of the tail. And in order that the +iron wire point in the middle &, if it seems +necessary, another at the end of the tail. And in order that the big legs show themselves lower than the head, which is - half sunken, extend them & from -underneath add to them a little clay to raise them. Hide also the + half sunken, extend them &, from +underneath, add to them a little clay to raise them. Hide also the horns in the clay, under the big legs, to arrange them afterward -as you like. As for small legs, extend them on the clay +as you like. As for the small legs, extend them on the clay until the joint, and the other half of the legs remain above, curved, for the first cast. However, in order that they do not move & detach, secure them well, not only on the clay, but @@ -16665,7 +16705,7 @@ since the thing is thus arranged, that it can be well cleaned. Lastly, having rubbed the crayfish with eau-de-vie, cast your sand. Having set, uncover the back of the crayfish, the head & the eyes & its little pincers, the -big legs and the small legs all along, for one needs to uncover the most +big legs, and the small legs all along, for one needs to uncover the most that one can, both the long horns & the tail, except if you have folded & curved it to hold the eggs. Other animals @@ -16681,10 +16721,10 @@ Make the mold lean on the side that is the thickest of the animal. To paint it, one does the middle of the -back with vermilion, mixed with a little +back with vermilion mixed with a little lake, and the sides & the belly & underneath the legs is with a flesh color made of vermilion, white of ceruse, a -little yellow ochre. As in this & all other things, have +little yellow ocher. As in this & all other things, have always the natural one in front of you to imitate it. Lay the horns on the big legs, @@ -16714,16 +16754,16 @@ in the same way. And make also the gate, along the end of the little legs, with some wax. And fill the holes made by the iron wire point with it. And once everything is well neat & more than half is uncovered, oil your mold, after having dipped the reverse in -water & do not forget to oil all the delicate parts +water, & do not forget to oil all the delicate parts which are between the legs and the little pincers. Then, rub the crayfish with eau-de-vie. And make your second cast, having flattened the first mold, in order that the clamps join better. Your mold must be wider on the -side that is imprinted, than on the back. Do not open your mold +side that is imprinted than on the back. Do not open your mold after the second cast unless it has been luted & reheated -& that what is inside is burned. Do not forget to put +& unless what is inside is burned. Do not forget to put crocum among your sand when you mold crayfish, -for one needs to reheat strongly & the crocum +for one needs to reheat strongly, & the crocum withstands marvelously. Molding a crab & a crayfish, it is all the same. When you have uncovered your crayfish on one side, delay the least that you can for @@ -16737,16 +16777,16 @@ without breaking. Repair with penknives, files, little -chaples, or burins &c. +chaples, or burins, &c. -make all around them, as you see, a gate of wax & at the end +Make all around them, as you see, a gate of wax, & at the end of the tail, also two or three, from which you make the principal gate. Make a gate of wax, elongated in -a line, like a thick thread, all along the end of the legs, & +a line like a thick thread, all along the end of the legs & at the extremity of the tail. If there is also some piece of leg or other part that is further away from the line of the others, or raised above, or folded on its own, give it a gate of @@ -16783,13 +16823,14 @@ letter is of gum, the humidity of the clay slab or the wetted sand for noyau will moisten your letter & undo it. Therefore write with cinnabar wetted with oil on oiled paper -&press in. +& press in. -+ Reheat your ++ + Reheat your molds with charcoals, firstly lit in the forge, in order that the fire is not so hot & does not break the molds. And do not make as much fire where the mold is -thin, like in the place where it is thick. +thin as in the place where it is thick. Molds @@ -16816,7 +16857,7 @@ better. Take this lean earth of which the founders of artillery & bells make their trusseaulx and molds, which is lean & sandy. Temper it moderately like a very thick mortar. Mix in -it about halfhorse dung & then have it +it about halfhorse dung, & then have it beaten well. Next, mix in a third part of discarded cloth waste or tondure of cloth, and beat it again quite strongly. You can reheat your mold as soon as the lute is @@ -16829,20 +16870,20 @@ Molding turtles The water turtle is more beautiful to mold because it has prettier scales & straight legs. And those of the - garrigue have crooked ones. They are of long +garrigue have crooked ones. They are of long life; getting ready to put them to death, open their mouth & pass a long penknife through all the intestines, & then make it swallow some vinegar mixed with eau-de-vie or urine, as for snakes. One needs to mold them in several pieces, & the -back itself sometimes, because the sides for some are more narrow than +back itself, sometimes, because the sides for some are more narrow than elsewhere & are not released on this occasion. To make them die, one -ought not to boil them, for they come apart & even the shell, from the +ought not to boil them, for they come apart, & even the shell, from the hot water. They come out better hollow, because their great thickness corrupts the mold. Those from -water are more vigorous. Those from -garrigue are thinner, slower, & more +water are more vigorous. Those of the +garrigue are thinner, slower & more sleepy. If you scratch those of the water on their -shells, however sleepy they are, they move. Those from +shells, however sleepy they are, they move. Those of the garrigue do not. They die rather quickly in @@ -16881,7 +16922,7 @@ contain a lot of metal, it is best to mold them hollow, for they come out better. You could make your cast in one piece & large, but it would be awkward to cut. It is best to do it in three or 4 parts, which are a little wide close to the animal, & -include most of the edge of this, which is close to the gate, that +include most of the edge of this which is close to the gate as can be done. Make also some gate conduits from the end of @@ -16903,14 +16944,14 @@ thus the gate of wax, to cast the second mold on top, than to wait to do them after the mold is reheated , for at that point, it is necessary, if possible, that everything be ready. One needs to heat well & evenly -redden the molds, where they are gates of wax, in order +redden the molds where they are gates of wax, in order that it melts well & leaves nothing inside. Carcanets made à jour They are molded like crayfishen noyau, first on -one side, that which is hollow being raised up with clay & then +one side, that which is hollow being raised up with clay, & then one uncovers them from the other side & one makes the second casting. They can also be cast well in frames, provided that they are released easily. If they are not, one models them in @@ -16921,7 +16962,7 @@ with wax or clay. Iron filings Because usually filings are mixed with nastiness, it -is good to redden them in fire to burn the impurities, and then +is good to redden them in fire to burn the impurities and then wash them in clear water. In this way, the dirt will go to the top of the water, that you throw out, & the good filings will go to the bottom. @@ -16929,7 +16970,7 @@ filings will go to the bottom. Carnations -Because the ones that are cast are usually massive, they are weighty & for this reason, one makes them +Because the ones that are cast are usually massive, they are weighty, & for this reason, one makes them with leaves & sheets of silver. @@ -16944,7 +16985,7 @@ release than those of the garrigue, which are lean, wrinkled & well ensconced in their shell, which also have a rounder top of the shell & however narrower on the sides than near the middle, which is the reason their - top shell cannot be molded well in one piece, like + top shell cannot be molded well in one piece like those of the water. Thus, you will mold their top shell in two pieces, the bottom ones in two or three or four, according to the need. But, note that if you want to release @@ -16958,13 +16999,13 @@ clay slab and put it on top and smudge it a little, in order that the bottom shell fastens to it, having, nevertheless, earlier shaped the head with a strong point, as with other animals, making it hold high by the means of a little fresh -clay, that you will adapt from underneath. Stretch the said +clay that you will adapt from underneath. Stretch the said head & legs with your little pincers. The head arranged, dexterously place a grain of yellow millet in each eye with pincers, because as soon as they are dead the eyes are burst and putrid. You can do this as well with all other small animals, with some grain of large -amaranth, some small, and grain of +amaranth, some of small, and grain of rapeseed, & this done, you will arrange the legs, securing them with iron points and then, with some clay, fill up all the empty space around the turtle, @@ -16994,38 +17035,38 @@ clay around the slab. Then, with a band of clay placed on the middle of the back of the turtle, as you see, & at the widest place, divide your mold. Subsequently, oil with -your paintbrush, dedicated for this, the half of the shell +your paintbrush dedicated for this, the half of the shell you want to mold. Temper in hot water, so that without burning yourself, you can hold your finger in it without burning yourself, your sand, a little thick. And before casting it, rub the shell with -eau-de-vie. And next, cast your sand & let it set and note -that all things that have shells, or that are hard, or are not +eau-de-vie. And next, cast your sand & let it set, and note +that all things that have shells or that are hard or are not malleable, like snakes & lizards, want to be oiled to release. Things that are malleable do not need this. Hot water makes the tempered sand set better on oil, which otherwise would be refused. Your half of the turtle, having thus been molded, -separate it with its half mold, from the clay -slab, that you will set aside to return it to when it is necessary. +separate it, with its half mold, from the clay +slab that you will set aside to return it to when it is necessary. Next, clean your half mold & smooth it & flatten, like the others. But because it happens that because of the clayentredeux, the half mold will consist of more than half of the turtle, cut & pare down smoothly the excess, & clean everything well with brushes. Then, make on the top edge of the mold, on the side that is cut & -halfway, two notches, like for other molds and return your -turtle to its slab, as it was & secure its two +halfway, two notches, like for other molds, and return your +turtle to its slab as it was, & secure its two legs, which are not molded, with iron wire points. And -stuff all around what is empty, up until the edge of the top shell with +stuff all around what is empty, up until the edge of the top shell, with clay. Next, place the circle around and put a clayentredeulx on the first mold, a little above the notches. And having oiled the -first half mold & its notches and the shell of the +first half mold, & its notches, and the shell of the turtle, & having also showered it with eau-de-vie, heat your water, temper you sand with a little sal ammoniac water & the said hot water, & cast. Having set, -adapt the sides of these two molds smoothly & on each side +adapt the sides of these two molds smoothly, & on each side secure their joint, which can only just be perceived, with two clamps, in order that when uncovering afterward the underneath of the turtle, they are not undone. Next, uncover the side of @@ -17044,6 +17085,7 @@ oil. + + If there is some crocum in the sand, the joints of the molds can hardly be perceived. @@ -17080,16 +17122,16 @@ crumbles & flakes. However, before casting in them, dry them, & especially for gold, which does not want humidity. You will recognize that they are dry enough when, after having brought the inside & the imprint of these to the fire, they cry & crackle once -brought near the ear. Then join them & -lute the joints with a little clay & make it dry -lightly by the fire, & cast & then shake the mold or -scratch over rough scales & let it cool before opening. Usually one -cuts the bone in the middle, and the dullest part, and +brought near the ear. Then, join them & +lute the joints with a little clay, & make it dry +lightly by the fire, & cast, & then shake the mold or +scratch over rough scales, & let it cool before opening. Usually one +cuts the bone in the middle, and the dullest part and that which does not have any half circles is the most delicate and smoothest for molding, & thus one always -imprints there the principal, the other is scaly on the inside as it -demonstrates on the outside. Thus one does not use this for delicate +imprints there the principal; the other is scaly on the inside, as it +demonstrates on the outside. Thus, one does not use this for delicate things that are molded on two sides. One smooths & flattens these two halves on some smooth wood, then one scrapes charcoal on top to make it release well. And to make the @@ -17110,16 +17152,16 @@ edges. But to make it better, put on the medal something flat & smooth, or some large square file, & press with this, for you will press equally, sometimes with your knee, other times with your -foot, with your shoe taken off, & make the -bone be on top, thus you +foot with your shoe taken off, & make the +bone be on top; thus you will imprint it without breaking it. If, on the first go, it is not -molded well, return to it several times. Then repair & smooth on the +molded well, return to it several times. Then, repair & smooth on the sides your halves of molded bone. And to cut it well, always begin coming from the softest part to the scales. And if your medal does not come out by itself, scratch the bone from the back, which is rugged, and it will release. When you want to cast, secure & join your two -bones with some small points of wood +bones with some small points of wood, &c. But to mold very neatly, there is only our sand. @@ -17144,13 +17186,13 @@ table. Molding plants and flowers One does not need clay slabs, because plants or -flowers are not laid on top, but as in air, without touching on any side +flowers are not laid on top but as in air, without touching on any side anything. Only the circle & contour are needed, which should be higher than for flat molds. And thus, take heed to make it strong and thick according to the size that you want, otherwise it would burst, the sand being inside. Secure it & fortify it well by the -foot & join well all the joints. Then, take your flower, well joined -& securely adapted to the end of the gate of wax, which should not be rough, +foot, & join well all the joints. Then, take your flower, well joined +& securely adapted to the end of the gate of wax, which should not be rough but rather smooth, in order that it can release well. Then, wet your flower or plant in some good eau-de-vie, placed in a long glass @@ -17171,13 +17213,13 @@ there without harm in the hole. ~~~~~~~~~~~~~~~146r~~~~~~~~~~~~~~~ -in order that it gets wet everywhere, if not, wet it with a +in order that it gets wet everywhere; if not, wet it with a large paintbrush dedicated to this. Then, pass through the end of the mold which closes the circle your bit of iron wire, which holds the wax gate, and cleaves the clay closure, as you see, & place it low, so that the plant or flower touches no -thing, & can leave enough thickness for the mold, for the +thing & can leave enough thickness for the mold, for the tempered sand always raises the plant or flower. Thus, if it is not stiff by itself, pass with a needle some thin thread on the flower to keep it from rising. Or, if you were to forget, lower the flower with some @@ -17186,8 +17228,8 @@ small stick until the cast sand begins to choose a bowl big enough to temper in it as much sand as it needs to fill your mold. Put in a little sal ammoniac water, then some fountain water. And when -the is nearly full, put in, by -sprinkling, your sand & mix & dilute it well in order that it +the d bowl is nearly full, put in, by +sprinkling, your sand, & mix & dilute it well in order that it all becomes smooth, for if it were to coagulate, it would spoil the mold. For flowers, it does not want to be so thick, and especially, at the beginning, you will throw, in goes, the clearest one @@ -17198,17 +17240,17 @@ widest part, and if you find the remains of thick sand, which has not diluted well, cast it rather toward the gate than elsewhere. Finally, you can even cast some thicker tempered sand in order to make a quicker set. I have molded thus a marigold with its leaves. The -crocum ferri is safer for flowers and when there is -crocum, lute with the same sand that has served and +crocum ferri is safer for flowers, and when there is +crocum, lute with the same sand that has served, and is the most excellent of all. -The alloy, with which I cast a large branch of marigold, which -with its flower, its buds and its leaves, came out neatly like the -natural, was of one lb of fine tin, mixed with two +The alloy with which I cast a large branch of marigold, which +with its flower, its buds, and its leaves, came out neatly like the +natural, was of one lb of fine tin mixed with two ounces of lead. @@ -17222,7 +17264,7 @@ point of a knife, & better yet, wet it well in water. Next, use small hog bristle brushes, a bit of iron wire, &c. When the mold is reheated the first time, leave it to half cool, then gently pass through -the gate an iron wire, to make an opening for the burned +the gate an iron wire to make an opening for the burned ashes inside. Next, blow inside with a bellows, then turn the mold at the gate to make everything come out, & sometimes suck and draw out with the mouth. @@ -17242,15 +17284,15 @@ Molding turtles This is the continuation of the second preceding leaf. When you have well uncovered the part of the belly of the turtle, the -underneath of the throat & legs, & having cleaned it all well, +underneath of the throat & of the legs, & having cleaned it all well, do not forget to neatly uncover this cavity that these animals have in their shell between the neck & the shoulders. Those of the water do not have ones as deep as those of the garrigue, which are leaner. And among these, there are some that have ones more ensconced than others. Do not forget, therefore, to uncover well all of this to better represent its -nature. But if there is some cavity which twists too much inside, and -cannot be seen, does not release, put in some small pieces of wax +nature. But if there is some cavity which twists too much inside and +cannot be seen, does not release, put in some small pieces of wax, & with points of hot, thick iron wire, stretch & adapt the said wax. Then, stuff with soft clay the entrance of all its cavities. Put the @@ -17261,18 +17303,18 @@ will put an entre deulx of clay on top of the throat & another on the edge of the shell of the tail, #. And having oiled the shell of the belly & having rubbed it with eau-de-vie, cast your sand -a little thick & temper with hot water as before. Having set, +a little thick, & temper with hot water as before. Having set, remove these entredeulx of clay, then uncover well the front & back legs, that is to say the part underneath & -the tail & the throat & remove the clay from the cavities +the tail & the throat, & remove the clay from the cavities , all in one piece if you can, for this will show you if this cavity will release well. And if the pulled-out clay brings with it the wax that you put there, reput it in the places that cannot release, as is said. And if some part is taken away or let go, attach & rejoin it to the mold with some wax & the point of hot iron. Do not forget to put some melted wax at the end of the nails of the -turtles, to make the gate. Your molded and uncovered -belly shell, your mold can be seen thus. +turtles to make the gate. Your belly shell molded and uncovered, +your mold can be seen thus. @@ -17286,7 +17328,7 @@ alone. Take heed to make a border of melted wax, with a hot -iron, all around the edge of the top shell, which is toward +iron, all around the edge of the top shell which is toward the tail, in order the make the vents better. And make two little strings of the same wax, connecting from the end the belly shell to the said edge of wax that is around @@ -17297,11 +17339,11 @@ oil your mold and what appears of the shell. Put the circle around & cast with hot water, as before, observing there what you have observed. Do the same to mold the third part, which is the tail. And having set, remove the clay contour, clean your -mold & smooth it & flatten it on all sides with a +mold, & smooth it & flatten it on all sides with a knife, like for other molds. Dip it lightly in water, then try to release it. Usually one begins with the -backshell, that is to say, the mold on top, +back shell, that is to say, the mold on top, which is in two halves, and this one is easier to release. The other one follows after, but because it is neighboring the shoulder of the turtles, which are deeply ensconced, it is sometimes awkward. @@ -17316,7 +17358,7 @@ for you to pull your pieces out without breaking something. But should this happen to you, there is still a remedy, provided that you keep the broken pieces. For you can reassemble them with points of rather strong iron & fill the crack -or fault that could be there with melted wax & hot +or fault that could be there with melted wax & the hot iron, as with others, in order that the core for molding hollow is made better. Next Go to the second leaf @@ -17326,7 +17368,7 @@ heed to uncover well up until what can hold. ~~~~~~~~~~~~~~~147v~~~~~~~~~~~~~~~ -+Casting of copper alloyed with ++ Casting of copper alloyed with ☾, which is like very base solder/ ard and old K and some R out of xii @@ -17362,13 +17404,13 @@ Casting of latten I took the one of latten skillets, which are beaten & forged thinly. Once well heated, I cast in it two or three grains, like peas, of sal -ammoniac. This clarified it, like a mirror. Once very white from the +ammoniac. This clarified it like a mirror. Once very white from the force of being hot, I cast in it some pulverized calamine, raw & pure. I cast it in its very red mold. It came out very neat & thin like paper, & hollow on the reverse. But because it had crusted, I reheated it, that is to say reddened, let it cool, then put it to be whitened, of one partraw tartar & of one halfcommon salt. Once -well boiled, I rubbed it with a scratch-brush, in clear +well boiled, I rubbed it with a scratch-brush in clear water. And because the first time it had not @@ -17380,7 +17422,7 @@ glass, because of the calamine. -Usually, the soft latten of skillets, becomes red from casting, +Usually, the soft latten of skillets becomes red from casting, especially when it stays a long time in the fire, because the calamine exhales itself. But sour latten of candlesticks becomes yellow & pin filings. @@ -17389,7 +17431,7 @@ candlesticks becomes yellow & pin filings. ~~~~~~~~~~~~~~~148r~~~~~~~~~~~~~~~ -come out as clear as I wanted. I reheated it again, let it cool, +come out as clear as I wanted, I reheated it again, let it cool, placed it again to be whitened & rubbed with a scratch-brush. It came out very neatly. You will do thus for copper and silver. And if you want to @@ -17407,7 +17449,7 @@ beautiful. Whitening If it is for silver, do not pestle your tartar with -iron, but with the handle of a hammer, for if you touch +iron but with the handle of a hammer, for if you touch & dip iron in your whitening, the silver would become red like copper & you would need to reheat it & put it again in whitening. Mix nothing with your tartar @@ -17432,7 +17474,7 @@ Crocum ferri To make this quickly, redden the filings in an iron case, stirring it often. Then sprinkle it with -good vinegar & let it evaporate & without removing it +good vinegar & let it evaporate, & without removing it from atop the fire, let it redden & inflame. Once cooled, pulverize it on marble & return it to the fire, sprinkle with vinegar, and then inflame. @@ -17454,18 +17496,19 @@ which, inside, is of such capacity that the end of a little finger can almost enter it, widening like a clervoise the outside of the hole. This is to cast the core. But, note that all these difficulties would be nothing if you wanted -to mold hollow because you could mold your turtle in two pieces +to mold hollow, because you could mold your turtle in two pieces and burn it inside, as with other animals, and it -would be done quickly. But since the turtle is massive & would be weighty if it is not hollow, one considers it better molded in +would be done quickly. But since the turtle is massive & +would be weighty if it is not hollow, one considers it better molded in this way hollow, and in this fashion, to -make well a mold, one really needs three -days. Take heed, for hollow & fanciful -molds, to have some strong plaster, which endures the +make a mold well, one really needs three +days. Take heed, in hollow & fanciful +molds to have some strong plaster, which endures the fire without bursting, if it is possible. But, if you cannot have any such, mix a little more feather alum & add to it also some crocum, which fortifies it & makes so the flashing, if there is any, comes out so finely that it is easily undone. -Also do not forget to tighten well, with a press, your +Also, do not forget to tighten well, with a press, your molds, to avoid flashing which is made either when the mold is not well joined or when it bursts. To repair, if the features are not apparent enough, retrace them lightly with a @@ -17486,7 +17529,7 @@ Softening iron and rendering it very soft Take sublimate, quicklime, soap from Venice, horse dung, a little less -sublimate than the others. Wet all of this together like paste +sublimate than the others. Wet all of this together like paste, & with this impaste the iron, & to do this envelop it with some bad linen. Then make it reheat until it is very red. Or leave overnight in a good fire until the @@ -17500,10 +17543,10 @@ electrum One calls it gold from the Rhine, which one finds in the rivers, and is spangle gold. Goldsmiths from Germany wanted to refine it, -thinking to separate it from this whiteness which they deemed to be +thinking to separate it from this whiteness, which they deemed to be silver. But it always remains whiteish, which demonstrates that -this whiteness is fixed & it does not lack color. This is -electrum, from which one is able to make cups, +this whiteness is fixed, & it does not lack color. This is +electrum, from which one is able to make cups which will demonstrate poison. @@ -17511,17 +17554,16 @@ Various arts from Germany They are very much helped by water mills, & most of the artisans of metals, of gold, & of -silver, & others, at the trip hammers, - get their large works beaten. And to draw iron +silver, & others, at the trip hammers get their large works beaten. And to draw iron wire, they redden large masses of iron, & having made it -into a point, they make it hang while totally red, & thus promptly +into a point, they make it hang while totally red & thus promptly draw the wire. Repairing a medal If you want to mold any medal to serve as your pattern, & at the -same time repair it, cast it in a majority of tin & put in copiously looking-glass tin to harden it. +same time repair it, cast it in a majority of tin & copiously put in looking-glass tin to harden it. ~~~~~~~~~~~~~~~149v~~~~~~~~~~~~~~~ @@ -17537,7 +17579,7 @@ pieces. Goldsolder -They take, on a golddenier, a +They take, for one golddenier, one grain of the fine alloy, like old douzains are. @@ -17548,7 +17590,7 @@ Large flies can be molded & made by casting. But one needs to anoint underneath their wings with wheat oil, which dries quickly and fortifies them & gives them a little thickness. The same is done to -butterflies, cicadas, grasshoppers, & +butterflies, cicadas, grasshoppers & similar things. But to cast them more easily, one applies them on some leaf or bouquet. The others are made by hand with a very thin silver sheet. One ought not to keep them once dead, @@ -17595,8 +17637,8 @@ of fine lead and 4 ℥ of fine tin. Molds They are less subject to cracking while reheating when they are very -thick, rather than when they are of a little thickness, provided that -the thickness is sufficient. For when thin, they scarcely need to be +thick, rather than when they are of little thickness, provided that +the thickness is sufficient. For being thin, they scarcely need to be on the fire, & a long time on the fire makes them corrupt, especially when the plaster is not strong. @@ -17615,8 +17657,8 @@ And because your lead and tin become sour when frequently melted red, to soften, melt it without reddening, and cast in a rod. -Brick cools the metal, & if this was for giving a -bond, it will not be necessary. +Brick cools the metal, & if this were not for giving +bond, it would not be necessary. @@ -17637,30 +17679,30 @@ This iron wire point, which is put thus through the hole, is to better hold the core & keep it from shifting. All of this being thus arranged, lay your mold on the -table, the hole at the top, as it is here marked on the side, +table, the hole at the top, as it is marked here on the side, & then adapt a circle of soft clay, two fingers high, around -the hole, like for other molds. And then temper your molding sand, +the hole, like for other molds. And then temper your molding sand moderately thick, & cast it through the hole until it is well filled, up to the surface of the clay circle. But take heed to not cast in through the middle of the hole, but rather from the side, for, because the already made -mold, drinks and sucks the moisture . The -new one that you cast in , on the edge of +mold drinks and sucks the moisture . The +new one that you cast in on the edge of the mold, being quickly dry, would -obstruct the mold & it would not finish filling. And when +obstruct the mold, & it would not finish filling. And when you cast from the side, if you recognize that it is obstructed, you can clear a path. Having cast in, blow on the wet gate, & put, a few times, the end of your finger in the hole, or some small point, to unblock it, & make the hollow -wax fill up. Cast in, at the end, the sand tempered a little +wax fill up. Cast in, at the end, the sand, tempered a little thick to give strength to the mold, for water coming -to the surface of the mold, +to the surface of the mold always makes it softer. Having set, scrape off the clay -circle & the excess which is on the hole, through which you -cast the noyau & nothing will be discernable. When your +circle & the excess which is on the hole through which you +cast the noyau, & nothing will be discernable. When your mold is thus prepared, lute it all around with the same sand which served for the molds. Next, reheat it in a slow -fire, at the beginning, & the mouth of the gate at the bottom, in +fire at the beginning, & the mouth of the gate at the bottom, in order that the wax flows out gently. For if you were to give it great heat until the wax came out, it would boil inside & leave some pustules & lumpy things, although @@ -17670,7 +17712,7 @@ inside & leave some pustules & lumpy things, although This point is placed in the middle & through the hole of -the gate, when the mold is in several pieces, like a +the gate when the mold is in several pieces, like a turtle, and this is done in order that the core does not shake. But when the mold is only of two pieces, it is not necessary to put points in the middle of it. @@ -17701,7 +17743,8 @@ of the belly where you have made the hole on the natural one, and reattach it with solder. -X Note that, after your core is cast, it is +X + Note that, after your core is cast, it is better to put the mold in hot water to open it, in order to remove the most wax that you can, always softening it in hot water. For the less wax @@ -17727,14 +17770,14 @@ reattached thing or similar. After having covered the clamps with the lute from your sand & having covered all of the mold, give it on top a layer of common lute, & then sprinkle this with some pestled brick, in order that you can -handle it better. Let the lute dry slowly, before firing it, +handle it better. Let the lute dry slowly before firing it, which melts the wax. The wax having left through the gate, that which remains with the charcoal will burn. Being reheated for the first time, lute it once more, because the plaster, not being good, will have readily made the mold retract, and the joints will crack open, which might make large flashing. And for the second -time, one ought not to reheat it, if you only want to cast in +time, one ought not to reheat it if you only want to cast in lead or tin, but rather only make sure that the lute is quite dry & the mold moderately hot. For these turtles that have a large size & enough thickness, it @@ -17742,14 +17785,14 @@ is better to cast an alloy half of lead & half of tin, especially for hollow things. For, if you only have very thin & very weak things to cast, like flowers, rely rather on the abundance of lead than of tin, which becomes -porous, once cast a little thick, & readily makes some flaw around +porous once cast a little thick, & readily makes some flaw around the cast. Maistre Alexandre says that he has never gone wrong with halftin & halflead for things weighty & with the thickness of the back of a knife. If there is crocum, the joints hardly -appear & consequently the flashing is very small & thin. You can +appear, & consequently, the flashing is very small & thin. You can repair & through the hole of the belly, pull the earth of the -core, leaving it wet a long time, +core, leaving it wet a long time; @@ -17759,9 +17802,9 @@ figure of black wax breaks, there is no danger, for it can always be reattached with a hot iron point. Or else, if the pieces are not separated from the mold, they meet up & join like -beforehand, by joining & binding well the two halves of the +beforehand by joining & binding well the two halves of the mold. When the figure is large, one needs to cross -inside many iron wires, to sustain the core. +inside many iron wires to sustain the core. @@ -17769,7 +17812,7 @@ Aonly in lead or tin. However, one needs to redden the mold nearly as much as if there were inside some animal to burn, in order that the wax melts well & leaves nothing inside & flows on its -own, by keeping the mold leaning toward the gate when +own by keeping the mold leaning toward the gate when reheating it. And when the mold is reheated, leave it to cool gently, then blow inside, and draw toward yourself, while sucking, in order that the ashes of the wax come out. Do this with a @@ -17780,28 +17823,28 @@ bellows. however, do not remove it until you have completely repaired the -turtle, for you will use this earth as cement, if +turtle, for you will use this earth as cement if you need to embed something or repair with the small chisel. If there is some flashing at the joints of the mold, you will remove -it, either with the burin, called a -chaple, or a very sharp penknife, +it, either with the burin called a +chaple or a very sharp penknife, or with a small file, & then with the small chisel, always having the natural one, to do this better, in front of you. You can curl on a file the point of a small -chisel, which is not quenched, to make something lumpy. For these +chisel which is not quenched to make something lumpy. For these turtles & hollow things that presuppose being large enough, cast your alloy of halflead & halffine tin. There is more work in molding a turtle than for twelve molds of flowers. If there is some crocum in your sand, there will not be -flashing & if, by some chance, there is some on the sides, it will be +flashing, & if, by some chance, there is some on the sides, it will be thinner than paper, as long as your mold is tightened well with a press. And to make the scales of turtles -or other animals, you can make some little small chisels, in +or other animals, you can make some little small chisels in the fashion of a round cutting-punch, others in the fashion of a -gouge, or the scale of a snake & lizard, +gouge or the scale of a snake & lizard, and others on a file to make the curly & lumpy bits. The -turtles, which are not molded hollow, do not have as much work, -for they are molded in two pieces, to repair them, with small +turtles which are not molded hollow do not have as much work, +for they are molded in two pieces, to repair them with small chisels, small cutting-punches, small gouges & small serrated chisels. @@ -17828,7 +17871,7 @@ coloring. It is not for anointing hairy animals, for it is too strong & stiff, but it is good to give form to the legs of a small animal, like a fly & suchlike. It is also -excellent for coloring white false stones. +excellent for coloring false white stones. ~~~~~~~~~~~~~~~152r~~~~~~~~~~~~~~~ @@ -17837,25 +17880,25 @@ Molding a rat The hairs of its whiskers would be awkward to come out in the cast; you can therefore shave them with fire, like -the tyran de Syracuse, +the tyrant of Syracuse, & afterward you can replace them with natural silvered ones. The tail is beautiful molded because it is made of scaly circles, nearly like the one of a lizard, & in order that the hair does not hinder good molding, burn it in the fire of a little candle. The rest of the body should be anointed with wheat oil, which will keep the hair stiff & couched, so that the sand will not raise it by getting entangled -in it, to prevent coming out neatly. The wheat oil being +in it to prevent coming out neatly. The wheat oil being dry, which will be quick, you will be able to pass a very thin comb to divide it, in order that it appears in the cast. On a small mouse, you can even put some common oil to lower the hair. And before molding these animals (except snakes & lizards), let them remain dead one or two -days, to have them more handleable. For they stay rigid -after their death, & cannot be well fitted to their true shape until +days to have them more handleable. For they stay rigid +after their death & cannot be well fitted to their true shape until they are a little softened. However, if you mold it quickly after it is dead, or give it its shape before it stiffens, you will do well. And because the eyes die, if you do not mold it promptly, you will be able to -substitute, in the eyes, the halves of well-rounded +substitute in the eyes the halves of well-rounded peas, stripped of their skin & shell. Some make the rat shed, others anoint it with olive oil, which is amiable, for wheat oil is thick & @@ -17864,15 +17907,16 @@ feature to a fly foot or under a wing to keep them rigid. Others couch the hair with an egg yolk, which is quickly dry & amiable. Shape it, before oiling it, on the clay slab, and raise its head with an iron -point & secure also the feet with points & the tail. Rub it -with eau-de-vie, once dry from the oil. Then cast your -sand, next uncover it like other animals, & make the second cast. +point, & secure also the feet with points, & the tail. Rub it +with eau-de-vie, once dry from the oil. Then, cast your +sand; next, uncover it like other animals, & make the second cast. One ought not to open the mold until it is reheated & the rat burned. + -The rat, because it is thick, comes out better being hollow, if + +The rat, because it is thick, comes out better being hollow if it is a big rat. A mouse molds better, because it has shorter hair. It is not possible to mold well an animal that has biggish bones, like a bird or rat, without @@ -17887,7 +17931,7 @@ is better than wheat oil, because it is more amiable. If the rat is big, it is good -to remove its entrails, or having molded it, to dry it in the +to remove its entrails, or, having molded it, to dry it in the oven, because the large amount of moisture that it has comes to boil in the mold, & spoils it & makes it lumpy. @@ -17907,21 +17951,21 @@ fault in the mold, or from the cast, or from the metal. The fault in the mold comes from plaster, which is not hard & strong and does not withstand fire (which is corrected by mixing it with crocum). Usually as well, if there is an -imperfection, it is from the cast. If there is also too much tin, +imperfection, it is from the cast. If there is also too much tin in a moderately thick thing, it does not come out well, because tin cast thick retracts & becomes porous. Also, things molded hollow are fanciful to cast. If, therefore, some flaw should -happen, take a leather cushionet, full of fine sand, +happen, take a leather cushionet full of fine sand, & having placed it on the bequet of the goldsmith’s table, where one files, place -your work on it & secure it with a rope, which passes +your work on it & secure it with a ropewhich passes under your foot. The sand in the bag obeys & arranges itself by and by, thick on one side & thin on the other. Then, forthwith, with a burin, make & trace -roughly the fine lines, which were omitted or which are not apparent -enough, either with a file or a chaple, remove +roughly the fine lines which were omitted or which are not apparent +enough, or with a file or a chaple, remove the flashing. And if there is some fault in the substance, which left some -pit or too-hollow thing, rescrape this with a burin, and +pit or too-hollow thing, rescrape this with a burin and notch around the edge, then imprint this with some wax. And place the imprint on a delicate plate of lead, & mark thus the appropriate measure of lead or of the alloy similar to @@ -17931,7 +17975,7 @@ rosin if it is tin or lead & place all around some small thin pieces of solder or tin or other things, then with a hot iron or in the fire of the forge, solder, and next repair this with the above-said -tools, & with the appropriate small chisels. +tools & with the appropriate small chisels. @@ -17974,7 +18018,7 @@ similar to the imprint & the seal. It is necessary that your wax be mixed with some color which -hardly has body, in order that you see the imprint better. Lamp +hardly has body in order that you see the imprint better. Lamp smoke or soot black is good for this. White wax, for this effect, is better. @@ -17982,7 +18026,7 @@ this effect, is better. Giving the thickness that you wish to a medal Having cast your first mold, mix crocum or well-ground iron scales to firm it up. -And having set, & rendered your hollow form very neat, take some +And having set & rendered your hollow form very neat, take some paste of fine @@ -18000,7 +18044,7 @@ of your mold and press on it with some cotton one side & in a hollow form on the other. This done, anoint with a paintbrush, wetted in a little melted butter, the part of the paste which is hollow. Then, cut the -excess paste, which surpasses the hollow of the +excess paste which surpasses the hollow of the mold. Anoint your mold also with olive oil, as you have done with others, place the clay contour & cast your @@ -18026,7 +18070,7 @@ butter. Testing the goodness and strength of a sand to be reheated After it has set, it must be found smooth & easy to cut, and not -rough. It tests better in a large & fantastical mold, than +rough. It tests better in a large & fantastical mold than in a small one, for the large one remains long in the fire & the small one is soon reheated. @@ -18067,27 +18111,27 @@ Sweetening silver When goldsmiths who work large wares have forged their platters, it very often happens with their sheddings that it bursts & cracks for being too soured. To avoid this, throw in, -when it is well melted, some dry mortar, composed of sand & +when it is well melted, some dry mortar composed of sand & good lime which has been worked, & pulverize it & throw it in. Goldsmiths do not work at all with -the silver from real, that is not alloyed, because it is +the silver from reals that is not alloyed, because it is leady & when forging it sours. Some solder, for small works & things which only go in the fire -once, with some old sou & reheated & beaten -carolus. However, if the sou is not very -good, the solder eats away & one needs to solder there twice +once, with some old sou & carolus, reheated & beaten. +However, if the sou is not very +good, the solder eats away & one needs to solder there twice, & one finds there too much copper. Others solder with halfsilver & halffine copper. Iron scales -Once well pulverized & ground on marble & +Once well pulverized & ground on marble, & mixed with the above-mentioned sand of noyau, and dried slowly without reheating, it endures several casts of lead & tin. Copper & latten come out well. But if it @@ -18097,7 +18141,7 @@ if the sand is not tempered thickly enough. Metal filings -They are not made by themselves, if they are not aided by some +They are not made by themselves if they are not aided by some portion of similar metal, melted to assemble them & put them in a bath, for they are sooner burned than melted. Tin and lead filings are made with tallow, the one of gold with @@ -18110,7 +18154,7 @@ Latten It is very capricious to cast. It must be cast very hot. And to rule over it better, throw on it some sal ammoniac to thin it. Alloy -it as well with a little red copper, and when you want to cast, a +it as well with a little red copper and, when you want to cast, a little tin to make it run better. It always leaves a tail like melted glass. It does not require as long a gate as others. @@ -18118,7 +18162,7 @@ others. Molding -It is only good that it die down a little on the outside, & +It is only good that it die down a little on the outside & nevertheless be red on the inside, for when it comes out of the fire, the air & vehement exhalations of fire do not receive the cast so well. @@ -18128,7 +18172,7 @@ Casting of silver Silver needs a longish gate. For gold it does not matter. Silver, when soldering, tolerates the water -one throws on it. But gold would spatter, & for that reason one casts bran on the solder. +one throws on it. But gold would spatter, & for that reason, one casts bran on the solder. @@ -18185,16 +18229,16 @@ the first petals on the outside, not those on the inside, to fortify it & give i withstand, in order that the tempered sand does not spread out & expand more than it should. You can also mold well the leaves of rose bushes, strawberry plants, & -similar things, that are flat & can be flattened without spoiling -them, with two gates; to open your mold when it is reheated -& clean the ashes from it, , and make vents +similar things that are flat & can be flattened without spoiling +them with two gates, for opening your mold when it is reheated, +& cleaning the ashes from it, and making vents & several gates. And this is the easiest way, but the other can also be done. And with small veins of wax adapted & joined from leaf to -leaf, you can make casts. You can even make a vein of wax from +leaf, you can make gates. You can even make a vein of wax from the back of the first petal , which will join to the gate. All of this facilitates the cast. The principal thing is to let your reheated molds cool down -well, rather than cleaning them & blowing inside them to make the +well rather than cleaning them & blowing inside them to make the wax come out, because when the mold is hot, the ash holds to it as if attached. But when it is cold, it wanders and leaves with the air or when one blows one’s breath through the small @@ -18218,7 +18262,7 @@ volume & weight. Wet the rose with eau-de-vie before putting it in the circle of clay. Do not forget to oil the wax gate. And when you will have cast your tempered sand, blow -thoroughly, until it begins to set. The rose came out +thoroughly until it begins to set. The rose came out well. But because the sand finds itself mixed among the petals, make your work soak in water for a long time in order that, shaking it in the water, the earth is gone from it. @@ -18230,26 +18274,26 @@ Rose Because the flower in full bloom is billowy & has its petals disordered & turned in various ways, it does not appear beautiful if it is not -painted, & also, equally, if it has weight that the stem of tin, which is brittle & +painted & also, equally, if it has weight that the stem of tin, which is brittle & delicate, would be unable to support. One molds the flower of the rose on its own & separately, making its gate largeish in order that it comes out better. Then one cuts this gate down closest to the stem of the bud, on which one grafts next & solders a stalk of latten wire to which one also solders the leaves. But because tin, being thus thin, is -troublesome to solder, and any leaf can be melted. And also +troublesome to solder, and any leaf can be melted, and also because the cast flowers & especially the rose are not beautiful without being painted, one does not take pains to solder, but one grafts the pieces to join them & one glues them with fish glue that has been a little tempered & thickly melted. And in order that it imprints better, one heats the tin work gently & at a distance, for -when cold, the glue would not take. After your flower is thus +once cold, the glue would not take. After your flower is thus repaired, you follow the joints of the added parts with modeling wax, which is a white wax mixed with -much well-ground ceruse, or even better, lead +much well-ground ceruse or, even better, lead white, melting it & applying it on your work with a small hot point of iron. In this way you can repair these little -barbs that are in the middle of the rose, or the holes +barbs that are in the middle of the rose or the holes that may be in any petal. Next, you will paint your rose according to nature. If you cast your rose in gold or silver, you can join & solder well. And @@ -18274,7 +18318,7 @@ silver or any other metal you like. But to hasten your work if you are in a hurry, make the first imprint & hollow form in bread pith, prepared as you know, which will mold very neatly. And into that, cast in melted wax, which will give you a beautiful -relief, on which you will make your noyau. +relief on which you will make your noyau. Very light and hollow work of gold @@ -18291,7 +18335,7 @@ will eat it all away without damaging the gold, so that you will have a lizard hollow to its nails, or any other work, so light that by blowing you will agitate it. But take heed not to make the layer of amalgamated gold all at once, or of hardly any thickness each -time, because that would block the small features; but proceeding +time, because that would block the small features, but proceeding therein as said, lightly & several times, and cleaning well, you will do well. @@ -18305,10 +18349,10 @@ Chasing Lead is so fat & soft that one cannot strike it boldly, & one needs to have a very light hand. The other great -metals are easier. With a burin called +metals are easier. With a burin called the onglet you make & retrace the more delicate lines, with the ordinary engraving burin the broader ones, and with -the chaple, you remove the big flashing, and with the +the chaple you remove the big flashing, and with the small chisels you soften the harshness of the lines, you smooth, you add relief to a line. @@ -18325,9 +18369,9 @@ soon as you can after they are dead, because if you were to leave them to dry a lot, their legs would break when you would want to spread them out. One needs also, to make them come out better, to place them on something like a leaf, or similar thing, to -help the casting of their little legs, which are so frangible that by +help the casting of their little legs, which are so frangible that, by themselves, they would not come out well in the cast. They can be -planted on a sage leaf, or similar. They are cast well in +planted on a sage leaf or similar. They are cast well in silver & gold, but one usually makes the legs & wings separately & one reattaches them. I have molded one on a bouquet of @@ -18353,23 +18397,22 @@ excellent because it is soon dry & curdles & melted quickly leaf & not outside it, for what would exceed would not come out well, especially in silver, because this , so fine, would be of no help in the casting. And, in truth, the feet which had been laid on the leaf came out well, but -those which straddled from leaf to leaf & remained in the void, did +those which straddled from leaf to leaf & remained in the void did not come out in tin. The rest of the fly came out well, -and especially the bouquet of sage, which is very beautiful -molded. +and especially the bouquet of sage, which is very beautiful molded. One could even cast it in gold & silver, without the feet & without applying it on a flower, by making the gate under the -belly & reattaching with solder the feet, & if needs be +belly & reattaching with solder the feet &, if need be, the wings with the same metal, & it could be enamelled -by fortifying the wings a little & the feet, as said. +by fortifying the wings a little, & the feet, as said. If your sage or branch has something to repair, do as said -below. And then paint, according to nature. +below. And then paint according to nature. @@ -18385,9 +18428,10 @@ point, as you know, to which the fly attaches itself, fly. + + If some flaw happens to the wings of your fly, beat some tin very thin, or some gold or -silver, if you have cast it in it, & trim +silver if you have cast it in it, & trim with some scissors what one needs to reattach there, & next, apply it with your small pincers & glue it with fish glue, prepared as put below. And before, heat @@ -18427,7 +18471,7 @@ Rouge clair Some goldsmiths assay it on gold, thinly beaten & well burnished with a chaple. But it is better to assay it on a gold -ingot. And also assay your substances in large or fantastical work, +ingot. And also, assay your substances in large or fantastical work, since if they appear good & extraordinary in large work, they will show excellently on a common work. @@ -18464,7 +18508,7 @@ Flies They mold better on a single leaf than on a bouquet or a flower or the branch of a plant, because the single leaf -molds in two halves, which, once reheated can open and clean well & +molds in two halves, which, once reheated, can open and clean well, & the cast is made better. Take heed when taking the fly to not break the legs & to not let it dry too much, for then the legs fall off. And if this happens to you, glue with fish @@ -18481,7 +18525,7 @@ Ash in the molds One needs to let the mold cool before blowing to make the ashes go out. For when the mold is hot, they adhere -against it & once cold, they separate from it more easily, +against it, & once cold, they separate from it more easily & go away in the blowing with the wind as vapor. @@ -18493,17 +18537,17 @@ aforesaid bird, in order that it only shows one leg & one foot, then you will anoint it with butter to make it hold the feathers down, finally eau-de-vie. And then cast. And being set, clean & uncover whatever needs it. Next, mold the other side in the same way. But -because the feet, being of bone that is difficult to burn, & +because the feet, being of bone that is difficult to burn & which are not able to be cleaned neither by quicksilver nor by any other means, if the mold would not open, uncover the bottom of the feet & the toe or the little finger of the claw, & mold as a separate piece. Reheat & open your mold & clean the bones. The feet usually remain too -weak to support the mass of a solid bird. And for this reason +weak to support the mass of a solid bird. And for this reason, one adapts an iron wire in the mold of the -feet, which passes into the body before casting, thus they are +feet which passes into the body before casting; thus, they are reinforced. Some mold the wings in a frame. Others mold the head & the said wings separately en noyau, then join & -repair them, to first model a form that will be stiff & withstand the tempered sand. +repair them to first model a form that will be stiff & withstand the tempered sand. @@ -18537,7 +18581,7 @@ conduits & leaves an odor of itself, which sours the tin or other metal that you will cast there so much that it will break if it touches it even slightly. The heat of the mold also retains small grains of ☿ -that make lumps & contracting to the edge of the molded leaves, are +that make lumps, & contracting to the edge of the molded leaves, are joined there & make the leaves frangible. The ☿ cleans the ash well, especially flat things where there are not delicate lineaments which could be broken by its @@ -18567,13 +18611,13 @@ colors have no hold. For marigold flowers, lightly ground minium for some, & for others which are more yellowish, a bit of massicot with it. For green, the verdigris has depth & is too dark. If it is a yellowish green, you can mix with the -verdigris a little yellow ochre & stil de grain +verdigris a little yellow ocher & stil de grain yellow. If the green is dark, put with it charcoal of peach tree pits, which makes a greenish black, in the same way that black of ox foot bone looks bluish. And thus, by judgment & discretion, put the color on the natural flower or leaf to see whether it comes close. But layer it -transparently so as not to cover the lines of the work. +transparently, so as not to cover the lines of the work. Large molds @@ -18587,7 +18631,7 @@ Candle smoke It makes it come out neater, & even if it is a little thick, it does not hold to any place because it has no body. I have thus fumigated my noyau molds for tin & -lead, and have cast in the cold mold well dried +lead, and have cast in the cold mold, well dried beforehand, and it came out very neat. It is true that lead mixed with half of tin was very hot, because the medal was thick. @@ -18616,7 +18660,7 @@ Wax portraits -If they are painted with colors on the wax & if the +If they are painted with colors on the wax, & if the wax is not tinted & mixed with color within, the color lifts off & is undone if you mold them en noyau, but the portrait is not spoiled. One needs to oil them lightly, bathing in @@ -18635,7 +18679,7 @@ Chiseling If the small chisel has passed through some part of a portrait, -one needs to repair & retrace it all. Otherwise it would look like a +one needs to repair & retrace it all. Otherwise, it would look like a joined piece. @@ -18651,7 +18695,7 @@ is not strong & thick enough, add eau-de-vie. And take heed a new one, if you can. It is melted on the fire & is also dried quickly on the fire, but it may be warmed from a distance once on the work. It holds strongly. With it one joins flowers & delicate things -of gold, of silver, of tin, & other materials +of gold, of silver, of tin & other materials, which are in danger of spoiling if soldered. @@ -18671,7 +18715,7 @@ leaves together. Cleaning files Sometimes they are fattened & by means of the grease, the -lead, which is fatty in itself, or other filings, attach +lead, which is fatty in itself, or other filings attach to it. And you will be able to clean them either with hot charcoal or a wire brush made of wires of latten. @@ -18679,8 +18723,8 @@ latten. Carnation -It is molded like the rose, marigold, & all -other flowers, thus as is said, namely, whole-mold flowers, & all +It is molded like the rose, marigold & all +other flowers thus, as is said, namely, whole-mold flowers, & all the leaves, if you want, in two halves, joining them by solder for the most secure way, even if you could mold them together in a closed mold. I cast one that came out very well. But the sand needs to be very thin, & blow strongly. @@ -18692,7 +18736,7 @@ Make the two sides so that they are, if it is possible, one as thick as the other, in order that they can be quite evenly reheated. When you mold some animal that should be burned , like crayfish, you cannot open it to -clean it & make the cast so that it is not reheated. And when they +clean it, & make the cast so that it is not reheated. And when they are reheated one time, keep them scarcely at all without casting, for they are rendered musty & moist, & the mold is undone & loses its strength. @@ -18707,7 +18751,7 @@ Plaster alone Reheated stone plaster is undone in water, but that which is first -pulverized and then reheated does not fear it. But if it is good it +pulverized and then reheated does not fear it. But if it is good, it hardens in it, like the one of Paris & Spain, which is hard in stone, as is that which grows in lean & dry earth and which seems like @@ -18748,12 +18792,12 @@ two plates of iron, one tightens them in the frame with wedges. The large wooden presses made with screws, besides being heavy to put near to the forge for casting, one cannot know when they tighten too much, -& very often they break the mold. +& very often, they break the mold. -The screw is riveted to this stirrup which is -nailed on to the upper plate, & by this means, +The screw is riveted to this stirrup, which is +nailed onto the upper plate, & by this means, raises it & presses it. @@ -18783,7 +18827,7 @@ Delicate work of gold or of silver It can be done with flies by hand without casting, & the wings & feet can be joined by solder, which is not able -to be done with delicate works of lead & tin, because +to be done with delicate works of lead & tin because they would melt. And the work of gold can be enameled. @@ -18795,13 +18839,13 @@ cow or sheep, & with a small string you make a basket hang from the tip of the aforesaid stick. Put in water where crayfish eat, & they will quickly come to accumulate on the flesh. Extract gently -from the water, &; those who want to go back into the +from the water, & those who want to go back into the water will fall into the basket. Catching passerines -If they sleep in straw, like they usually do +If they sleep in straw, like they usually do, close to the house, leave the closest window open & put in a lighted candle, but so that the candle is hidden & that its light only appears throughout the room & through the @@ -18837,18 +18881,18 @@ gather the pieces of molds, break them on a long table with a large billet in order to pulverize them well, and, better yet, sieve it finely. Put them in some pots into the tiler’s oven or -bread oven, several times, when it is well lit, in order that +bread oven, several times when it is well lit, in order that they become very red. Once cooled, repestle them, if need be, and -sieve. Next, put it in a sufficient, neat dish, +sieve. Next, put it in a sufficient, neat dish or semal or vessel, and wet it with clear -water, and grind it & stir with a thick stick, until it +water, and grind it & stir with a thick stick until it is well wetted & washed & that the filth goes on the -surface of the water & continue to stir it thus, like the +surface of the water, & continue to stir it thus, like the gip mat that one prepares to gild with burnished gold, five or six days, until it is not at all lumpy. And, each time that you stir it again, leave it to rest & empty the clear water -which will be on top, by tilting, or with a bowl or +which will be on top by tilting or with a bowl or sponge, and put some clear water back in, & thus wash & stir it until it is well fine & purged of all filth. Nota#. Next, leave it a little @@ -18863,17 +18907,18 @@ frame, & if your sand retracts, one needs to pulverize again & wet it in sal ammoniac water, reduce into little balls & reheat it & redden & continue so many times that it does retract from the frame when you redden it. The main thing -is that it is well reheated for otherwise the sal ammoniac would +is that it is well reheated, for otherwise the sal ammoniac would not calcine well & render the sand coarse, & for this reason, one does not need too much sal ammoniac in it. -#Nota, that one needs, +# +Nota that one needs, before drying it, to wet it all and empty the liquid in another common vessel, leaving the litharge, in order that the stones & earth remain at the bottom -afterward. One needs to let it rest & empty the water by tilting +afterward. One needs to let it rest & empty the water by tilting, & leave it . nota @@ -18893,7 +18938,7 @@ marble. Being well ground & once it is quite fine , the vinegar will bite it quite easily & will soon give it redness & bonding, wetting it with the strongest you can find & next setting it aflame. And in three or 4 - wettings & ignitions it will be ready. This one + wettings & ignitions, it will be ready. This one is columbine color & is found firmer for casting than that which is redder & the color of bole, made of rusty filings, & has more tincture. Others burn the filings several times on a reddened iron shovel, @@ -18907,7 +18952,7 @@ For the workshop It can be gathered from the words of Herodote that the -navigation of the Portuguese was not newly invented by them as +navigation of the Portuguese was not newly invented by them, as they brag. At the beginning of the first book entitled Clio, he says that the Phoenicians would come from the Red Sea by continuous navigation to the coast of Greece, mainly to @@ -18924,7 +18969,7 @@ Greeks were on a long ship on the coast of Colchis & to the river Phasis, whence they carried off Medea. -Galleys. +Galleys @@ -18936,8 +18981,7 @@ Gold vases -Herodote. Halyattes, the father of Croesus, -pateram ex ferro compactilem +Herodote. Halyattes, the father of Croesus,pateram ex ferro compactilem apud Delphos dedicavit spectatu dignam inter omnia quae sunt Delphis donaria, opus Glauci Chii qui solus omnium compactionem ferri excogitavit.Compactile ferrum, which is made by assembly @@ -18954,7 +18998,7 @@ secrets from my benevolent readers. Aes ustum Once finely pulverized, it molds very neatly & has a certain -fatness that gives it bond |, more than +fatness that gives it bond, | more than crocum, & I believe that it would not be inappropriate for a cast. @@ -18962,7 +19006,7 @@ inappropriate for a cast. Rotten wood The one which is white, light like a sponge, once burned in -a closed fire, can be used for a frame for lead, and +a closed fire, can be used for a frame for lead and molds very neatly. But such things do not endure the fire. @@ -18974,20 +19018,20 @@ Because they sprout & flower among the first, & thus are caught by the frost, one lays them bare at the roots during winter in order that the cold slows -them, and that blossoming later, the flowers come to profit. +them and that, blossoming later, the flowers come to profit. Olive trees In Spain, one lays them bare at the roots during -winter, & in summer one plants them +winter, & in summer, one plants them well with earth. Bittern foot To mold it, it is better to spread the toes & nails out well on -something flat, & leave it thus to dry a few +something flat & leave it thus to dry a few days, because, in drying, the scales appear coarser & the nerves & tendons become more apparent, and thus the molded foot will be more artistic. @@ -18998,9 +19042,9 @@ Molds of things that do not release Animals that do not release can only be molded in two molds, which should not be opened until after they are well reheated & the enclosed animal is well burned. Animals that have -bones or scales, which do not reduce into powder, but rather remain as +bones or scales, which do not reduce into powder but rather remain as calcined lumps, will never leave through the gate, whatever blowing that -one does, or whatever quicksilver that one puts there, or a +one does or whatever quicksilver that one puts there, or a feather quill molded to use as a gate. This is why one molds in two halves, in order that, the mold being opened after having been reheated, the burned thing can be cleaned out well. But take @@ -19020,29 +19064,29 @@ that through this means it is neater. Perfumer They readily put half of amber & half -of musk, & a very little civet, because amber +of musk & a very little civet, because amber always overtakes the principal scent of musk. To spare the amber, they readily put a little musk in -the white layers which gives a more +the white layers, which gives a more forceful scent. But to remove or hide the blackness of the musk, they put in a bit of wheat starch from England, which is perfectly white. To perfume with white amber in the Portuguese fashion, take a -huchau of amber well broken up. And having put in a +huchau of amber, well broken up. And having put in a small silver bowl a spoonful of flower oil, or lacking that, ben oil, that is to say, a silver spoon that one uses at the table, put in your ambergris & place all on a low fire, and it will melt quickly if your amber is good, & it will remain there without lumps. Once all melted, put in the size of a pine nut of -civet, & make it melt & mix it well together. Next, take +civet, & make it melt, & mix it well together. Next, take your gloves, well-cleaned & well-dried, & dipping the tip of your finger very lightly on the -edge of the oil, spread it on the glove little by little -& with patience & rub the glove between your +edge of the oil, spread it on the glove, little by little +& with patience, & rub the glove between your hands, & trace the fingers & the stitches, one after the other. And leave it to dry. Next, trace again as before until the amber is all laid down. @@ -19071,7 +19115,7 @@ hold them up and to blow out the ash that hinders. -Spare no pins, placing them not only in the middle of the body, +Spare no pins, placing them not only in the middle of the body but also on the big legs, and two or three at the tail, according to the stance that you want to give it. @@ -19079,7 +19123,7 @@ stance that you want to give it. Crocum That which is rusty by itself, being showered with salt water -or vinegar or urine, and then very +or vinegar or urine and then very dried out and reddened in fire, is very red ground on porphyry and is of the color of Levant bole, & approaching minium. But that which is showered @@ -19098,7 +19142,7 @@ Repairing It is better to repair little with the burin called onglet, or with that which one calls chaple, or some small file. But above all, -avoid touching your work, but only the flashing or lump that will have +avoid touching your work, but only the flashing or the lump that will have occurred during the cast. And while repairing, wet & rub with your very small hog bristle brushes. @@ -19130,7 +19174,7 @@ Leady silver -It degrades a lot, because the lead, which is mixed in, works it +It degrades a lot, because the lead which is mixed in works it like in the cupel, and makes it jump in little balls at the edges of the crucible & on the charcoal which covers it. It is also fat, and thus it is good to melt all coined @@ -19151,7 +19195,7 @@ When you melt silver & gold, do not blow strongly & with violence, because with the charcoal consolidating, the crucible would lower & could fall over. But when your mold is -ready, at that moment blow strongly to heat well the silver or +ready, at that moment, blow strongly to heat well the silver or gold. Both, once melted, want to be blown from above with a little bellows, especially gold, for this removes their smoke & softens them. @@ -19163,7 +19207,7 @@ Molds -For those in which one needs to burn something, and +For those in which one needs to burn something and which do not open before being reheated, one does not make any casts before it is reheated. For large molds in which the gate is big and ample, it is necessary that the gate be well notched & @@ -19178,11 +19222,11 @@ drying it. -When the earth, from which you make the earthen -slab to arrange your animal, is too soft, the points that +When the earth from which you make the earthen +slab to arrange your animal is too soft, the points that you put in it come out easily & come undone when you cast in the -sand & thus the mold spoils and the shape comes undone. -Therefore when you will recognize that your slab will be too tender & soft, spread on top some hot ashes & blow with +sand, & thus the mold spoils and the shape comes undone. +Therefore, when you will recognize that your slab will be too tender & soft, spread on top some hot ashes & blow with the bellows. @@ -19194,7 +19238,7 @@ If there is not enough good feather alum or crocum, it will easily crack in the fire. But if it is mixed with it, as it should be, it withstands it. It is recognized to be good when, being hot after the cast, it quickly imbibes water -when one quenches it, & breaks +when one quenches it & breaks easily because the alum & the crocum render it spongy. On the contrary, bad sand, which is only of plaster & brick, & little mixed with alum, breaks easily in the @@ -19208,13 +19252,13 @@ Molds Even though you cast in lead, the molds want to be well dried, especially when they are large, and one needs to redden them on -the outside & keep them in continuous heat, until they no longer +the outside & keep them in continuous heat until they no longer smoke from inside. Do not place them to reheat at different times, but continue once you have started. And do not place them to cool in the cold, for they would crack, but leave them to become lukewarm near the fire, & when they are still of such a heat as you have noticed before putting your finger in the hole, cast. And when the -mold is large, it needs more time to reheat & dry & one +mold is large, it needs more time to reheat & dry, & one needs to cast hotter. @@ -19236,7 +19280,7 @@ grinding it as before. Stretching a canvas picture If it is crumpled & creased from being rolled up, moisten it -from behind with a wet sponge & you will stretch it very +from behind with a wet sponge, & you will stretch it very evenly without spoiling it. @@ -19281,7 +19325,7 @@ without touching it. Stance of animals -Not only with iron points, but with melted +Not only with iron points but with melted wax, animals are secured on the earthen slab. Wash them first in clear water, having been killed in the mixture of @@ -19301,7 +19345,7 @@ spinet string, which will not take up space. Keeping animals Having molded them once, if you want to keep them for molding again, -put them back into the mixture of urine, vinegar, +put them back into the mixture of urine, vinegar & eau-de-vie where you killed the others, and they will keep for a long time without spoiling. If you have a cut on your hand,take care that this mixture does not touch it. @@ -19332,8 +19376,8 @@ One needs to mainly put this lute on the joints. Silver -When it quivers, once melted, it is a sign that it is well -hot & because usually it is leady, it is good to throw in it +When it quivers once melted, it is a sign that it is well +hot, & because usually it is leady, it is good to throw in it some lime mortar, for this attracts & gathers the lead. @@ -19348,7 +19392,7 @@ there is enough wax, for this is what makes the gate. Joining some fly wings, or similar They are joined with fish glue mixed with -eau-de-vie over slow fire, heating also the work. Then this is +eau-de-vie over slow fire, heating also the work. Then, this is covered with modeling wax, which is grey. @@ -19362,7 +19406,7 @@ If something is omitted: the harvester is not reproached for leaving some ears of wheat. If any artisans complain that one discovers their craft secrets, and if the goddesses of Eleusis -complain, as they did to N. The +complain, as they did to N. the pytagorien, that one has divulged their mysteries, excuse yourself based on the words of the ancient Hebrews quoted by Josephe. @@ -19384,7 +19428,7 @@ active. If the jealous disapprove that these things are picked up & taken from others, reply that since Nullum est jam dictum quod non dictum -aut factum sit prius & that one +aut factum sit prius, & that one holds that all arts were invented in the space of a thousand years, so that you do not think that you are able to invent anything new but rather rediscover anew the books of Numa, @@ -19396,12 +19440,11 @@ to those who come after. The Latins took from the Greeks, as Ciceron from Platon & Vergile from Homere. -Aule Gelle, -Valere Max +Aule Gelle,Valere Max only made a collection from various authors who had already written. Tite Live made his xxiii book from the 2nd or 3rd of Polybe.Serapis was deemed the inventor -of agriculture among the Egyptians, & however so was +of agriculture among the Egyptians &, however, so was Cerés among the Sicilians. Pythagore & others from Tyana learned by their travels the disciplines which they claimed to have invented in their country, &c. Will one @@ -19447,7 +19490,7 @@ perfume the tip and the wick. Softening gold Dissolve caput mortuum in distilled vinegar, -filter & congeal in salt & cement +filter & congeal in salt, & cement ☉ with this, and it softens it marvellously. @@ -19471,7 +19514,7 @@ rosette that one can, in order that they do not burst, namely one part of metal & two of fine rosette or old cauldron, which is even better. Some are of fifteen or seventeen lb & are -loaded with two & a half lb of good great grain +loaded with two & a half lb of good grain powder, & they are for applying on windows & common doors. Others are of the weight of 25 to 27 lb and are loaded with 4 lb of powder. Others weigh 45 lb & are @@ -19509,7 +19552,7 @@ cork that goes in quite precisely & with force. In this way, the powder remains well sealed & gives much greater violence, & if you wish, you can put on the plate of cork one of wood pierced in the middle, if the petard is pierced at the -breech, which one holds to be the easiest & which makes for greater +breech, which one holds to be the easiest, & which makes for greater penetration because it cannot recoil. And for those that have a pierced breech, one must have a good gimlet to first make the hole in order that the peg, which is made with a @@ -19553,7 +19596,7 @@ against the door. If the petards are good & do not explode, they only recoil and cannot do harm if one is next to them. A. This is a small peg, hooked like the hinge of a door -& made like a gimlet on one end for quickly +& made like a gimlet on one end, for quickly attaching a small petard with ear of fifteen or xvii lb for a common door or window. @@ -19565,7 +19608,7 @@ passes, button-like on one end & made like a gimlet at the point, for quickly attaching the petard against a door that is notcovered with iron plates. -D. These are plates of wax, cork, & wood +D. These are plates of wax, cork & wood for loading the petard & sealing the powder well. E. Iron fork made in the form of pincers @@ -19606,7 +19649,7 @@ N. Are large augers & gimlets of wheelwrights for smoothly cutting a door or window by making large holes close to one another. -O. Crutches of the height of a man which it is +O. Crutches of the height of a man, which it is necessary to carry to quickly put under a portcullis after the petard has gone off & to prevent the portcullis from falling. @@ -19720,7 +19763,7 @@ Stamping White enamel, making it tender -with black calcined river +with calcined black river pebbles @@ -19732,7 +19775,7 @@ Molding very thin like bimbalotiers do They mold in paper & carton, for neither earth, sand, nor -metal would mold as neatly, & would not receive. Or else they +metal would mold as neatly & would not receive. Or else they engrave in stone from Istre the principal side, & the reverse is of paper or carton. @@ -19741,12 +19784,12 @@ carton. Reducing a round figure to a hollow form You need to first mold it with some plaster, as said -before, & in the plaster cast in wax, from which will +before, & in the plaster cast wax into it, from which will come out a relief that you will repair very neatly, and model it as you fancy. And then, you will model this relief of wax again in plaster, or better yet, with your wetted sand # like for noyau, & in the -latter cast in some lead, & from this you will have a very +latter, cast in some lead, & from this you will have a very neat relief, & if it is not, repair on the cement or otherwise, & take heed that it is always of good release. And this one will always serve you well for making as many hollow forms as you @@ -19788,8 +19831,8 @@ can mold the other the same. ~~~~~~~~~~~~~~~170r~~~~~~~~~~~~~~~ -perfume, & suchlike. But take heed that it is -necessary that the black wax, with which you mold, be +perfume & suchlike. But take heed that it is +necessary that the black wax with which you mold be hard, in order that, quickly & more drily, it retracts, in order to see if it is well imprinted. It is rendered harder by adding into the already melted one more melted sulfur @@ -19808,8 +19851,8 @@ quenched. Casting Do not cast in one go, for in doing so, the metal is -regurgitated & the -metal gets cold before it goes down. But, cast bit by bit & +regurgitated , & the +metal gets cold before it goes down. But cast bit by bit & taking your time. @@ -19824,7 +19867,7 @@ Molds Those of noyau, in being reheated, want to be set on charcoals a little spent, without the air touching them, like the frame molds want to be -dried in the open, & uncovered. +dried in the open & uncovered. Thick works of tin @@ -19838,7 +19881,7 @@ tin. Cleaning closed molds One needs to let them cool rather than blow inside to clean them, -for when hot they retain the ash. When cold, they are cleaned better. Take a thin wire of latten or a delicate straw to clean the tail completely, for this is what makes the gate. Blow into it & suck, drawing it to you. Before molding, +for when hot, they retain the ash. When cold, they are cleaned better. Take a thin wire of latten or a delicate straw to clean the tail completely, for this is what makes the gate. Blow into it & suck, drawing it to you. Before molding, thicken the tail with wax, then cut it, @@ -19853,13 +19896,12 @@ out well, then the paint covers everything. ~~~~~~~~~~~~~~~170v~~~~~~~~~~~~~~~ -1578-9 original first page +Original first page (1578–1579) In the year fifteen hundred seventy-eight, the second of July, the heirs of the late Sieur -Ouvryer received (two hundred and five -écus), the rent of Saint-Frajou, amounting +Ouvryer received the rent of Saint-Frajou, amounting to twelve hundred and thirty livres. They have also received, as part of the revenue of the year fifteen @@ -19874,7 +19916,7 @@ Against plague Take, against pestilential fever or poison or plague, an écu’s weight of your opiate soaked in -scabious or bugloss water, +scabious or bugloss water or thoroughly tempered wine, if one is afflicted. After taking it, one needs to make oneself sweat. From f3cc1c3ecf1b0829d512541dc674e8e0a0f16b49 Mon Sep 17 00:00:00 2001 From: tcatapano Date: Wed, 18 Dec 2019 13:51:25 -0800 Subject: [PATCH 3/5] update ms-txt files --- ms-txt/tc/tc_p001r_preTEI.txt | 34 +++++++++++++--------- ms-txt/tc/tc_p003r_preTEI.txt | 7 ++++- ms-txt/tc/tc_p016r_preTEI.txt | 6 ++++ ms-txt/tc/tc_p023v_preTEI.txt | 2 ++ ms-txt/tc/tc_p024v_preTEI.txt | 55 +++++++++++++++++------------------ ms-txt/tc/tc_p025r_preTEI.txt | 4 --- ms-txt/tc/tc_p031r_preTEI.txt | 2 +- ms-txt/tc/tc_p033r_preTEI.txt | 4 +-- ms-txt/tc/tc_p034r_preTEI.txt | 14 ++++----- ms-txt/tc/tc_p051v_preTEI.txt | 2 +- ms-txt/tc/tc_p060v_preTEI.txt | 2 +- ms-txt/tc/tc_p069r_preTEI.txt | 2 +- ms-txt/tc/tc_p073r_preTEI.txt | 2 +- ms-txt/tc/tc_p073v_preTEI.txt | 4 +-- ms-txt/tc/tc_p094r_preTEI.txt | 2 ++ ms-txt/tc/tc_p105v_preTEI.txt | 3 ++ ms-txt/tc/tc_p113r_preTEI.txt | 1 + ms-txt/tc/tc_p113v_preTEI.txt | 42 +++++++++++++------------- ms-txt/tc/tc_p115r_preTEI.txt | 6 ++-- ms-txt/tc/tc_p129r_preTEI.txt | 1 + ms-txt/tc/tc_p129v_preTEI.txt | 5 ++-- ms-txt/tc/tc_p131v_preTEI.txt | 2 +- ms-txt/tc/tc_p133v_preTEI.txt | 1 + ms-txt/tc/tc_p139r_preTEI.txt | 1 + ms-txt/tc/tc_p142v_preTEI.txt | 5 +++- ms-txt/tc/tc_p144v_preTEI.txt | 1 + ms-txt/tc/tc_p150v_preTEI.txt | 6 ++-- ms-txt/tc/tc_p152r_preTEI.txt | 1 + ms-txt/tc/tc_p156r_preTEI.txt | 2 +- ms-txt/tc/tc_p156v_preTEI.txt | 1 + ms-txt/tc/tc_p166r_preTEI.txt | 1 + ms-txt/tc/tc_p170v_preTEI.txt | 2 +- 32 files changed, 130 insertions(+), 93 deletions(-) diff --git a/ms-txt/tc/tc_p001r_preTEI.txt b/ms-txt/tc/tc_p001r_preTEI.txt index 59523cb2c..333cd8a18 100644 --- a/ms-txt/tc/tc_p001r_preTEI.txt +++ b/ms-txt/tc/tc_p001r_preTEI.txt @@ -32,7 +32,6 @@ Liste de livres et d'autheurs - Vuolfangus lazius @@ -41,6 +40,7 @@ Petrus appianus Mathemat{icus} Ingolstadiensis Comment. urb. rom. + Hieronimo Ruscelli @@ -52,6 +52,7 @@ Angelius Bargæus de aucupio et venatione Nicolaus Damascenus + Cares{ariensis}de rebus persarum @@ -68,7 +69,15 @@ Eupolemus historicus gentilis qui de rebus davidis & salomonis -scripsitmons{ieur} +scripsit +           +           +           +           +           +           +           +mons{ieur} - Cathalogue des villes @@ -104,15 +113,15 @@ Athenæus Pausanias - Statius Thebaidos +Statius Thebaidos Serviusin Aeneid{em} Macrobius - Aulus Gellius +Aulus Gellius - Alexander ab Alex{andria} +Alexander ab Alex{andria} Festus Nonius Magius miscell{anea} @@ -120,27 +129,26 @@ Pollux onomast{icon} Higinus - Berosus +Berosus - Suetonius +Suetonius - Valerius max{imus} +Valerius max{imus} - Cornelius tacitu{s} +Cornelius tacitu{s} - Xenophon +Xenophon Seneca Dionisius Halicarnassensis Sabellicus - cum permultis - aliis Iulius Capitollin{us} +aliis Iulius Capitollin{us} Budæus Spartianus Blondus @@ -149,7 +157,7 @@ Herodotus Paulus Manutius - Strabo +Strabo Iulius firmicus Quintus Curtius Dion diff --git a/ms-txt/tc/tc_p003r_preTEI.txt b/ms-txt/tc/tc_p003r_preTEI.txt index 09b1c7afb..b9bf405cb 100644 --- a/ms-txt/tc/tc_p003r_preTEI.txt +++ b/ms-txt/tc/tc_p003r_preTEI.txt @@ -2,7 +2,12 @@ ~~~~~~~~~~~~~~~003r~~~~~~~~~~~~~~~ Coral contrefaict -+ + + +            +            + + + Il fault premierement faire les branches de boys ou diff --git a/ms-txt/tc/tc_p016r_preTEI.txt b/ms-txt/tc/tc_p016r_preTEI.txt index c1fcb430e..0f5a1d631 100644 --- a/ms-txt/tc/tc_p016r_preTEI.txt +++ b/ms-txt/tc/tc_p016r_preTEI.txt @@ -61,6 +61,10 @@ quintals + + + + Les minerons pour fayre @@ -82,6 +86,8 @@ Et cela rend le fer merveilleusem{ent} ductible & courant + + Il fault aussy que la tuelle entre jusques au milieu de la gueule du fourneau diff --git a/ms-txt/tc/tc_p023v_preTEI.txt b/ms-txt/tc/tc_p023v_preTEI.txt index b15e92fab..13e9226e1 100644 --- a/ms-txt/tc/tc_p023v_preTEI.txt +++ b/ms-txt/tc/tc_p023v_preTEI.txt @@ -2,6 +2,8 @@ ~~~~~~~~~~~~~~~023v~~~~~~~~~~~~~~~ + + pouldre Estant pleine la saulssisse trempe la diff --git a/ms-txt/tc/tc_p024v_preTEI.txt b/ms-txt/tc/tc_p024v_preTEI.txt index a8e4d3e8a..bb3980113 100644 --- a/ms-txt/tc/tc_p024v_preTEI.txt +++ b/ms-txt/tc/tc_p024v_preTEI.txt @@ -27,31 +27,29 @@ recognoistre le lieu le plus commode pour faire la batterie - Scaches les magasins +Scaches les magasins - de france pour lartiglerie +de france pour lartiglerie - Il est bon que la plateforme +Il est bon que la plateforme - penche un peu sur le deva{n}t +penche un peu sur le deva{n}t - pourceque la piece est plustost +pourceque la piece est plustost - mise en batterie & tient +mise en batterie & tient - plus coup & bat plus roide +plus coup & bat plus roide - - & sil ne voit bien on donne une faulse alarme affin que @@ -99,35 +97,34 @@ Canons a chambre - sont ceulx qui ont un renfort +sont ceulx qui ont un renfort - par dedans en tout lespace +par dedans en tout lespace - qui contient la pouldre Et +qui contient la pouldre Et - la balle ne peut rouler +la balle ne peut rouler - que jusque a lentree de +que jusque a lentree de - ladicte chambre Ceulx cy +ladicte chambre Ceulx cy - ne font pas si grande +ne font pas si grande - faulcee & sont fascheux +faulcee & sont fascheux - a charger Mays il ne +a charger Mays il ne - seschauffent pas si tost - +seschauffent pas si tost @@ -177,31 +174,31 @@ Lumiere dacier - se pose en Ancrau dans +se pose en Ancrau dans - les canons pourcequelle ne +les canons pourcequelle ne - se gaste poinct en tirant +se gaste poinct en tirant - co{mm}e font bien tost les aultres +co{mm}e font bien tost les aultres - Mays ces ancraus sont +Mays ces ancraus sont - subgects a saulter & porter +subgects a saulter & porter - domaige au canonier Il ny +domaige au canonier Il ny - ha que duser de la lumiere +ha que duser de la lumiere - propre +propre diff --git a/ms-txt/tc/tc_p025r_preTEI.txt b/ms-txt/tc/tc_p025r_preTEI.txt index 4ac9a317b..03a3b230b 100644 --- a/ms-txt/tc/tc_p025r_preTEI.txt +++ b/ms-txt/tc/tc_p025r_preTEI.txt @@ -110,10 +110,6 @@ ce faisant tu esbranles plusieurs pierres - - - - Aulcuns mettent des petites roues dune piece & de quelque table espece au bout diff --git a/ms-txt/tc/tc_p031r_preTEI.txt b/ms-txt/tc/tc_p031r_preTEI.txt index 13edf2c36..f7cb5aca9 100644 --- a/ms-txt/tc/tc_p031r_preTEI.txt +++ b/ms-txt/tc/tc_p031r_preTEI.txt @@ -66,7 +66,7 @@ Mays celuy qui est faict dhuile de noix blanche co{mm}e tu la -fais tient a la pluyet est fort +fais tient a la pluye t est fort cler & beau & bien tost sec diff --git a/ms-txt/tc/tc_p033r_preTEI.txt b/ms-txt/tc/tc_p033r_preTEI.txt index b7d9ee2bf..b50460acf 100644 --- a/ms-txt/tc/tc_p033r_preTEI.txt +++ b/ms-txt/tc/tc_p033r_preTEI.txt @@ -116,11 +116,11 @@ pas a ses mains -X Pour rallumer une chandelle estainte +X Pour rallumer une chandelle estainte entre les mains sans soufler -X Ayes un petit baston douzier bien +X Ayes un petit baston douzier bien sec et en couppe une petite piece comme un curedant & mects lun bout entre lindice & le grand doigt diff --git a/ms-txt/tc/tc_p034r_preTEI.txt b/ms-txt/tc/tc_p034r_preTEI.txt index ea2cacdd6..d153d1af8 100644 --- a/ms-txt/tc/tc_p034r_preTEI.txt +++ b/ms-txt/tc/tc_p034r_preTEI.txt @@ -8,7 +8,7 @@ doit tousjours au front tu lempescheras de sortir dune chambre -XFais luy embrasser la quenoille du +X Fais luy embrasser la quenoille du lict ou chose semblable @@ -16,7 +16,7 @@ lict ou chose semblable front -XGaiger a quelquun que se +X Gaiger a quelquun que se promenant @@ -26,7 +26,7 @@ jusques a tel lieu et en revenir il ne dira point quattre fois de suite botte sa{n}s espero{n} -XSil sessaye de le diremays il +X Sil sessaye de le diremays il fault quil parle hault quand il sera alle & revenu tu luy @@ -42,16 +42,16 @@ muraille sans y fayre trou -X -Fais le tenir par un vallet contre la + +X Fais le tenir par un vallet contre la muraille -XNe casser point un verre +X Ne casser point un verre dune busche ou dun gros baston -XTu en coupperas un petit loppin gros comme un +X Tu en coupperas un petit loppin gros comme un curedent diff --git a/ms-txt/tc/tc_p051v_preTEI.txt b/ms-txt/tc/tc_p051v_preTEI.txt index 1ad587cb7..e47e7c90d 100644 --- a/ms-txt/tc/tc_p051v_preTEI.txt +++ b/ms-txt/tc/tc_p051v_preTEI.txt @@ -111,7 +111,7 @@ planche puys daultre papier & enfin ung aultre -foeultrePuys passe entre +foeultre Puys passe entre les rolleaulx Et tu peulx imprimer une douzaine de pieces diff --git a/ms-txt/tc/tc_p060v_preTEI.txt b/ms-txt/tc/tc_p060v_preTEI.txt index 30061cd86..a09328006 100644 --- a/ms-txt/tc/tc_p060v_preTEI.txt +++ b/ms-txt/tc/tc_p060v_preTEI.txt @@ -63,7 +63,7 @@ les couleurs - Huile daspic +Huile daspic diff --git a/ms-txt/tc/tc_p069r_preTEI.txt b/ms-txt/tc/tc_p069r_preTEI.txt index b562d7e9d..b77377259 100644 --- a/ms-txt/tc/tc_p069r_preTEI.txt +++ b/ms-txt/tc/tc_p069r_preTEI.txt @@ -107,7 +107,7 @@ doigts co{mm}e lardille Il se deseiche legerem{ent} au -foeu puys se pile & passe + foeu puys se pile & passe subtillem{ent} par un double tamis ou une manche diff --git a/ms-txt/tc/tc_p073r_preTEI.txt b/ms-txt/tc/tc_p073r_preTEI.txt index fa6e34f2d..8a7a4b55d 100644 --- a/ms-txt/tc/tc_p073r_preTEI.txt +++ b/ms-txt/tc/tc_p073r_preTEI.txt @@ -19,7 +19,7 @@ v{ost}re pers avecq Et le poser sans le boys -Pour Couleur dorange +Pour couleur dorange Prenes de leau ou la chault aura trempe Et Mectes du terroy diff --git a/ms-txt/tc/tc_p073v_preTEI.txt b/ms-txt/tc/tc_p073v_preTEI.txt index d56ce2840..570ad034d 100644 --- a/ms-txt/tc/tc_p073v_preTEI.txt +++ b/ms-txt/tc/tc_p073v_preTEI.txt @@ -21,7 +21,7 @@ v{ost}re estaing en fondant & le Remues fort Jusques a ce q{ui}l soit en pouldre -Pour le Coucher +Pour le coucher Prenes de la colle de partenayou parchemin Et lapliques avecq Le blanc @@ -66,7 +66,7 @@ une once de sandrax & une dhuille daspic -Couleur de Cuyvre bruny +Couleur de cuyvre bruny Prenes une once de sel armoniac avecq une once de diff --git a/ms-txt/tc/tc_p094r_preTEI.txt b/ms-txt/tc/tc_p094r_preTEI.txt index 0f77ca2b7..c4bd06b73 100644 --- a/ms-txt/tc/tc_p094r_preTEI.txt +++ b/ms-txt/tc/tc_p094r_preTEI.txt @@ -143,3 +143,5 @@ peu tiede Car si elle estoit trop chaulde elle cuiroit & gasteroit la eau Elle se coust avecq fil noir + + diff --git a/ms-txt/tc/tc_p105v_preTEI.txt b/ms-txt/tc/tc_p105v_preTEI.txt index 8bebf1ecd..6543accf8 100644 --- a/ms-txt/tc/tc_p105v_preTEI.txt +++ b/ms-txt/tc/tc_p105v_preTEI.txt @@ -231,6 +231,9 @@ vers il entrera + + + Aulcuns les diff --git a/ms-txt/tc/tc_p113r_preTEI.txt b/ms-txt/tc/tc_p113r_preTEI.txt index e0873af93..fcd3dd798 100644 --- a/ms-txt/tc/tc_p113r_preTEI.txt +++ b/ms-txt/tc/tc_p113r_preTEI.txt @@ -234,6 +234,7 @@ Leau de vye de trois passes + toucheroit seroit diff --git a/ms-txt/tc/tc_p113v_preTEI.txt b/ms-txt/tc/tc_p113v_preTEI.txt index 21c6d70ce..5d04be74d 100644 --- a/ms-txt/tc/tc_p113v_preTEI.txt +++ b/ms-txt/tc/tc_p113v_preTEI.txt @@ -103,22 +103,6 @@ derechef et retranche le superflu avecq un grand cousteau luy donnant forme longue de mandorre -Rascle & coupe aussy le derriere du moule qui -est tousjours le plus - - -foible Et laproprie proprem{ent} ainsy Et noublie de - - -fayre autour des coches affin que le second gect si encre - - -& lye mieulx - - - -sans varier - @@ -254,16 +238,34 @@ tu le destrempes -Leau de sel armoniac nest pas -necessaire aulx petits moules qui ne requierent pas grand ne -long foeu pour estre recuits +Rascle & coupe aussy le derriere du moule qui +est tousjours le plus -touteffois quand tu y en mettras il ne sera que mieulx + +foible Et laproprie proprem{ent} ainsy Et noublie de + +fayre autour des coches affin que le second gect si encre + +& lye mieulx + + +sans varier + + + +Leau de sel armoniac nest pas + + +necessaire aulx petits moules qui ne requierent pas grand ne +long foeu pour estre recuits + + +touteffois quand tu y en mettras il ne sera que mieulx diff --git a/ms-txt/tc/tc_p115r_preTEI.txt b/ms-txt/tc/tc_p115r_preTEI.txt index e2f616796..d4c47d3f5 100644 --- a/ms-txt/tc/tc_p115r_preTEI.txt +++ b/ms-txt/tc/tc_p115r_preTEI.txt @@ -2,6 +2,7 @@ ~~~~~~~~~~~~~~~115r~~~~~~~~~~~~~~~ + Si tu veulx qui sera asses @@ -110,7 +111,7 @@ de fil de fer de ceste forme - + ilz empeschent @@ -127,10 +128,11 @@ en recuisant + Advertisseme{n}t sur tout ce -que dessus|-| +que dessus |-| Si ton serpent a este long temps sans manger il advient que quand diff --git a/ms-txt/tc/tc_p129r_preTEI.txt b/ms-txt/tc/tc_p129r_preTEI.txt index 75f65aa90..1eeaadaa5 100644 --- a/ms-txt/tc/tc_p129r_preTEI.txt +++ b/ms-txt/tc/tc_p129r_preTEI.txt @@ -78,6 +78,7 @@ plaine de aiguillons fort venelx + + Mects un peu de metalline dans diff --git a/ms-txt/tc/tc_p129v_preTEI.txt b/ms-txt/tc/tc_p129v_preTEI.txt index ab222e896..fcc1480b4 100644 --- a/ms-txt/tc/tc_p129v_preTEI.txt +++ b/ms-txt/tc/tc_p129v_preTEI.txt @@ -138,6 +138,8 @@ pour retirer la furie du metal + + Yraigne moulee sur une foeille @@ -205,8 +207,7 @@ molettes Fays le semblable du bout des petites corniches de liraigne -Retourne -🜊 +Retourne 🜊 Pour faire le gect diff --git a/ms-txt/tc/tc_p131v_preTEI.txt b/ms-txt/tc/tc_p131v_preTEI.txt index 464bbf34a..d81a2568e 100644 --- a/ms-txt/tc/tc_p131v_preTEI.txt +++ b/ms-txt/tc/tc_p131v_preTEI.txt @@ -131,7 +131,7 @@ trop de plomb il ne court pas bien tanvre Et pour le scavoir -si lestaim crie fort cest signe quil ny ha pas trop +si lestaimcrie fort cest signe quil ny ha pas trop de plomb diff --git a/ms-txt/tc/tc_p133v_preTEI.txt b/ms-txt/tc/tc_p133v_preTEI.txt index f6ed21b69..1dcf3c3fb 100644 --- a/ms-txt/tc/tc_p133v_preTEI.txt +++ b/ms-txt/tc/tc_p133v_preTEI.txt @@ -69,6 +69,7 @@ ou moisissure + + Quand tu moules de petites lesardes et que diff --git a/ms-txt/tc/tc_p139r_preTEI.txt b/ms-txt/tc/tc_p139r_preTEI.txt index 20bd854da..9ba7ecfe3 100644 --- a/ms-txt/tc/tc_p139r_preTEI.txt +++ b/ms-txt/tc/tc_p139r_preTEI.txt @@ -139,6 +139,7 @@ si chault que quand elle est tanvre + + Note que si tu diff --git a/ms-txt/tc/tc_p142v_preTEI.txt b/ms-txt/tc/tc_p142v_preTEI.txt index 45195e7e5..5acd9bcd5 100644 --- a/ms-txt/tc/tc_p142v_preTEI.txt +++ b/ms-txt/tc/tc_p142v_preTEI.txt @@ -84,7 +84,10 @@ papier huile & imprime -+ Recuits tes moules ++ + + +Recuits tes moules avecq charbons allumes diff --git a/ms-txt/tc/tc_p144v_preTEI.txt b/ms-txt/tc/tc_p144v_preTEI.txt index ff6e02293..6ec2f4379 100644 --- a/ms-txt/tc/tc_p144v_preTEI.txt +++ b/ms-txt/tc/tc_p144v_preTEI.txt @@ -180,6 +180,7 @@ boit lhuile + + Sil y a du crocum diff --git a/ms-txt/tc/tc_p150v_preTEI.txt b/ms-txt/tc/tc_p150v_preTEI.txt index 0675d4bc1..83e459b0b 100644 --- a/ms-txt/tc/tc_p150v_preTEI.txt +++ b/ms-txt/tc/tc_p150v_preTEI.txt @@ -233,8 +233,10 @@ trou sur le naturel et le raporter avecq souldure -X Note quapres que -ton +X + + +Note quapres que ton noyau est gecte Il est diff --git a/ms-txt/tc/tc_p152r_preTEI.txt b/ms-txt/tc/tc_p152r_preTEI.txt index e2e1894d5..f61a89bc6 100644 --- a/ms-txt/tc/tc_p152r_preTEI.txt +++ b/ms-txt/tc/tc_p152r_preTEI.txt @@ -119,6 +119,7 @@ moule quil ne soict recuit & le rat brusle + + Le rat pourcequil diff --git a/ms-txt/tc/tc_p156r_preTEI.txt b/ms-txt/tc/tc_p156r_preTEI.txt index 738e59712..d54dcf1b6 100644 --- a/ms-txt/tc/tc_p156r_preTEI.txt +++ b/ms-txt/tc/tc_p156r_preTEI.txt @@ -12,7 +12,7 @@ Tu peulx empraindre de cire coloree le relief dune medaille & tu auras un cave dans lequel tu pourras gecter -en noyau un relief de ton {sable} sur lequel tu feras un cave +en noyau un relief de ton sable sur lequel tu feras un cave de plomb diff --git a/ms-txt/tc/tc_p156v_preTEI.txt b/ms-txt/tc/tc_p156v_preTEI.txt index 4601ff681..1f19ad2c3 100644 --- a/ms-txt/tc/tc_p156v_preTEI.txt +++ b/ms-txt/tc/tc_p156v_preTEI.txt @@ -230,6 +230,7 @@ fondant sert de gect a la mouche + + Sil vient quelque diff --git a/ms-txt/tc/tc_p166r_preTEI.txt b/ms-txt/tc/tc_p166r_preTEI.txt index 753424b9a..1f680d765 100644 --- a/ms-txt/tc/tc_p166r_preTEI.txt +++ b/ms-txt/tc/tc_p166r_preTEI.txt @@ -16,6 +16,7 @@ secrets des arts et que les desses Eleusines se plaignent co{mm}e a N + pytagorien de ce que on ha divulgue leurs mysteres Excuse diff --git a/ms-txt/tc/tc_p170v_preTEI.txt b/ms-txt/tc/tc_p170v_preTEI.txt index 77074c699..32fb8cc8b 100644 --- a/ms-txt/tc/tc_p170v_preTEI.txt +++ b/ms-txt/tc/tc_p170v_preTEI.txt @@ -1,7 +1,7 @@ ~~~~~~~~~~~~~~~170v~~~~~~~~~~~~~~~ -Première page d'origine +Première page d'origine (1578–1579) Lan mil cinq cens septante huict le deuxiesme de Juillet a este From e05d274cebf788a84fefa293ff6f55d6fc2a9d9e Mon Sep 17 00:00:00 2001 From: tcatapano Date: Wed, 18 Dec 2019 13:55:13 -0800 Subject: [PATCH 4/5] generate entry md --- metadata/entry_metadata.tsv | 108 ++++++++++++++++++------------------ 1 file changed, 54 insertions(+), 54 deletions(-) diff --git a/metadata/entry_metadata.tsv b/metadata/entry_metadata.tsv index 6d116ff87..f1a0e7829 100644 --- a/metadata/entry_metadata.tsv +++ b/metadata/entry_metadata.tsv @@ -1,15 +1,13 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures continued continues al bp cn env m ms pa pl pn pro sn tl md mu df wp 001r p001r_1 [Liste de noms] [Liste de noms] [List of names] lists fleur de pastel pastel rue de la heaumerie a limage sainct claude;faulxbourgs de sainct germain;rue des escrivains;sainct Jaques de la boucherie Mestre Nicolas Coste;Mestre Jehan Cousin;Mestre Jehan Garnier mestre;courroyeur -001r p001r_2 [Liste] [Liste] [List] lists moissonneur -001r p001r_5 [Liste de livres et d'autheurs] [Liste de livres et d'auteurs] [List of books and authors] lists Alexandria Alexander Aphrodisæus;Polydorus vergilius;Appianus;Athenæus;Pausanias;Servius;Macrobius;Festus;Nonius;Magius;Pollux;Higinus;Seneca;Dionisius Halicarnassensis;Sabellicus;Iulius Capitollinus;Budæus;Spartianus;Blondus;Volaterranus;Herodotus;Paulus Manutius;Iulius firmicus;Quintus Curtius;Dion;Cornelius Nepos;Flavius Vopiscus -001r p001r_3 [Liste de livres] [Liste de livres] [List of books] lists aucupio urb. rom.;Italiene;Lyon Savonne;Synesius;Olaus Magnus;Mestre Bernard palissi historicus;bergiers;inventeur des rustiques figulines;roy;royne mere +001r p001r_2 [Liste] [Liste] [List] lists Eleusinæ Eleusinæ deæ moissonneur +001r p001r_3 [Liste de livres et d'autheurs] [Liste de livres et d'autheurs] [List of books and authors] lists aucupio urb. rom.;Italiene;Lyon;Alexandria Savonne;Synesius;Olaus Magnus;Mestre Bernard palissi;Alexander Aphrodisæus;Polydorus vergilius;Appianus;Athenæus;Pausanias;Servius;Macrobius;Festus;Nonius;Magius;Pollux;Higinus;Seneca;Dionisius Halicarnassensis;Sabellicus;Iulius Capitollinus;Budæus;Spartianus;Blondus;Volaterranus;Herodotus;Paulus Manutius;Iulius firmicus;Quintus Curtius;Dion;Cornelius Nepos;Flavius Vopiscus historicus;bergiers;inventeur des rustiques figulines;roy;royne mere 001r p001r_4 [Liste de livres] [Liste de livres] [List of books] lists Aquatilium animalium Romæ -001r p001r_3 [Liste de livres] [List of books] lists Normandie -001v p001v_1 Pour lascher le ventre Pour lascher le ventre For easing the belly medicine poulet ventre;estomac pruneaux de Sainct Antonin;foeilles de mauves & de viole;sucre;canelle;bouillon de poulet;racine de guimave;cirop de guindoles doulces;eau pruneaux;mauves;viole;canelle;guimave;guindoles Sainct Antonin Pour lascher le ventre;pour lestomac;remollitive;lasche le ventre +001v p001v_1 Pour lascher le ventre Pour lascher le ventre For loosening the belly medicine poulet ventre;estomac pruneaux de Sainct Antonin;foeilles de mauves & de viole;sucre;canelle;bouillon de poulet;racine de guimave;cirop de guindoles doulces;eau pruneaux;mauves;viole;canelle;guimave;guindoles Sainct Antonin Pour lascher le ventre;pour lestomac;remollitive;lasche le ventre 002r p002r_1 Livres a recouvrer Livres à recouvrer Books to recover lists 002r p002r_2 Contre douleurs Contre douleurs Against pains medicine Huile de tourmentine;huile de jacob;sel tire de la cendre de choux choux Contre douleurs 002v p002v_1 [Liste de livres] [Liste de livres] [List of books] lists brescia vincenzo sabio -002v p002v_2 esmeraldes de Brissac Esmeraldes de Brissac Emeralds of Brissac stones esmeraldes de Brissac;minium;christal;marbre;verdet;lute ℥;|ʒ|;heures;grains Brissac marbre;croiset couvert dun aultre bien lute qui ait un trou dans le hault;lute +002v p002v_2 esmeraldes de Brissac Esmeraldes de Brissac Emeralds of Brissac stones esmeraldes de Brissac;minium;xpal;marbre;verdet;lute;christal ℥;|ʒ|;heures;grains Brissac marbre;+et couvert dun aultre bien lute qui ait un trou dans le hault;lute 002v p002v_3 safir Safir Sapphire stones safir;Caillous;christal;minium;sel de febvre;coryal ℥;grains;heures febvre 003r p003r_1 Coral contrefaict Coral contrefaict Counterfeit coral stones Coral contrefaict;boys;branche despine;poix resine claire;vermeillon broye;huile de noix;laque platte de venise;resine;charbon;colophonie;rousine;plombe;eau;gros caneva;estamine bien claire;vinaigre;coral;mastic;rousine purifiee;soufre;vermeillon;desmail de gueule;ciment;verre que de pile;brique;esmail de gueule;esmails lb;once;heure;quarte partie noix venise pot plombe;brasier;baston;gros caneva;estamine bien claire;lime;pile La colophonie 003r p003r_2 Vernis pour tableaulx Vernis pour tableaulx Varnish for panels varnish doigt sols a lombre;au soleil;pluye Vernis;tourmentine de venise;huile de tormentine;charbon;huile;tormentine;tourmentine;huile de tourmentine;vernis;vernist;vernis de mastic;rousine lb venise pot;doigt @@ -95,9 +93,10 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 015v p015v_4 Ramolir la corne Ramolir la corne Softening horn tool;decorative corne;eau chaulde triboulet en rond ou faict en ovale 015v p015v_5 Oreilles Oreilles Ears medicine Oreilles;oeil;oreille;coulde cothon musque;musc defluxion;a loeil & a loreille il ny fault toucher que du coulde;conforte bien fort 015v p015v_6 Mal des dents Mal des dents Tooth ache medicine dents;oreille;dent;narine gousse dail heures ail;visaube Mal des dents -016r p016r_1 Fonte de fer doux Fonte de fer doux Founding of soft iron metal process CONTAINS FIGURE continued poignees fer doux;fer;realgar;plomb;orpiment;fer aigre;fer douls;hiebles;eau;fer doulx pan & demy;pans;un pan;pan;quintal & demy;quintals;poignees;plus gros hiebles commun;alchemistes;minerons;ouvriers petites forges;pots de fer;fourneau;tuelle;tuyaulx des souflets;four;four en quarre;fourneau rond;fourneau de reverberation;souflets;forges;moules;plus gros charbon;moule;grosse lime +016r p016r_1 Fonte de fer doux Fonte de fer doux Founding of soft iron metal process fer doux;fer;realgar;plomb;orpiment;fer aigre;fer douls pan & demy;pans;un pan;pan;quintal & demy;quintals commun;alchemistes petites forges;pots de fer;fourneau;tuelle;tuyaulx des souflets;four;four en quarre;fourneau rond +016r p016r_1 Fonte de fer doux Founding of soft iron continued eau;fer;fer doulx quintals;plus gros ouvriers tuelle;fourneau;fourneau de reverberation;souflets;forges;moules;plus gros charbon;four;moule;grosse lime 016v p016r_1 metal process continues fer;metail;cendre destrempee pans;lb;palles;quintals fourneau;gros charbons;charbon;charbon nouveau;moules;coquilles de fer ou de metail -016v p016v_1 Contre Go Contre Go. Against Go. medicine graine de coings;eau claire;eau mucilagineuse coings Contre Go;injection +016v p016v_1 Contre Go. Contre Go. Against Go. medicine graine de coings;eau claire;eau mucilagineuse coings Contre Go.;injection 016v p016v_2 Pour oster le menu poil du front Pour oster le menu poil du front For removing fine hair from the forehead medicine front soye deliee;soye;menus brins de cotton aiguillee cotton aiguillee de soye deliee Pour oster le menu poil du front 016v p016v_3 Soye Soye Silk dyeing Soye;cramoisi;soyes ouvrier 016v p016v_4 Garder oranges Garder oranges Keeping oranges preserving oranges;estaing mois oranges vaisseau destaing et bien clos @@ -128,10 +127,11 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 023r p023r_1 [Mortiers] [Mortiers] [On petards] arms and armor CONTAINS FIGURE continued doigt;doigts pouldre;cuivre fin;metal;fer;grosse toile;tourmentine;toile;bouquaran;liste de bouquaran;cailloux;cailloux de charrette;toile ciree;chose combustible;amorce quintals;pans;lb;quintal;pan;doigt;canes;doigts chevilles de fer;vibrequin;guinbelet;vis;tire fons;baston court;chevilles;baston;barre Mortier;canon;piece;mortier 023v p023r_1 arms and armor CONTAINS FIGURE continues pouldre;toile;vinaigre;eau de vye;tourmentine bien bonne;liste de toile large;tourmentine;eau parties;deux fois que la saulcice;empan fisselle;cordette;lignette;cordelle;forchettes mortier 023v p023v_1 [Mortiers] [Mortiers] [On petards] arms and armor fer;metal lb;quintals;moictie mortiers -024r p024r_1 Grenades Grenades Grenades arms and armor cigne blessures;doigt;main en lieu bien sec;lieu humide plus fin metal quon puysse trouver;metal fin;metal gros;cuivre;estain;metal de grosse cloche;rosette;pouldre;verre grossierement pile;verre;meilleure pouldre dharquebus;fer blanc;bonne pouldre;bonne eau de vye;fort vinaigre quintal;lb;once;grand comme la grosseur dune plume de cigne;travers de doigt;dos de costeau pile;pilee;mortier blessures Grenades;grenades;grenade;harquebus -024v p024v_1 Pour mener le canon en pays Pour mener le canon en pays For bringing a cannon over land arms and armor continued doigts;pied;pieds pays;villes fortes;biquoques pierres;terre;pouldres doigts;demy pied;pieds;la largeur de deulx gabions;caques abres france pionniers;canonier;pionners;canoniers pales canon;flambeaulx;pieces;artiglerie;piece +024r p024r_1 Grenades Grenades Grenades arms and armor cigne visaige;blessures;doigt;main en lieu bien sec;lieu humide plus fin metal quon puysse trouver;metal fin;metal gros;cuivre;estain;metal de grosse cloche;rosette;pouldre;verre grossierement pile;verre;meilleure pouldre dharquebus;fer blanc;bonne pouldre;bonne eau de vye;fort vinaigre quintal;lb;once;grand comme la grosseur dune plume de cigne;travers de doigt;dos de costeau pile;pilee;mortier blessures Grenades;grenades;grenade;harquebus +024v p024v_1 Pour mener le canon en pays Pour mener le canon en pays For bringing a cannon over land arms and armor pays pierres abres france pionniers;canonier canon;artiglerie;piece 024v p024v_2 Canons a chambre Canons à chambre Fowlers arms and armor pouldre Canons a chambre Canons a chambre 024v p024v_3 Lumiere dacier Lumiere d’acier A steel touch-hole arms and armor acier canonier canons +024v p024v_1 Pour mener le canon en pays For bringing a cannon over land continued pouldres caques pieces 024v p024v_4 Lumiere a ras Lumiere à ras A touch-hole at the level arms and armor canon 025r p024v_1 arms and armor continues chevaulx pouldre;foing;paille;bois;basane;cailloux;clous de charrette;fer;cuir pas;quintaulx canonier;pionniers;canoniers sacs;cabats;lanterne;refoulouer;tapons de bois;tapons;coings piece;canon;harquebus 025v p025v_1 Canonier Canonier Gunner arms and armor pied papier;fonte;pouldre ligne;quintalz;pied Canonier;fondeurs;canoniers compas;modelle en papier;costeaulx;foret canon;piece;grands pieces;petites pieces @@ -158,7 +158,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 029v p029v_4 Assiete dor Assiete d’or Seat for gold painting or;Terra emerita;safran;colle forte;linge linge 029v p029v_5 Extraction dhuiles Extraction d’huiles Extraction of oils painting huiles apothicaires mortier;pilant oleagineuse 029v p029v_6 Sang de dragon Sang de dragon Dragon’s blood painting CONTAINS FIGURE dragon Sang de dragon;verre;eau de vye;lie de vin;or;bon sang de dragon;esmail rouge cler;rubis;plus obscur sang de dragon;poix;noisettes;eau de vye commune;eau fort;eau;gomme dragant;sang de dragon;or bruny;vernis de tourmentine suffisante quantite;longuement poix;noisettes bouteille de verre;tapon de la bouteille -030r p030r_1 Plomb Plomb Lead metal process;practical optics bras;doigts Plomb saulmon;lattes;bras;doigts allemaigne;lyon;Noremberg +030r p030r_1 Plomb Plomb Lead metal process;practical optics bras;doigts Plomb bras;doigts allemaigne;lyon;Noremberg 030r p030r_2 Pintier Pintier Pewterer casting continued cheval frans metal;grais;terre ardille blanche;fiente de cheval;bourre;terre;souldure;fer Pintier;riches moules;moule;moule de grais;moules de metal;moules de grais;marteler;roue de fer 030v p030r_2 casting continued continues petit doigt;main fer;potee;cuir;bois;estain petit doigt marteau;roue;souldouer;raspe;desgrusoue;desgrusouer;corde;barre;esgrusouer;main;fer coupant;plane;potee;cuir cloue sur un lopin de bois;costeau;fer tranchant 031r p030r_2 casting continues pouldre desmery;potee marteaulx;pouldre desmery;potee;enclumes @@ -181,9 +181,9 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 033v p033v_1 Pour fayre sembler que a quelquun quil aura une piece dargent au front Pour fayre sembler que à quelqu’un qu’il aura une piece d’argent au front For making it seem that to someone that he has a piece of silver on his forehead tricks and sleight of hand front;mains;teste;main;pouse;salive;oreilles argent;salive assistant froideur piece dargent;gecton 033v p033v_2 Pour fayre sortir du front de quelquun du sang ou du vin ou dune muraille Pour fayre sortir du front de quelqu’un du sang ou du vin, ou d’une muraille For making blood or wine issue from someone’s forehead or from a wall tricks and sleight of hand CONTAINS FIGURE front;sang;petit doigt;poulce;main;teste muraille sang;vin;fer blanc;rosette liquide de bresil;just de cerises noires;air;verre cerises noires assistans;pelerin taster ambu;entonnouer de fer blanc;poincon arrondy par le bout & qui entre dans son manche;verre 034r p034r_1 Pour dire a quelquun que mettant tenant le doit tousjours au front tu lempescheras de sortir dune chambre Pour dire à quelqu’un que, mettant tenant le doit tousjours au front, tu l’empescheras de sortir d’une chambre For telling someone that by putting holding a finger to his forehead, you will prevent him from exiting a chamber tricks and sleight of hand doit;front;embrasser;bras;doigt chambre quenoille du lict -034r p034r_2 XGaiger a quelqueun que se promenant jusques a tel lieu et en revenir il ne dira point quattre fois de suite botte sans esperon XGaiger a quelque’un que se promenant jusques à tel lieu et en revenir, il ne dira point quattre fois de suite botte sans esperon XWager someone e that walking to a certain place and back, he cannot say boot without spur four times in a row tricks and sleight of hand hault +034r p034r_2 X Gaiger a quelqueun que se promenant jusques a tel lieu et en revenir il ne dira point quattre fois de suite botte sans esperon X Gaiger a quelque’un que se promenant jusques à tel lieu et en revenir, il ne dira point quattre fois de suite botte sans esperon X Wager someone e that walking to a certain place and back, he cannot say boot without spur four times in a row tricks and sleight of hand hault 034r p034r_3 Faire tenir un chandellier contre la muraille sans y fayre trou Faire tenir un chandellier contre la muraille sans y fayre trou For making a candlestick hold to the wall without making a hole in it tricks and sleight of hand muraille vallet chandellier -034r p034r_4 XNe casser point un verre dune busche ou dun gros baston XNe casser point un verre d’une busche ou d’un gros baston XHow not to break a glass with a log or a large stick tricks and sleight of hand verre comme un curedent verre;busche;gros baston;curedent +034r p034r_4 X Ne casser point un verre dune busche ou dun gros baston X Ne casser point un verre d’une busche ou d’un gros baston X How not to break a glass with a log or a large stick tricks and sleight of hand verre comme un curedent verre;busche;gros baston;curedent 034r p034r_5 Escripre subtillement Escripre subtillement Writing cunningly tricks and sleight of hand parchemin subtil;grosse toile messager chemisse de grosse toile 034v p034v_1 Pour fayre fondre ou transmuer une bague mise dans une boitte Pour fayre fondre ou transmuer une bague mise dans une boitte For melting or transmuting a jewel put inside a box tricks and sleight of hand CONTAINS FIGURE doigt indice;doigts buys;cuir;pouldre dor ou dargent;mercure;argent;pouldre;amalgame bague;boitte;boitte de buys rayee a cercles;petite boicte;grande boicte;boicte;couvercle de cuir rond de la longueur de la boicte;boictes;table;boicte de cuir;grand boite 035r p035r_1 Pour dire a quelquun que tu luy monstreras enseigneras une chose quil ne scait pas ne toy aussy Pour dire a quelqu’un que tu luy monstreras enseigneras une chose qu’il ne sçait pas ne toy aussy For telling someone that you will show teach him something he does not know, and neither do you tricks and sleight of hand oreille;nes despuys le bout de loreille jusques au bout de son nes fisselle;petit baston @@ -364,7 +364,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 060v p060v_5 Labeur des flamens Labeur des Flamens Work of the Flemish painting continued huile;poil flamens enlumineurs poincte du pinceau;pinceau 061r p060v_4 painting;varnish continues 061r p061r_1 Carnations Carnations Flesh colors painting blanc de plomb;laque de florence;rose alexandrine;incarnadine;minium;massicot;cendres florence -061r p061r_2 Arrondir Arrondir Rounding off painting poincte du pinceau & le reste de plat;poincte du pinceau sec & aplati +061r p061r_2 Arrondir Arrondir Rounding painting poincte du pinceau & le reste de plat;poincte du pinceau sec & aplati 061r p061r_3 Blanc de plomb Blanc de plomb Lead white painting Blanc de plomb;ceruse 061r p061r_4 Jours Jours Lights painting CONTAINS FIGURE derriere de ta main jour pinceau 061v p061v_1 Eau pour donner jour au painctre Eau pour donner jour au painctre Water to give light for the painter painting;practical optics Eau;eau de vigne painctre grande bouteille;chandelle @@ -372,7 +372,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 061v p061v_3 Azur desmail a huile Azur d’esmail à huile Azur d’esmail in oil painting Azur desmail;huile;eau;tourmentine;beurre;mortier;ceruse;azur pallete;asses gros pinceau;pinceau;poincte du pinceau 061v p061v_4 Broyer couleurs Broyer couleurs Grinding colors painting poulce mabre;verre;laque espoisse dun verre poulce 062r p062r_1 Perspectives Perspectives Perspectives painting huile;destrempe reigle -062r p062r_2 Ocre Ocre Ochre painting Ocre +062r p062r_2 Ocre Ocre Ocher painting Ocre 062r p062r_3 Hommes et animaulx esloignes Hommes et animaulx esloignés Distant people and animals painting cendre dazur;laque 062r p062r_4 Pourtraire Pourtraire Drawing painting charbon;gomme;destrempe maistres;aprantis;artiste costeau;charbon;pinceau 062v p062v_1 Portraire Portraire Drawing painting oeil cendre;eau artiste;maistres;aprentis oeil;compas;regle @@ -392,7 +392,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 063v p063v_6 Paysages de neiges Paysages de neiges Snow-covered landscapes painting bistre 063v p063v_7 Adoulcir Adoulcir Softening painting mine 064r p064r_1 Nettement travailler Nettement travailler Working neatly painting -064r p064r_6 Ocre jaulne Ocre jaulne Yellow ochre painting Ocre jaulne +064r p064r_6 Ocre jaulne Ocre jaulne Yellow ocher painting Ocre jaulne 064r p064r_2 Huile gras Huile gras Fatty oil painting Huile gras;azur desmail;plus cler huile de noix noix 064r p064r_7 Adoulcir Adoulcir Softening painting papier huile;bois;toile 064r p064r_3 Vermeillon Vermeillon Vermilion painting Vermeillon;eau;huile;vermeillon;laque;minium;cristallin calcine @@ -433,7 +433,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 067r p067r_4 Vernis sur papier Vernis sur papier Varnish on paper varnish la premiere pluye Vernis;papier;glaire doeuf;gomme;huile non daspic mays dun aultre odorant qui semble huile dolif;huile;aspic;aultre odorant qui semble huile dolif;glaire;taffetas aspic;olif allemands painctres;pauvres paysans odorant 067v p067v_1 Limes Limes Files tool suye;sel;vinaigre;fer doulx;acier;letton;cuivre;laicton sarruriers;fondeurs Limes;limes quarrees;limes doulces;limes 067v p067v_2 Os de pied de beuf pour sable Os de pied de beuf pour sable Bones of the foot of oxen for sand casting beuf Os de pied de beuf pour sable;sable;paille;bourre;sable dos;sable le plus net qui se puisse trouver pour le cuyvre;cuyvre pinceau -067v p067v_3 Huiles dessence Huiles d’essence Huiles d’essence painting;varnish Huiles dessence;huile de noix;tormentine;eau commune;destrempe;dazur desmail;blanc de plomb;vernis de tourmentine;huile heure noix alembic +067v p067v_3 Huiles dessence Huiles d’essence Essential oils painting;varnish Huiles dessence;huile de noix;tormentine;eau commune;destrempe;dazur desmail;blanc de plomb;vernis de tourmentine;huile heure noix alembic 068r p068r_1 Tables fantasques Tables fantasques Fanciful tables decorative poissons carton simple;papier argente & bruny;corne de lanterne bien claire bruny 068r p068r_2 Planter abres Planter abres Planting trees cultivation lieu sec;temps sec;pluyes terre 068r p068r_3 Gect Gect Casting casting continued sables;plomb;estain;croye;verre pile;tripoly;linge brusle;celle de champaigne dont usent les painctres;magistra;pouldre de croye;sable de verre commun;cristallin;verre;sel de salicor;sel de tartre;salicor;charbons;eau;potee;metaulx champaigne painctres pile;moule au chassis;chassis @@ -457,15 +457,15 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 072r p072r_2 Gecter en cuivre Gecter en cuivre Casting in copper casting cuivre;sable;mabre;huiler;vin bouilly avecq racine dorme;letton;matiere de trebuschets;cuivr;tuile;fer;charbons;molee des gros ciseaulx & grands cousteaulx;persicaire;plomb;sel orme;persicaire chassis;planche;mabre;moule;fourneau;souflets;tuile;molletes;fer crochu;grattebroisse de letton 072v p072v_1 Gect Gect Casting casting seiche doigts;doigt plomb;estaim;paille;souldure;estain;estain de glace;estain doulx;estaimg;sable;argent vif;plombs;cire;plomb le plus noir se disent aulcuns est le meilleur & le plus doulx & qui coule mieulx;os de seiche;os;moelle;moelle de los;coquille;limaille de fer ou despingle partye;lb Allemands imprimeurs Tu cognoistras sa bonte en le frottant avecq le doigt lequel il te rendra incontinent fort noir plat destain;doigts;manche de chemise;chassis;doigt;table bien unie;chevilles;os de seiche;marteau;gratte broisse;moules 073r p073r_1 Pour faire vernys pers Pour faire vernys pers For making blue varnish wood and its coloring doigts vernys pers;pers de fleurs de fleuree ou de Flandres;chault vifve;eau;chault;pers;boys doigts;Jour Flandres -073r p073r_2 Pour Couleur dorange Pour couleur d’orange For orange color wood and its coloring eau;chault;terroy merita;boys +073r p073r_2 Pour couleur dorange Pour couleur d’orange For orange color wood and its coloring eau;chault;terroy merita;boys 073r p073r_3 Pour desgresser os ou corne Pour desgresser os ou corne For ridding bone or horn of grease wood and its coloring os;corne;chault vive;eau;Cendre de serment;eaue des orfevres;vert de gris serment orfevres casse;pot 073r p073r_4 Pour faire boys gris Pour faire boys gris For making gray wood wood and its coloring boys;alung;eau de Riviere;son;limailhe de Fer;souffre;verd de Gris;moullee;boys derable;eaue dalung;eaue despuis;Grais erable Grais 073r p073r_5 Pour faire bronze a couleur dor Pour faire bronze à couleur d’or For making bronze in gold color metal process continued bronze;sel armoniac;fer;soufre once mortier de fer 073v p073r_5 metal process continues sel armoniac;estaing doulz;argent vif;estaing once -073v p073v_1 Pour le Coucher Pour le coucher For coating it metal process colle de partenay ou parchemin;blanc dung oeuf;saffran;vinaigre;laict de figuier;bronze figuier partenay +073v p073v_1 Pour le coucher Pour le coucher For coating it metal process colle de partenay ou parchemin;blanc dung oeuf;saffran;vinaigre;laict de figuier;bronze figuier partenay 073v p073v_2 Verny Verny Varnish varnish Verny;uille daspic;sandrax;drogues;boys onces;once aspic pot;fiole 073v p073v_3 Aultre recepte pour faire verny Aultre recepte pour faire verny Another recipe for making varnish varnish verny;tormentine de verinse venise;huille de perolle petrolle;sandrax;huille daspic once;quart de once aspic venise -073v p073v_4 Couleur de Cuyvre bruny Couleur de cuyvre bruny Color of burnished copper metal process sel armoniac;broullaminy;limailhe de cuyvre;souffre;vinaigre;charbon once;demy sestier;journee petict fourneau de carreaulx;pot;fourneau +073v p073v_4 Couleur de cuyvre bruny Couleur de cuyvre bruny Color of burnished copper metal process sel armoniac;broullaminy;limailhe de cuyvre;souffre;vinaigre;charbon once;demy sestier;journee petict fourneau de carreaulx;pot;fourneau 074r p074r_1 Pour bronzer blanc Pour bronzer blanc For bronzing white metal process;wood and its coloring bronzer;estaing de Glace;eaue de gomme;mabre pilles;mortier;mabre 074r p074r_2 Pour faire vernilhon Pour faire vernilhon For making vermilion painting;metal process vernilhon;souffre;mercure;plombe;bon vernilhon livres;par lespace de vingt quatre heures pot;pot plombe 074r p074r_3 Pour faire verny Pour faire verny For making varnish varnish continued verny;huille de lin;terre;croute de pin;ognions;charbon;colle farine;sandrax bien pilles;mastic & arrabeic deux onces de chascun qui soit bien broye tous deux;mastic;arrabeic;alung daraucqde Roc;arabic livre;heures;demy once;onces lin;ognions pot de terre;cuilliere;pilles @@ -586,7 +586,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 089v p089v_2 Sable de mine blanc des verriers mesle de sel armoniac Sable de mine blanc des verriers meslé de sel armoniac Glassmakers’ white sand from the mine, mixed with sal ammoniac casting;glass process mine;ville Sable de mine blanc des verriers;sel armoniac;sable blanc mai comme du sel et maigre;sel;porphire;albastre calcine;eau gommee ou pure;moustarde;huile ou dolive noix ou pour mieulx daspic jour olive;noix;aspic Cominge;aurignac verriers;potiers porphire;mouler;chassis 090r p090r_1 Sel armoniac et mache de fer Sel armoniac et mache de fer Sal ammoniac and iron dross casting au serain;cave Sel armoniac;mache de fer;sel armoniac;bronze;porphire;mache de fer pulverisee & subtiliee mortier de bronze;double tamis;porphire;serviete 090r p090r_2 Sable Sable Sand casting Sable;crocum ferri;ardoise calcinee foix mouleurs -090r p090r_3 Que tout sable se peult rendre bon Que tout sable se peult rendre bon All sands can be rendered good casting continued doigts mine;au profond de la sablonniere;pres des rochers aulx pays montueulx;aulx territoires maigres;aulx environs de toutes les bonnes villes;pres de leur demeure sable;sables;celuy des mine;terre;arene;sable de mine bonnes villes;Lyon;venise;parys pres la Saincte chappelle artisans qui travaillent en grands ouvraiges;artisans qui se trouve doulx en le maniant entre les doigts doigts +090r p090r_3 Que tout sable se peult rendre bon Que tout sable se peult rendre bon That any sand can be rendered good casting continued doigts mine;au profond de la sablonniere;pres des rochers aulx pays montueulx;aulx territoires maigres;aulx environs de toutes les bonnes villes;pres de leur demeure sable;sables;celuy des mine;terre;arene;sable de mine bonnes villes;Lyon;venise;parys pres la Saincte chappelle artisans qui travaillent en grands ouvraiges;artisans qui se trouve doulx en le maniant entre les doigts doigts 090v p090r_3 casting continues eau;porphire;croye;sels;linge ou foeultre brusle;cendres de papier tamis;vaisseau;porphire 090v p090v_1 Terre fondue des potiers Terre fondue des potiers Terre fondue of potters casting Terre fondue des potiers;moustarde;eau;eau sel;sables potiers mortier;moulin de moustarde 090v p090v_2 Orangers Orangers Orange trees cultivation jardins terre de deulx ans en deulx ans Orangers;orangers Italie;lombardie caisses quarrees de bois;boucles;leniers;caisses;vis;clous @@ -605,7 +605,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 093r p093r_3 I Hantes I Hantes Grafts cultivation vent;en temps de gelee peschiers;pruniers humeur 093r p093r_4 Sable Sable Sand casting foyer Sable;cendre blanche de tout boys;boys foyer 093r p093r_5 Sable Sable Sand casting cuisines;grandes cuisines Sable;cendre;suye bien pulverisee;chaulx vive subtillement pulverisee;pierre vive -093v p093v_1 Visaige a destrempe Visaige à destrempe Faces in distemper painting cheminees des grandes cuisines destrempe;toile;bistre;rouille;huile;ocre de ru;vert de vessie;mabre esponge;pinceau;mabre +093v p093v_1 Visaige a destrempe Visaige à destrempe Faces in distemper painting cheminees des grandes cuisines destrempe;toile;bistre;rouille;huile;ocre de ru;vert de vessie;mabre crie esponge;pinceau;mabre 093v p093v_2 Azur Azur Azure painting CONTAINS FIGURE Azur;azur desmail;ordures;laveures;toile;boys;vernis;huile painctres;grossiers pinceau;palette 093v p093v_3 Violet et laque Violet et laque Violet and lake painting laque;azur;verre pallete;costeau poly;verre 094r p094r_1 Fourbisseur Fourbisseur Furbisher arms and armor CONTAINS FIGURE continued chien;chien de mer main;sue sols mer fer;bois;colle;cire gommee;cire;poix;rousine;fil;fil de fer;peau de chien;soye;filet;filets;peau de chien de mer;fil de fer recuit;fil dor & dargent fin & faulx;velours;peau;eau fort peu tiede;fil noir sols;douzaines;heure Fourbisseur fil de fer;peau de chien;rouet lames;pontet;aneaulx;corps;oeil de la garde;cordon;boutons @@ -643,7 +643,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 100r p100r_4 Le salpestre vitrifie Le salpestre vitrifié Vitrified saltpeter stones salpestre;caillous;verre;caillou blanc calcine;grandes verrieres aultant de caillou blanc calcine tuile ou palle chaulde;petit fourneau 100r p100r_5 Vitres que le soleil ne passera point Vitres que le soleil ne passera point Windows that the sun will not pass glass process;practical optics mains soleil;a lair ou lieu humide salpestre susdict calcine;salpestre;sel alchali charbons allumes 100v p100v_1 Pierrerie Pierrerie Gemstones stones CONTAINS FIGURE rivieres;sablon;chemins Pierrerie;caillous blancs qui se trouvent par les rivieres & parmy le sablon & les chemins qui sont aulcunement transparents;eau;vinaigre;cuivre;caillou;bon minium non sophistique de brique;bronze;sel de verre;suin de verre;sel alchali;esmerauldes;sable;sel;minium;sels;Esmeraulde ℥;gros;heure & demye commun;verriers;apotiquaires;vulgaire four a vent;pile;mortier tout pur de cuivre;pilon de pur cuivre;mortier de bronze;chaulderon de pur cuivre;creusets;fornaise -100v p100v_2 Pour ruby prens de lor en foeille Pour ruby prens de l’or en foeille For ruby take some gold leaf stones continued ruby;or en foeille;rubis;esmerauldes;caillou blanc calcine;verre;dorent;or;caillous;salpestre de deulx tuiles;℥;un grain;le poix dun grain peschier painctres four;tuiles;mortier de verre;pilon +100v p100v_2 Pour ruby prens de lor en foeille Pour ruby prens de l’or en foeille For ruby take gold leaf stones continued ruby;or en foeille;rubis;esmerauldes;caillou blanc calcine;verre;dorent;or;caillous;salpestre de deulx tuiles;℥;un grain;le poix dun grain peschier painctres four;tuiles;mortier de verre;pilon 101r p100v_2 stones CONTAINS FIGURE continues Minium;minium seul vitrifie;or;antimoine ℥;jour;grains pilles;crusol;tuile;grille;fourneau;carreau arrondy espes;four;charbon;tuiles 101r p101r_1 Topasse Topasse Topaz stones Topasse;pierreries;caillous calcines;minium;cuivre;esmeraulde;fer;topasse;ambre;ruby;or en foeille;pierre ponce;pierre a foeu;emaulx;caillous;vitre de couleur;esmaulx;tartre un peu brusle;arene doze;un poix de caillous calcines sur trois de minium;heure & demye pilant;mortier de cuivre;mortier de fer;pilons;mortiers;pile 101r p101r_2 Sel a fayre fondre Sel à fayre fondre Salt for melting metal process;casting continued Sel;salpestre;sel commun;cuivre fondu;mabre;metal aultant four a vent;mabre;crusol decrepiter @@ -664,7 +664,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 103v p103v_1 Clistere Clistere Enema medicine poulet veines boyau de poulet canon Clistere;veines hemorroidales eminentes ou enflees;clistere 103v p103v_2 Gect Gect Cast casting teston estaim;soulder;taffetas;sable subtil espesseur dun teston 103v p103v_3 Pour fayre courre les couleurs Pour fayre courre les couleurs For making colors run painting vinaigre;fiel;verre;sel bouteille de verre -103v p103v_4 Suif doreille Suif d’oreille Earwax medicine Suif doreille;escume de lurine;teste Suif doreille;escume de lurine;escume cureaureille mal de teste +103v p103v_4 Suif doreille Suif d’oreille Earwax medicine Suif doreille;aureille;escume de lurine;teste Suif doreille;escume de lurine;escume cureaureille mal de teste 103v p103v_5 Esmauls Esmauls Enamels painting;practical optics soleil Esmauls;cristal;verre;eau chandelle;mirouer de cristal;globe ou bocal de verre 104r p104r_1 Pour manger et dissouldre lor tout pur Pour manger et dissouldre l’or tout pur For eating away and dissolving entirely pure gold metal process or;sel commun;eau fort;argent heures matras 104r p104r_2 Pour graver sur fer Pour graver sur fer For etching on iron metal process liard au foeu;au soleil fer;verdet;gros sel;sublime;massicot;huile de lin;fer bien net & poly;eau;sel armoniac ℥;liard;deulx fois aultant;grains lin @@ -684,7 +684,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 105v p105v_1 Jardinier Jardinier Gardening cultivation vers jardin armols 105v p105v_5 Rossignol Rossignol Nightingale animal husbandry Rossignol;calandres;fourmis;mouton;vers de farine grange;froid fourmis avecq de la terre;coeur de mouton hache;oeufs;vers de farine drap vert;cage 105v p105v_2 Fontanier Fontanier Fountain maker tool plastre recuit;eau;stuc Fontanier;mouleur -105v p105v_3 Prendre rossignols Voy le 15 foeillet cy apres Prendre rossignols Voy le 15 foeillet cy aprés Catching nightingales See the 15th folio after this. animal husbandry rossignols;rossignol;vers Le soir et le matin a la fraischeur vers les fontaines & lieulx ombrageulx pas mects a pestrir;moulins;chapeau;espingle;engin de petits bastons en croix +105v p105v_3 Prendre rossignols Voy le 15 foeillet cy apres Prendre rossignols Voy le 15 foeillet cy aprés Catching nightingales See the 15th folio after this animal husbandry rossignols;rossignol;vers Le soir et le matin a la fraischeur vers les fontaines & lieulx ombrageulx pas mects a pestrir;moulins;chapeau;espingle;engin de petits bastons en croix 106r p106r_1 Pour gect Pour gect For casting casting aspalte est qui se trouve en Allemaigne;excellent sable pour mouler en chassis qui se puisse trouver;argent;or Allemaigne chassis 106r p106r_2 Faire courre lOr pour gect Faire courre l’or pour gect Making gold run for casting casting serpens;lesards Or;or;sublime;fumee;sel armoniac;verdet;borras;salpestre;plomb;or fin;sable a mouler fleurs & feuilles & choses delicates;plastre cru broye;brique;alum de plume;sables;eau de vye;sable;eau de sel armoniac;eau;fer;crocum ferri;plastre de paris;pierre;sucre paris chassis;marteau 106v p106v_1 Gecter en or Gecter en or Casting in gold casting chancres;escrevisses;rats;oyseaulx or;crocum ferri;alum de plume;fer;escaille des chancres & escrevisses moule;presses de fer @@ -714,8 +714,8 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 111r p111r_1 Recuire les moules Recuire les moules Reheating molds casting moules;chassis;moules de noyau;moules de chassis 111r p111r_2 Fumee de letton Fumée de letton Latten smoke casting Fumee de letton;letton;cgrasse jaulne moules a gecter letton;moules 111r p111r_3 Pour le cuivre rouge Pour le cuivre rouge For red copper casting;metal process cuivre rouge;estaing fin -111r p111r_4 Terre ardille Terre ardille Clay earth casting CONTAINS FIGURE mains en lieu humide Terre ardille;eau;plomb ne sattaque point aulx mains moules;mains;lame de plomb -111r p111r_5 Fil de fer Fil de fer Iron wire casting;tool Fil de fer;fil de fer;celuy de letton gros comme fisselle de moingdre;delie p comme grosse corde despinette pour les petits ouvrages moules;aiguilles espinette +111r p111r_4 Terre ardille Terre ardille Clay earth casting mains en lieu humide Terre ardille;eau;plomb ne sattaque point aulx mains moules;mains;lame de plomb +111r p111r_5 Fil de fer Fil de fer Iron wire casting;tool CONTAINS FIGURE Fil de fer;fil de fer;celuy de letton gros comme fisselle de moingdre;delie p comme grosse corde despinette pour les petits ouvrages moules;aiguilles espinette 111v p111v_1 Eeau de sel armoniac Eeau de sel armoniac Sal ammoniac water casting langue Eeau de sel armoniac;chastaignes;sel armoniac pulverise;eau;salee grosseur de deulx chastaignes;pot chastaignes a la langue tu trouve leau mediocrement salee pot;langue 111v p111v_2 Sanguine Sanguine Sanguine casting Sanguine;plomb;estaim;sanguine sayes 111v p111v_3 Chancre et escrevisse Chancre et escrevisse Crab and crayfish casting Chancre;escrevisse @@ -729,20 +729,20 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 112v p112v_1 MoulerFayre le plant et disposition de lanimal Mouler Fayre le plant et disposition de l’animal For molding Making the arrangement and disposition of the animal casting CONTAINS FIGURE continued serpent mains;poulce terre grasse;ardille;terre;fil de fer;sable;acier;fer;rouille poulce pastissiers mains;baston rond duquel les pastissiers se servent;aiguille;eguille;poincte de fil de fer;poincte;petites molletes;poinctes de fil de fer;poinctes;aiguille dacier fine;poinctes de fer;poincte de fer;pointes;planche ou table solide terre grasse 113r p112v_1 casting CONTAINS FIGURE continues commun serpent;serpent poulces fil de fer;cordes despinettes;celuy de latton;cire;grain de mil;terre;sable destrempe;eau de vye;ardille;eau;cotton;sable aussy gros de cire quun grain de mil;poulces mil poinctes;poincte;costeau;petit instrument recourbe;moule;pinceau espinettes;mandorre aulcuns petits yeulx ou trous 113r p113r_1 Destremper le sable et mouler le premier gect Destremper le sable et mouler le premier gect Tempering the sand and molding the first cast casting continued sable;terre;plombee;sable destrempe escuelle de terre plombee;moule -113v p113r_1 casting CONTAINS FIGURE continues eau commune de fontaine;oeuf;eau de sel Armoniac;plomb;estaim;or;argent;eau;sable;bois;moustarde claire;sable destrempe;ardille;tourtelle de terre;oeufs;eau de sel armoniac;brouet de puree;eau damidon;amydon Aultant quil pourroit tenir dans un oeuf;quart dheure;oeufs femmes escuelles de diverse grandeur qui ayent un bec;escuelle;cueillere de bois;moule;cousteau;cuillere;pallete;moules mandorre +113v p113r_1 casting CONTAINS FIGURE continues eau commune de fontaine;oeuf;eau de sel Armoniac;plomb;estaim;or;argent;eau;sable;bois;moustarde claire;sable destrempe;ardille;tourtelle de terre;oeufs;eau de sel armoniac;brouet de puree;eau damidon;amydon Aultant quil pourroit tenir dans un oeuf;quart dheure;oeufs femmes escuelles de diverse grandeur qui ayent un bec;escuelle;cueillere de bois;moule;cousteau;cuillere;pallete mandorre 113v p113v_1 Second gect Second gect Second cast casting 114r p114r_1 Second gect Second gect Second cast casting CONTAINS FIGURE continued lesard;serpent;pourceau sable destrempe;poil de pourceau;salive;eau claire;eau;huile;cordes de cistre;cire;fil de fer chault espace dun pater noster moule;costeau;trancheplume;molle;sayetes de poil de pourceau;pinceau;poinctes delicates de fil de cist cordes de cistre;petites tenailles plattes;poinctes;poincte cistre -114v p114r_1 casting CONTAINS FIGURE continues chancres terre;ardille;eau de vye;eau de viye;sable;eau;eau chaulde;huile;linge;pain quart dheure;jour;moys;nuict puants molle;pinceau;moule;costeau;moles;moules;crampons;linge rude;ciseaulx mandorre +114v p114r_1 casting CONTAINS FIGURE continued continues chancres terre;ardille;eau de vye;eau de viye;sable;eau;eau chaulde;huile;linge;pain quart dheure;jour;moys;nuict puants molle;pinceau;moule;costeau;moles;moules;crampons;linge rude;ciseaulx mandorre 115r p114r_1 casting CONTAINS FIGURE continues metal;fil de fer moule;crampons;molles mandorre -115r p115r_1 Faire le gect recuire les moules &c Advertissement sur tout ce que dessus|-| Faire le gect, recuire les moules, &c Advertissement sur tout ce que dessus|-| Make the cast, reheat the molds, &c Note about everything above |-| casting serpent urine urine;vinaigre;eau;ardille;sable destrempe;sable destrempé;sable;alum de plume;or;argent;plomb;estaing ligne moules;moule;petite poincte -115r p115r_2 Animal hors de despouille Animal hors de despouille Animal after release casting CONTAINS FIGURE serpent vif argent;cendre;os brusle moule -115r p115r_3 Recuite de moules Recuite de moules Mold reheating casting CONTAINS FIGURE moules;molle;crampons +115r p115r_1 Faire le gect recuire les moules &c Advertissement sur tout ce que dessus |-| Faire le gect, recuire les moules, &c Advertissement sur tout ce que dessus |-| Make the cast, reheat the molds, &c Note about everything above |-| casting serpent urine urine;vinaigre;eau;ardille;sable destrempe;sable destrempé;sable;alum de plume;or;argent;plomb;estaing ligne moules;moule;petite poincte +115r p115r_2 Animal hors de despouille Animal hors de despouille Animal after release casting serpent vif argent;cendre;os brusle moule +115r p115r_3 Recuite de moules Recuite de moules Mold reheating casting moules;molle 115v p115v_1 Gect destaim Gect d’estaim Cast of tin casting main estaim;plomb;estaim fin;estain alie;estaim de glace;plomb allie destain;estain allie de plomb;metalline;argent quarte partie chaudelet de telle sorte que tu le puisse tenir a la main moule;main 115v p115v_2 Pour donner vent au moule Pour donner vent au moule For giving venting to the mold casting ardile moule;fil;eguille 115v p115v_3 Recuire les moules a noyau Recuire les moules à noyau Reheating the noyau molds casting CONTAINS FIGURE continued vent ou froid briques;estain;argent demye heure moules a noyau;moules;crampons;forge;petit souflet;moule;four de reverberation;moules recuits 116r p115v_3 casting CONTAINS FIGURE continues cendre;briques moules a noyau;moules a chassis;grille 116r p116r_1 Mouler bouquets herbes et fleurs Mouler bouquets, herbes et fleurs Molding bouquets, plants, and flowers casting serpents eau de vye bonne;sable destrempe;sable moule de sable destrempe;moules -116r p116r_2 Mouler de en noyau de mesme sable images de cire ou medailles de plomb et semblable Mouler de en noyau de mesme sable images de cire ou medailles de plomb et semblable Molding de en noyau with the same sand, wax images or lead medals and suchlike casting sable;cire;plomb;huile dolif;huile;eau vye;huilee;eau;sable de plastre bri matton & alum destrempe;plastre;matton;alum destrempe;ardile;huilent;eau de vye;sable destrempe olif moule;molle mandorle +116r p116r_2 Mouler de en noyau de mesme sable images de cire ou medailles de plomb et semblable Mouler de en noyau de mesme sable images de cire ou medailles de plomb et semblable Molding de en noyau with the same sand wax images or lead medals and suchlike casting sable;cire;plomb;huile dolif;huile;eau vye;huilee;eau;sable de plastre bri matton & alum destrempe;plastre;matton;alum destrempe;ardile;huilent;eau de vye;sable destrempe olif moule;molle mandorle 116r p116r_3 Gect pour or et argent Gect pour or et argent Casting for gold and silver casting or;argent moules;moule 116r p116r_4 Moyen desmouailler desmailler des foeilles dore roses dor fort subtilles et aultres Moyen desmouailler d’esmailler des foeilles dore roses d’or fort subtilles et aultres A way to grind enamel gold very delicate gold rose leaves and others metal process esmailler;or;souldes;lames dargent;esmail;esmaillee;eau dfort;argent;ciment real roses;rose 116v p116v_1 Mouler serpents en tout temps Mouler serpents en tout temps Molding snakes in all weather casting serpents;serpent en tout temps terre;fiens;plastre commun;cire;metal barriques pleines de terre & couvertes de fiens;moules @@ -771,7 +771,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 120v p120v_1 Crocum ferri Crocum ferri Crocum ferri casting;medicine sang Crocum ferri;limaille daiguilles;crocum ferri;alum de plume moules sinapise 120v p120v_2 Anatomie Anatomie Anatomy preserving bonne chaulx vive 120v p120v_3 Fayre courre largent Fayre courre l’argent Making silver run casting argent;arsenic;tartre pulverises;argent fondu;aes ustum;limaille de letton cuivre menue due lantimoyne du sublime Subtilement pulverises;plastre;crocum;alum de plume;sel commun fondu;salpestre;tartre;limaille de cuivre;antimoyne;axunge -120v p120v_6 Garder fleurs seiches en mesme estat toute lannee Garder fleurs seiches en mesme estat toute l’année Keeping dry flowers in the same state all year preserving CONTAINS FIGURE continued main courant des eaulx;chambres;cabinets;au soleil;serain & humeur de la nuit;lieu sec;temps de pluye et humide;soleil vinaigre distille;cire;mastic;resideure du vinaigre commun;sable;poulssiere;sable de riviere;linge;sable le plus maigre & aride que tu pourras trouver;esmail;poulsiere quand leur saison passe oeillets;roses orfevres vase bien selle;pinceau;linge;boicte;grands vases +120v p120v_6 Garder fleurs seiches en mesme estat toute lannee Garder fleurs seiches en mesme estat toute l’année Keeping dry flowers in the same state all year preserving CONTAINS FIGURE continued main chambres;cabinets;courant des eaulx;au soleil;serain & humeur de la nuit;lieu sec;temps de pluye et humide;soleil sable le plus maigre & aride que tu pourras trouver;esmail;poulsiere;sable de riviere;linge;vinaigre distille;cire;mastic;resideure du vinaigre commun;sable;poulssiere quand leur saison passe oeillets;roses orfevres linge;vase bien selle;pinceau;boicte;grands vases 121r p120v_6 preserving continues doibs;poin soleil chault;soleil sable;sable de quoy les orfevres usent les esmaulx ou le blanc dont usent les verriers;esmaulx;sable maigre;poil de cheval;bled horologe de sable;plusieurs jours boufains;soulcis;fleurs jaulnes;ranunculus;palta lupina;amaranthe;genest;pensees orfevres;verriers boicte;doibs;horologe de sable;poin;tamis 121r p121r_1 Pour garder les fruits tout lan Pour garder les fruits tout l’an For keeping fruits all year preserving main;alener temps serain & s bien sec;puys;cave verre;paille;cire;eau;foeuilles de vigne vigne toucher;touchera bouteilles de verre;boictes de verre;quaisse;pone ou ung cos de terre plein deau 121v p121v_1 Pour gecter en argent Pour gecter en argent For casting in silver casting doigts;poulse;joinctee argent;sable;plastre;brique recuicte;alum de plume recuit;alum de plume pur recuit & pulverise;sel armoniac;eau commune;saulce espesse;moustarde claire;eau de vye;crocum;metaulx;argent allie est meilleur pour gecter que le fin;alum de plume;or;eau;letton pars;part;escuelle de terre ou les paysans mangent leurs souppes;aultant que tu en pourras prendre avecq les 4 doigts et le poulse;petite joinctee moustarde paysans escuelle de terre ou les paysans mangent leurs souppes;mortier;pallete;pinceau;table;molle;moules;escuelle @@ -791,7 +791,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 124v p124v_2 Gecter en or Gecter en or Casting with gold casting or;cire;terre;or fin;or allie;argent;eau;plomb;esmeraulde;estain;chaulx diceulx un quart plus pesant que orfevres moules;pot;four de reverberation;moule;forge 124v p124v_3 Moyen de fayre le gect pour petites lezardes Moyen de fayre le gect pour petites lezardes A means to make the gate for small female lizards casting CONTAINS FIGURE continued lezardes;serpent metal;cire;fil de fer;sable espesseur dun costeau fil de fer chault;bout du fil de fer chault;moule;costeau 125r p124v_3 casting CONTAINS FIGURE continues cire;metal moule -125r p125r_1 Plastre Plastre Plaster casting pluyes;sur les maisons Plastre;cire;plastre;pierre;plastre gris transparent nest pas fort Mays celuy est bon qui estant destrempe est blanc;sable de noyau;huiler;eau;eau chaulde;eau froide allemaigne moule;moules de plastre +125r p125r_1 Plastre Plastre Plaster casting Plastre;cire;plastre;pierre;plastre gris transparent nest pas fort Mays celuy est bon qui estant destrempe est blanc;sable de noyau;huiler;eau;eau chaulde;eau froide moule 125r p125r_2 Symeterres Symeterres Scimitars arms and armor;casting mines;mine fer;acier;sable;fer fondu;fer douls damas;hongrie;turcs ouvriers cimeterre;cimeterres 125r p125r_3 Ouyr de loing Ouyr de loing Hearing from afar tricks and sleight of hand oreille Ouyr;entendras 125v p125v_1 Viperes et serpens Viperes et serpens Vipers and snakes casting Viperes;serpens;vipere;serpent;aspic cornu;cochon;chien;serpents @@ -801,7 +801,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 126v p126v_1 Crocum ferri Crocum ferri Crocum ferri casting sols Crocum ferri;rouille de fer;limaille;vinaigre;rouille;cendres chauldes;crocum;or once;sols moules;moule 126v p126v_2 Plastre Plastre Plaster casting Plastre;boys;cire fort chaulde;plastre;cire treschaulde moules 126v p126v_3 Herbes difficilles a brusler dans le noyau Herbes difficilles à brusler dans le noyau Plants difficult to burn in the noyau casting continued boys;charbon;cendre;terre;sable destrempe asperge;tim;rosmarin molle;moule;moules;cercle de terre -127r p126v_3 casting continues sable cler;charbon;cire fondue;cire;huile de petrol;de soufre;tourmentine;huile de brique;eaulx forts;eaulx de vye;sables;crocum;escaille de fer;fer;esmeri;os des animaulx;cendre;chair;os;vif argent jours asperge;tim moule +127r p126v_3 casting continues sable cler;charbon;cire fondue;cire;huile de petrol ou de soufre;tourmentine;huile de brique;eaulx forts;eaulx de vye;sables;crocum;escaille de fer;fer;esmeri;os des animaulx;cendre;chair;os;vif argent jours asperge;tim moule 127r p127r_1 Moule de plastre pour cire Moule de plastre pour cire Molds of plaster for wax casting CONTAINS FIGURE plastre;cire Moule de plastre;moule de plastre;moule;moules 127v p127v_1 Terre des fondeurs Terre des fondeurs Founders’ earth casting CONTAINS FIGURE Terre des fondeurs;terre bolvene;fiens;bourre;luter;argent;os;cendres;plastre;eau de vye;sable destrempe;brique;alum;culs de crusols;lutte;terre susdicte des fondeurs;cendre criblee;lute;terre de laquelle les sarruriers se servent pour braser ou soulder;terre ardille areneuse;ardille;sable;terre;Fil de fer;Lute;crocum;Lutes bolvene fondeurs;sarruriers luter;moules;crampons;crusols;moule;lutte;lute;moles;forge;tamisee;Fil de fer;Lute;four de reverberation;molles;Lutes;tuelle;souflet 128r p128r_1 Gecter en argent et or Gecter en argent et or Casting in silver and gold casting continued doigts argent;or;metaulx;pierrete de borras pulverisee;metal;borras moulu;arsenic & deulx foys aultant de tartre crud grossierement pulverises;metallique;acier;argent fondu;or et largent fondus;estain;crocum;alum de plume;argent allie;argent sophistique;arsenic;orpiment bons doigts;grosseur dune noisette;deulx foys aultant noisette crusol;molles;moule;molletes;forge;souflet;mollettes;tuelle;cruset;moules;four @@ -813,8 +813,8 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 129r p129r_4 Roses moulees Roses moulées Molded roses casting mouches huile de froment;sable destrempe Roses;froment;pensees;caprier 129v p129v_1 Animaulx seiches au four de longue duree Animaulx seichés au four de longue durée Animals dried in the oven for a long time preserving;decorative;casting serpents;oyseaulx soleil de juin terre;fil de fer;pain;sable apres que le pain est tire;asses chault comme quand on en tire le pain;un jour & une nuict;comme la chaleur du soleil de juin puant four;plastre de terre;poinctes de fil de fer;pinceau;broisse 129v p129v_2 Animaulx gectes en cuivre Animaulx gectés en cuivre Animals cast in copper casting cuivre;foeilles de pierrerie -129v p129v_3 Advis sur le gect Advis sur le gect Advice concerning the gate casting doigts metal -129v p129v_4 Yraigne moulee sur une foeille Yraigne moulée sur une foeille Spider molded on a leaf casting CONTAINS FIGURE Yraigne;serpents;poisson;iraigne urine huile de fromant;vinaigre;urine;eau de vye;poil de bourre subtil tamise;colle de poisson;verdet;soufre;ardile;fil de fer ou de letton;fil de letton;cire fondue;fil de fer;sable;cire;terre;sable destrempe fromant;vigne bougie;tamise;plastre dardile;poincte de fil de fer ou de letton;petites poinctes de fil de letton;pointe dun fil de fer chault;petites molettes;fil de fer chault;trancheplume;cercle de terre;moule +129v p129v_3 Advis sur le gect Advis sur le gect Advice concerning the gate casting CONTAINS FIGURE doigts metal +129v p129v_4 Yraigne moulee sur une foeille Yraigne moulée sur une foeille Spider molded on a leaf casting Yraigne;serpents;poisson;iraigne urine huile de fromant;vinaigre;urine;eau de vye;poil de bourre subtil tamise;colle de poisson;verdet;soufre;ardile;fil de fer ou de letton;fil de letton;cire fondue;fil de fer;sable;cire;terre;sable destrempe fromant;vigne bougie;tamise;plastre dardile;poincte de fil de fer ou de letton;petites poinctes de fil de letton;pointe dun fil de fer chault;petites molettes;fil de fer chault;trancheplume;cercle de terre;moule 130r p130r_1 Animaulx seches au four Animaulx sechés au four Animals dried in an oven preserving;decorative CONTAINS FIGURE chats;rats au soleil poinctes de fer;fil de fer;plomb;cire;ancre bien gommee;ardille four;petit baston;poinctes de fer;petite table;petits aneaulx de fil de fer;balles de plomb ou de cire 130r p130r_2 Pour rougir les escrevisses vives qui sembleront bouillies Pour rougir les escrevisses vives, qui sembleront bouillies For reddening live crayfish, which will seem boiled tricks and sleight of hand escrevisses fort bon vinaigre;eau de vye 130r p130r_3 Mouler une yraigne seule Mouler une yraigne seule Molding a single spider casting yraigne;iraigne;yraignes argille;huile de froment;sable vigne;froment plaste dargille @@ -828,7 +828,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 131r p131r_4 Pour bien aprendre un cheiien Pour bien aprendre un cheiien For teaching a dogei well household and daily life cheiien aisselle fromage maistre;aprentis 131r p131r_5 Cires moulees Cires moulées Molded waxes casting continued Cires;cire;ceruse;blanc de plomb;or;argent;cires;metaulx;cire blanche;crasse moule;moules 131v p131r_5 casting continues or;argent;cire;soufre fondu;fumee de chandelle;ceruse;eau bouillante chandelle;moule -131v p131v_1 Quand le gect destaim ou de plomb soufle Quand le gect d’estaim ou de plomb soufle When the cast of tin or lead becomes porous casting continued grand lezard doigt estaim;plomb;cire;argenter;dorer;rousine;estaim de glace;soulder;metal;or;argent;eau ℥;lb en telle chaleur que tu le puisses manier sans lesion ou que tu puisses tenir le doigt dans le gect sans te brusler;tellem chault que tu puisses soufrir le doigt dedans moule;doigt;burin;limes;chaple +131v p131v_1 Quand le gect destaim ou de plomb soufle Quand le gect d’estaim ou de plomb soufle When the cast of tin or lead becomes porous casting continued grand lezard doigt estaim;plomb;cire;argenter;dorer;rousine;estaim de glace;soulder;metal;or;argent;eau ℥;lb en telle chaleur que tu le puisses manier sans lesion ou que tu puisses tenir le doigt dans le gect sans te brusler;crie fort;crie lentem;tellem chault que tu puisses soufrir le doigt dedans moule;doigt;burin;limes;chaple 132r p131v_1 casting continues estaim;eau;estain;plomb moule 132r p132r_1 Moule faict a deulx gects Moule faict à deulx gects Mold made in two casts casting lutte;terre;fume;sable;estaim;argent;or;plastre;luter Moule;crampons;lutte;molle;moule;presses;terrine;cramponer;luter 132r p132r_2 Forme de recuire les moules Forme de recuire les moules Method for reheating the molds casting continued doigts vent dune fenestre charbons;charbon;fumera;luttes doigts moules;forge;moule;grille;four;petit souflet;luttes @@ -896,7 +896,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 146r p145v_1 casting continues porceau bouche fil de fer;cire;ardille;sable destrempe;sable;eau de sel armoniac;eau de fontaine;crocum ferri;crocum;lute;sable qui ha servi;estain fin;plomb;eau;sayes de porceau;cendre;fer lb;unces solcy;soulcy gros pinceau;moule;cercle;fil de fer;fermouer dardille;aiguille;filet delie;petit bastonceau;escuelle;eau enscuelle;lute;trancheplume;poincte dun cousteau;Moule;sayes de porceau;souflet;bouche;molets 146v p146v_1 Mouler tortues Mouler tortues Molding turtles casting CONTAINS FIGURE continued tortues;tortue;Celles deau;celles de garrigue eau;garrigue cire;gros fil de fer;ardille molle;ardille;huile;eau de vye;sable;eau chaulde;fer;cire fondue garrigue poinctes de gros fil de fer chault;cercle dardille;moule;entre deulx dardille;entredeulx dardille;poincte de fer chault 147r p146v_1 casting continues tortue cire fondue;fer;cire;huile;eau chaulde;ardille;eau;fer asses fortettes fer chault;moule;cercle;contour dardille;costeau;molles;molle;poinctes de fer asses fortettes -147v p147v_1 + Gect de cuivre allie de ☾ qui est comme soubdure fort basse / ard et vieulx K et quelque R sur xii + Gect de cuivre allié de ☾ qui est comme soubdure fort basse / ard et vieulx K et quelque R sur xii +Casting of copper alloyed with ☾, which is like very base solder / ard and old K and some R out of xii casting cuivre;☾;soubdure fort basse;vieulx K;papier;argent;argent pur moule;bullitoire +147v p147v_1 + Gect de cuivre allie de ☾ qui est comme soubdure fort basse / ard et vieulx K et quelque R sur xii + Gect de cuivre allié de ☾ qui est comme soubdure fort basse / ard et vieulx K et quelque R sur xii + Casting of copper alloyed with ☾, which is like very base solder / ard and old K and some R out of xii casting cuivre;☾;soubdure fort basse;vieulx K;papier;argent;argent pur moule;bullitoire 147v p147v_2 Luth Luth Lute casting Luth Luth;moules 147v p147v_3 Crusol Crusol Crucible casting doigts doigts Crusol;souflet;crusol 147v p147v_4 Gect de letton Gect de letton Casting of latten casting continued letton;sel armoniac;calamine crue & pure pulverisee;papier;tartre crud;sel commun;eau clere;verre fondu;calamine;letton doulx de poelonne;letton aigre de chandelier;limaille despingle grains comme pois;partye;moictie pois poilonnes de letton qui sont battues & forgees tanvres;moule;grattebroisse @@ -919,8 +919,8 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 150r p150r_3 Moules Moules Molds casting plastre;charbon allume;plomb;estain;brique;metal;escaille de fer fort subtillem broyee Moules;moule;moules 150v p150v_1 Mouler creux Mouler creux Molding hollow casting CONTAINS FIGURE continued tortue doigts;bout du doigt fil de fer;ardille molle;sable a mouler;ardille;cire;sable destrempe;eau;luthe;sable qui ha servi aulx moules;suif;cire noire;plomb;souldure;eau chaulde doigts;moictie poincte de fil de fer;moule;table;cercle dardille molle;moules;cercle dardille;bout du doigt;petite poincte;molle;luthe;poincte;poinctes 151r p150v_1 casting CONTAINS FIGURE continued continues tortues cire blanche;cire noire soufree;charbon;cendre;cire;luth;sable;luth commun;brique pilee;luthe;plastre;plomb;estain;estaim;crocum;terre;cire noire;fer;fils de fer;cendre de la cire moictie;espesseur du dos de costeau Maistre Alexandre Maistre moule;crampons;luth;luth commun;pilee;luthe;molle;costeau;poincte de fer touchant chaulde;fils de fer;souflet -151v p150v_1 casting CONTAINS FIGURE continues tortue;tortues;serpent;lesard terre;ciment;plomb;estain fin;crocum;sable;papier moictie ciselet;molle;burin;chaple;trancheplume bien tranchant;lime petite;lime;moule;presse;petits ciselets;porte piece ronde;gouge;ciselets;petits portes pieces;petites couges;ciselets cranes chaple -151v p151v_1 Huile de froment Huile de froment Wheat oil casting mouche Huile de froment;lames de fer;froment;huile noire;huile;argentees;dorees;vernis;fer;cuir dore;pierres blanches faulces froment faiseurs de cuir dore lames de fer bien vives gardes;espees +151v p150v_1 casting CONTAINS FIGURE continues tortue;tortues;serpent;lesard terre;ciment;plomb;estain fin;crocum;sable;papier moictie ciselet;molle;burin;chaple;trancheplume bien tranchant;lime petite;lime;moules;moule;presse;petits ciselets;porte piece ronde;gouge;ciselets;petits portes pieces;petites couges;ciselets cranes chaple +151v p151v_1 Huile de froment Huile de froment Wheat oil casting mouche Huile de froment;lames de fer;froment;huile noire;huile;argentees;dorees;vernis;fer;cuir dore;pierres blanches faulces froment faiseurs de cuir dore lames de fer bien vives gardes despees 152r p152r_1 Mouler un rat Mouler un rat Molding a rat casting rat;lesard;petite souris;serpents;lesards;mouche;grand rat;souris;oiseau au froid argentees;huile de froment;sable;huile commun;moicties de poix bien ronds;huile dolif;jaune doeuf;huiler;ardille;fer;eau de vye;huile;os grandelets;os;beurre;huile de fromant jour froment;poix;olif;fromant Syracuse tyran de Syracuse petite chandelle;peigne fort delie;plaste de ardille;pointe de fer;poinctes;moule;four 152v p152v_1 Reparer les choses gectees Reparer les choses gectées Repairing cast things casting CONTAINS FIGURE pied metal;plastre;crocum;estain;cuir;sable subtil;sable;cire;lame subtile de plomb;plomb;fil darchal;rosine;souldure;fer;soulde;or orfevres moule;coisinet de cuir;table des orfevres;lime;corde;pied;sac;burin;chaple;lame subtile de plomb;fil darchal;fer chault;forge;ciselets;coissinet 153r p153r_1 Mouler en cave pour cachets ou aultre Mouler en cave pour cachets ou aultre Molding hollow for seals or other things casting urine cire;verre;ardoise;sable;huile;eau de vye;eau chaulde;plomb allie;plomb;sable destrempe;argent;metal;cire fondue;urine chaulde;or;estain;croye broyee;fumee de chandelle;glaire doeuf sechee;fumee de lampe;noir a noircir;cire blanche verre ou ardoise unie;pinceau;chandelle @@ -930,7 +930,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 153v p153v_2 Adoulcir lor Adoulcir l’or Softening gold metal process or;ciment;antymoine;verdet 154r p154r_1 Lor nestre fixe L’or n’estre fixe Gold not being fixed metal process or;or en doreure;plomb;☿ 154r p154r_2 Couper plomb Couper plomb Cutting lead metal process plomb;verre;or;argent;blanchiment;bullitoire costeau;ciseau -154r p154r_3 Adoulcir largent Adoulcir l’argent Sweetening silver metal process real;vieulx sol;carolus;sol argent;mortier sec;sable;bonne chaulx;argent de real;plombeus;souldure;soulder;cuivre;cuivre fin moictie orfevres qui travaillent de grosserie;orfevres +154r p154r_3 Adoulcir largent Adoulcir l’argent Sweetening silver metal process real;vieulx sol;carolus;sol argent;mortier sec;sable;bonne chaulx;argent de real;plombeus;souldure;cuivre;cuivre fin moictie orfevres qui travaillent de grosserie;orfevres 154r p154r_4 Escaille de fer Escaille de fer Iron scales metal process Escaille de fer;mabre;sable susdict de noyau;plomb;estain;cuivre;letton;crocum;sable mabre 154r p154r_5 Limaille des metaulx Limaille des metaulx Metal filings metal process Limaille des metaulx;metal;limaille destain et plomb;suif;Celle dor;salpestre;Celle dargent;suin de verre bain 154v p154v_1 Letton Letton Latten casting Letton;sel armoniac;cuivre rouge;estain;verre fondu @@ -939,8 +939,8 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 154v p154v_4 Renforcer les fleurs et choses delicates Renforcer les fleurs et choses delicates Reinforcing flowers and delicate things casting mouche huile de froment;beurre fondu froment;roses;pensee petit pinceau 154v p154v_5 fraises Fraises Strawberries casting souldure;estain;fil de letton;soulde fraises;fraisiers 155r p155r_1 Mouler une rose Mouler une rose Molding a rose casting CONTAINS FIGURE alheine souldure;sable;beurre fondu;sable destrempe;cendre;cire;plomb;estain;letton estame;eau de vye;ardille;huiler;eau;terre rose;rosier;rosiers;fraisiers moule;filets;moules;cercle dardille -155v p155v_1 Rose Rose Rose casting poisson;mouche estain;soulde;fil de letton;soulder;colle;colle de poisson;cire esb a esbaucher;cire blanche;ceruse bien broyee;blanc de plomb;fer;or;argent;metaulx Rose;rose tige de fil de letton;petite poincte de fer chaulde;petites poinctes;clou cire esb a esbaucher -156r p156r_1 Mouler promptement et reduire un cave en relief Mouler promptement et reduire un cave en relief Molding promptly and reducing a hollow form to a relief casting cire coloree;plomb;estain;cire;or;argent;metal;mie de pain;cire fondue moule +155v p155v_1 Rose Rose Rose casting poisson;mouche estain;soulde;fil de letton;soulder;colle;colle de poisson;cire esb a esbaucher;cire blanche;ceruse bien broyee;blanc de plomb;fer;or;argent;metaulx Rose;rose tige de fil de letton;petite poincte de fer chaulde;petites poinctes;clou;moules cire esb a esbaucher +156r p156r_1 Mouler promptement et reduire un cave en relief Mouler promptement et reduire un cave en relief Molding promptly and reducing a hollow form to a relief casting cire coloree;sable;plomb;estain;cire;or;argent;metal;mie de pain;cire fondue moule 156r p156r_2 Ouvrage dor fort leger et creux Ouvrage d’or fort leger et creux Very light and hollow work of gold casting lesard billon or;argent bas;dore;doreure;eau fort;argent;or amalgamé grattebroisse 156r p156r_3 Ciseller Ciseller Chasing casting main fort legere plomb;grands metaulx Ciseller;burin;onglet;burin ordinayre a tailler;chaple;cisellets 156v p156v_1 Mouler une mousche Mouler une mousche Molding a fly casting CONTAINS FIGURE mousche;grosses vomouches;porceau;mouche;poisson gardemangers huile dolif;argent;or;cire fondue;fil de fer;beurre fondu;huile de froment;eau de vye;suif;gresse de porceau;beurre;estain;souldure;metal;esmailler;esmaille;verre de vitre de lorraine;fer;cire;colle;colle de poisson;cire a esbaucher;cire blanche;ceruse;blanc de plomb;corde despinette;colleras olif;sauge;saulge;froment lorraine poincte de fil de fer chaulde;petit pinceau;poincte de fil de fer chault;poincte de fer;ciseaulx;pincettes;poincte de fer chaulde espinette cire a esbaucher @@ -952,7 +952,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 157v p157v_1 Cendre dans les moules Cendre dans les moules Ash in the molds casting Cendre;cendres moules;moule 157v p157v_2 Mouler un oiseau Mouler un oiseau Molding a bird casting oiseau;oiseau massif ardille;beurre;huile;eau de vye;os;argent vif;fil de fer;sable destrampe;toile cottonee;plume;alum;paste de farine corroyeurs platine dardille;moule;fil de fer;chassis;toile cottonee 157v p157v_3 Pour faire h… vin f…rs Pour faire h… vin f…rs For making h… wine f…rs tricks and sleight of hand pied droidt eau chausson du pied droidt qui ait este porte -158r p158r_1 Mercure dans les moules a nettoyer Mercure dans les moules à nettoyer Mercury in the molds for cleaning casting Mercure;cendre;☿;estain;metal;petits grains de ☿;crocum;beurre fondu provenche odeur de soy moules;moule;pinceau +158r p158r_1 Mercure dans les moules a nettoyer Mercure dans les moules à nettoyer Mercury in the molds for cleaning casting Mercure;cendre;☿;estain;metal;petits grains de ☿;sable de crocum;crocum;beurre fondu provenche odeur de soy moules;moule;pinceau 158v p158v_1 Couleurs pour les feuilles vertes Couleurs pour les feuilles vertes Colors for green leaves painting boeuf huile;destrempe;minium peu broye;massicot;vert de gris;verdegris;ocre jaulne;scudegrun;charbon de noyau de pescher;os de pied de boeuf;fleur ou foeille naturelle fleur de soulcy;pescher 158v p158v_2 Grands moules Grands moules Large molds casting metal moules;presse 158v p158v_3 Fumee de chandelle Fumée de chandelle Candle smoke casting Fumee de chandelle;estain;plomb moictie chandelle;moules;moule @@ -962,9 +962,9 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 159r p159r_3 Colle de poisson Colle de poisson Fish glue tool poisson Colle de poisson;eau de vye;cendres chauldes;or;argent;estain;souldant enclume;vaisseau gras 159r p159r_4 Estaim et plomb Estaim et plomb Tin and lead casting Estaim;plomb;estaim;cendre chaulde 159v p159v_1 Nettoyer limes Nettoyer limes Cleaning files tool graisse;plomb;limaille;charbon chault;fil de laitton charbon chault;grattebroisse de fil de laitton -159v p159v_2 OEillet OEillet Carnation casting CONTAINS FIGURE souldure OEillet;rose;soulcy moule +159v p159v_2 Oeillet OEillet Carnation casting CONTAINS FIGURE souldure;sable fort cler Oeillet;rose;soulcy moule 159v p159v_3 Moules Moules Molds casting escrevisses Moules;moule -159v p159v_4 Plastre seul Plastre seul Plaster alone casting en terre maigre & seche;fontaines Plastre;plastre;pierre;eau;celuy de parys & despaigne;sel blanc;huiler;metal;huiles;eau chaulde;eau quelque fois froide;eau bouillante;cire;eau froide;huile parys;espaigne;allemands moule +159v p159v_4 Plastre seul Plastre seul Plaster alone casting en terre maigre & seche;fontaines Plastre;plastre recuit en pierre;eau;celuy de parys & despaigne;pierre;sel blanc;huiler;metal;huiles;eau chaulde;eau quelque fois froide;eau bouillante;cire;eau froide;huile;plastre parys;espaigne;allemands formes;moule 160r p160r_1 Presse pour les grands moules Presse pour les grands moules Press for the large molds casting CONTAINS FIGURE fer;bois Sainct Andre Presse;moules;lamines de fer;petits piliers de fer;piliers;vis;lamines;chassis;lames de fer;coings;grandes presses de bois faictes a vis;forge;moule;estrier;cloue;platene;presse 160r p160r_2 Sable pour fleurs Sable pour fleurs Sand for flowers casting Sable pour fleurs;sable;eau;glaire doeuf moule;pallette 160v p160v_1 Mouler un pied ou main Mouler un pied ou main Molding a foot or hand casting pied;main;urine rousine;cire;eau chaulde;urine;plastre @@ -972,7 +972,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 160v p160v_3 Prendre escrevisses Prendre escrevisses Catching crayfish casting escrevisses;boeuf;moutton eau ou les escrevisses se nourrissent;eau foye ou poulmon de boeuf ou moutton;chair baston;corde;panier 160v p160v_4 Prendre passereaulx Prendre passereaulx Catching passerines casting passereaulx aulx pailles;pres de la maison;chambre;nuit soict obscure & ne fasse point de ☾ pailles chandelle allumee;chandelle 160v p160v_5 Prendre oiseaulx Prendre oiseaulx Catching birds casting oiseaulx;mouche;vers toile de bourre ayes quelquun qui chante four -161r p161r_1 Præparation du sable pour chassis Præparation du sable pour chassis Preparation of sand for frames casting sable pour chassis;sable de noyau dalu de gip de lateribus & alume jameni;gip de lateribus;alume jameni;lopins des moules;eau claire;ordures;eau;gip mat;or bruny;ordure;eau de sel armoniac;sable;sel armoniac;litarge;pierres;terre jours tuilier chassis;longue table;gros billot;tamise;pots;four du tuilier;four a pain;vaisse;semal;vaisseau;gros baston;escuelle;esponge;four de reverberation;vaisseau commun +161r p161r_1 Præparation du sable pour chassis Præparation du sable pour chassis Preparation of sand for frames casting sable pour chassis;sable de noyau dalu de gip de lateribus & alume jameni;gip de lateribus;alume jameni;lopins des moules;eau claire;ordures;eau;gip mat;or bruny;ordure;eau de sel armoniac;sable;sel armoniac;litarge;pierres;terre jours tuilier chassis;longue table;gros billot;tamise;pots;four du tuilier;four a pain;vaisse;semal;vaisseau;gros baston;escuelle;esponge;four de reverberation;mouler;vaisseau commun 161v p161v_1 Crocum ferri Crocum ferri Crocum ferri metal process doigts Crocum ferri;limaille;fer;bon vinaigre;mabre;vinaigre;minium;bol;limaille rouillee doigts;jour caisse de fer;four de reverberation;mabre;palle de fer rouge 162r p162r_1 Pour la boutique Pour la boutique For the workshop La boutique boutique portugais;phoeniciens;mer rouge;coste de græce;argos;ægipte;assyrie herodote 162r p162r_2 Aes ustum Aes ustum Aes ustum casting Aes ustum;Crocum @@ -1000,20 +1000,20 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 165r p165r_5 Sang de dragon Sang de dragon Dragon’s blood painting;varnish dragon Sang de dragon;laque;huile;or;argent;vernis 165r p165r_6 Reparer serpents et lesards Reparer serpents et lesards Repairing snakes and lizards casting serpents;lesards;poisson fil de fer ou dacier;coller;colle de poisson;cire;colle jour poincons;petites pieces poinctes de fil de fer ou dacier 165v p165v_1 Plant danimaulx Plant d’animaulx Stance of animals casting urine fer;cire fondue;terre;eau claire;vinaigre;urine;bave;sable poinctes de fer;plaste de terre;esponge;corde despinette espinette -165v p165v_2 Gardes animaulx Gardes animaulx Keeping animals casting animaulx urine urine;vinaigre;eau de vye entameure en;la main gardes bien que ceste mixtion ny touche +165v p165v_2 Gardes animaulx Gardes animaulx Keeping animals casting urine urine;vinaigre;eau de vye entameure en;la main gardes bien que ceste mixtion ny touche 165v p165v_3 Moules Moules Molds casting Moules 165v p165v_4 Luth Luth Lute casting Luth;luth commun;luth de plastre qui ha servy aulx moules;luth Luth;luth commun;moule;broisse;luth;moules 165v p165v_5 Argent Argent Silver metal process;casting Argent;plombeux;mortier de chaulx;plomb Quand il sautille 165v p165v_6 Aisle de mousche Aisle de mousche Fly wings casting CONTAINS FIGURE mousche filons de cire;cire 165v p165v_7 Raporter quelque aisle de mousche ou semblable Raporter quelque aisle de mousche ou semblable Joining some fly wings, or similar casting mousche;poisson colle de poisson;eau de vye;cire a esbaucher -166r p166r_1 Pour la boutique Pour la boutique For the workshop La boutique continued poulle;poulsins boutique;mayson;maison Eleusines;hebrieulx;Latins;grecs;Ægiptiens;Siciliens;Tyanee N;pytagorien;Josephe;cebes;Numa;Ciceron;platon;Vergile;homere;Aule gelle;Valere maxime;Tite Live;polybe;Serapis;Ceres;Pythagore;Apollo;Chirone;Homerus;orphei;Orpheus;Cereris;homerus;Pelidae;achillis;Justino martire moissonneur;artisans;orphelins;autheurs;inventeur;inventeurs;Tisserant;masson;medicari +166r p166r_1 Pour la boutique Pour la boutique For the workshop La boutique continued poulle;poulsins boutique;mayson;maison Eleusines;hebrieulx;Latins;grecs;Ægiptiens;Siciliens;Tyanee desses Eleusines;N pytagorien;Josephe;cebes;Numa;Ciceron;platon;Vergile;homere;Aule gelle;Valere maxime;Tite Live;polybe;Serapis;Ceres;Pythagore;Apollo;Chirone;Homerus;orphei;Orpheus;Cereris;homerus;Pelidae;achillis;Justino martire moissonneur;artisans;orphelins;autheurs;inventeur;inventeurs;Tisserant;masson;medicari 166v p166r_1 La boutique continues Manus;digiti grecs david;sainct Athanase 166v p166v_2 Garder chastaignes Garder chastaignes Keeping chestnuts preserving;cultivation lieu humide;agout de quelque toict chastaignes 166v p166v_3 Bougie odorante du mans Bougie odorante du Mans Scented candle from Le Mans household and daily life Bougie;cire;bougie;rousine mans;France;bourgoigne odorante Bougie;bougie 166v p166v_4 Adoulcir lor Adoulcir l’or Softening gold metal process or;caput mortuum;vinaigre distille;sel;☉ filtrer 166v p166v_5 Augmenter la couleur du sol Augmenter la couleur du sol Augmenting the color of gold metal process;corrosives sol;cendres chauldes;eau fort de vitriol;or tuile;bouteille 167r p167r_1 Mortiers Mortiers Petards arms and armor CONTAINS FIGURE continued poulsses metal;fine rosette;rosette fine;vieulx chauldron;bonne pouldre grenee;pouldre lb;lignes;poulsses crusol -167v p167r_1 arms and armor continued continues doitgs;salive pouldre;papier acache;tourtelle de cire;cire;platene de liege;bois;toile ciree;fer;pulverin;tuyau de plume;vinaigre;salive lb;pousses;lignes;poulsses;doitgs fourchettes;chevilles;houtils;toile;drap;guimbelet;cheville;cheville de fer;fourchette de fer faicte en tenaille;verge q de fer faicte par le bout a trois griffes;chevilles de fer mortier +167v p167r_1 arms and armor continued continues doitgs;salive pouldre;papier acache;tourtelle de cire;cire;platene de liege;bois;toile ciree;fer;pulverin;tuyau de plume;vinaigre;salive lb;pousses;lignes;poulsses;doitgs fourchettes;chevilles;houtils;toile;drap;guimbelet;cheville;cheville de fer;fourchette de fer faicte en tenaille;verge q de fer faicte par le bout a trois griffes;chevilles de fer mortier;mortiers 168r p167r_1 arms and armor CONTAINS FIGURE continued continues boeufs;mulets main pouldre;fer;lames de fer;platenes de cire de liege & de boys;fer doux lb;haulteur dun homme paysant cheville;corde;baston;courte cheville crochue;vibrequin;clochettes;guimbelet;fisselle;petite cheville crochue comme un going de porte;viron;cheville de fer;Fourchette de fer faicte en forme de tenaille de la haulteur dun homme;fourchette de fer;fourchette faicte en tenaille;tenaille mortiers;mortier;pistoles 168v p167r_1 arms and armor continues fer;toile;bois haulteur dun homme faiseur de roues cheville;Sies a cousteau;grands chevilles de fer;communes chevilles de fer;haches;gros mail de bois;sies;birons;grands taraires;virons de faiseur de roues;potences;petites tenailles de fer;verroil;vertuelle mortier 169r p169r_1 [Liste de procédés] [Liste de procédés] [List of processes] lists tortues;Oiseaulx;chancre;Escrevisse;Sauterelles;Barbots;Papillons;Mousches;Chauvesouris;poissons;Cef volant;butor Grottes;riviere Argent dore;Esmailler;or;sucre;soufre;Carton;Cire;plomb;bois;metal;huile de froment;Cire fort dure;fer;eau fort;argent;cuivre;Esmail blanc;cailloux de riviere noirs calcines vigne;fraise;capilli veneris;Rose;oeillets;froment;mousses chassis;filets @@ -1026,7 +1026,7 @@ folio div_id heading_tc heading_tcn heading_tl categories margin has_figures con 170r p170r_4 Moules Moules Molds casting a lair charbons Moules;moules a chassis 170r p170r_5 Ouvrages espes destain Ouvrages espés d’estain Thick works of tin casting estain;plomb;estain rouge 170r p170r_6 Nettoyer moules clos Nettoyer moules clos Cleaning closed molds casting CONTAINS FIGURE cendre;fil delie de letton;paille subtile;cire;soulde;fil de letton;souldure;paincture moules;fil delie de letton;paille subtile;chaple -170v p170v_1 [Première page d'origine] [Première page d'origine] [1578-9 original first page] manuscript structure CONTAINS FIGURE escus;livres Sainct frajou sieur ouvryer -170v p170v_2 Contre peste Contre peste Against plague medicine escues opiate;eau de scabieuse ou buglose;vin fort trempe poix dun escues scabieuse;buglose Othonis Contre peste;contre fiebvre pestilentiale;poison;peste +170v p170v_1 [Première page d'origine (1578–1579)] [Première page d'origine (1578–1579)] [Original first page (1578–1579)] manuscript structure CONTAINS FIGURE escus;livres Sainct frajou sieur ouvryer +170v p170v_2 Contre peste Contre peste Against plague medicine escues opiate;eau de scabieuse;buglose;vin fort trempe poix dun escues scabieuse;buglose Othonis Contre peste;contre fiebvre pestilentiale;poison;peste 170v p170v_3 Pour preserver Pour preserver For preserving medicine ore;naribus chambre maison & Acetum;ruta;baccis juniperi;aceto;rue;grains;vinaigre ruta;baccis juniperi;rue;grains Abbatis Uspergensis;Hyeronimus mercurialis lateres igniti;piles Pour preserver;pour preserver quand on va en aer infaict;oster linfection 170v p170v_4 [Liste de livres] [Liste de livres] [List of books] lists mechliniensis Georgio Bucanano;Rembertus Dodonæus;Des ormes;Tilesius;Marmodaeus;Albertus magnus medicus From ed9b633b21049543c4e8cf0e05bfa571629f679f Mon Sep 17 00:00:00 2001 From: tcatapano Date: Wed, 18 Dec 2019 13:57:20 -0800 Subject: [PATCH 5/5] generate vocab lists --- vocabulary/term_usage/cn_fq-tl.csv | 3 +-- vocabulary/term_usage/df_fq-tl.csv | 2 +- vocabulary/term_usage/m_fq-tl.csv | 19 +++++++++---------- vocabulary/term_usage/md_fq-tl.csv | 4 ++-- vocabulary/term_usage/ms_fq-tl.csv | 7 +++---- vocabulary/term_usage/sn_fq-tl.csv | 4 +++- vocabulary/term_usage/sn_fq.csv | 1 + vocabulary/term_usage/term_cnts-tl.txt | 10 +++++----- vocabulary/term_usage/term_cnts.txt | 2 +- vocabulary/term_usage/tl_fq-tl.csv | 6 ++---- 10 files changed, 28 insertions(+), 30 deletions(-) diff --git a/vocabulary/term_usage/cn_fq-tl.csv b/vocabulary/term_usage/cn_fq-tl.csv index 639a83efe..beb3f6e72 100644 --- a/vocabulary/term_usage/cn_fq-tl.csv +++ b/vocabulary/term_usage/cn_fq-tl.csv @@ -1,5 +1,5 @@ 22|sous -11|lb +12|lb 5|livres 4|deniers 3|teston @@ -20,7 +20,6 @@ 1|real 1|old sou 1|old douzains -1|lb. 1|gold denier 1|frans 1|billon diff --git a/vocabulary/term_usage/df_fq-tl.csv b/vocabulary/term_usage/df_fq-tl.csv index af7eff6d0..299ec7904 100644 --- a/vocabulary/term_usage/df_fq-tl.csv +++ b/vocabulary/term_usage/df_fq-tl.csv @@ -36,7 +36,7 @@ 1|eye of the guard 1|estelles, 1|estamiere -1|emery horn . +1|emery horn. 1|electrum 1|double cannon 1|desramonet diff --git a/vocabulary/term_usage/m_fq-tl.csv b/vocabulary/term_usage/m_fq-tl.csv index d9f8051c0..242772384 100644 --- a/vocabulary/term_usage/m_fq-tl.csv +++ b/vocabulary/term_usage/m_fq-tl.csv @@ -53,13 +53,13 @@ 22|quicksilver 22|porphyry 22|aquafortis -21|tempered sand 21|sugar 21|melted wax 21|linen 21|canvas 21|bone 20|verdigris +20|tempered sand 20|spike lavender oil 20|charcoals 20|ash @@ -137,6 +137,7 @@ 9|Tin 9|Lead 9|Gold +8|wetted sand 8|smokes 8|slate 8|sandarac @@ -151,7 +152,6 @@ 8|arsenic 8|Lute 8|Crocum ferri -7|wetted sand 7|thread 7|sublimate 7|putty @@ -499,6 +499,7 @@ 2|florey 2|flint stones 2|fixed quicksilver +2|firestone 2|fine turpentine 2|fine sand 2|fine metal @@ -657,7 +658,7 @@ 1|white tin leaf 1|white thick which saliva that is found on the teeth 1|white soap -1|white pebbles that are found by the rivers & among the sand bank, & paths, which are somewhat transparent +1|white pebbles that are found by the rivers & among the sand bank & paths, which are somewhat transparent 1|white of one egg 1|white of ceruse 1|white mulberry leaves @@ -691,7 +692,6 @@ 1|well-ground ceruse 1|well-beaten glair of egg 1|well water -1|well pulverized tallow 1|well minced flesh with the yolk of a hard-boiled egg 1|well ground ceruse 1|well dried between wicker @@ -812,8 +812,8 @@ 1|thick canvas 1|thick bones 1|theriac +1|the white one que v in powder that apothecaries sell 1|the white of one egg -1|the one white que v in powder that apothecaries sell 1|the one which is found in a vineyard near Puy David 1|the one of willow 1|the one of the s mines @@ -1046,7 +1046,7 @@ 1|quite strong vinegar 1|quite good vinegar 1|quite clear gum water -1|quite clean & polished iron +1|quite clean & polished blade or iron 1|quills 1|quickt aiantsilver 1|quick lime @@ -1063,8 +1063,8 @@ 1|pure latton used for trebuschets 1|pure feather alum, reheated & pulverized 1|pure & fine tin +1|pumice stone, calcined & pulverized, & tr with three parts of minium 1|pumice stone powder -1|pumice stone calcined & pulverized & tr with three parts of minium 1|pulverized willow charcoal 1|pulverized terra emerita 1|pulverized talc @@ -1244,6 +1244,7 @@ 1|molten ♁ 1|molten lead 1|molten iron +1|molten copper and latten 1|molds 1|molding sand 1|molded tripoli @@ -1264,7 +1265,6 @@ 1|melted resin 1|melted iron 1|melted fresh butter -1|melted copper and latten 1|melted copper 1|mellis communis 1|mellis @@ -1483,8 +1483,6 @@ 1|first water 1|first substance of wine 1|firm fine tin -1|firestone -1|fire stone 1|fir 1|finest metal one can find 1|finer ☉ than the other one @@ -1839,6 +1837,7 @@ 1|White soporific oil 1|White sand 1|White enamel +1|Well pulverized tallow 1|Water 1|Very strong wax 1|Very hard wax diff --git a/vocabulary/term_usage/md_fq-tl.csv b/vocabulary/term_usage/md_fq-tl.csv index 026c5939a..ec5035b0b 100644 --- a/vocabulary/term_usage/md_fq-tl.csv +++ b/vocabulary/term_usage/md_fq-tl.csv @@ -34,6 +34,7 @@ 1|medicinal gums 1|makes one sweat 1|makes a good stomach +1|loosens the belly 1|leaves no scar 1|ladies, wanting to color their cheeks 1|keep away from the fumes, for they are pernicious @@ -53,7 +54,6 @@ 1|for the stomach 1|for the elderly 1|enema -1|eases the belly 1|dysentery 1|do not apply it any longer than this, for it would cause a your flesh to grow excessively 1|dissipates the phlegm & the winds which arise from it @@ -80,8 +80,8 @@ 1|For relieving the pain of G. 1|For preventing teats from swelling d or to diminish overly large ones 1|For preserving +1|For loosening the belly 1|For getting rid of the redness of eyes or bruising -1|For easing the belly 1|Enemas 1|Enema 1|Curing dogs of mange diff --git a/vocabulary/term_usage/ms_fq-tl.csv b/vocabulary/term_usage/ms_fq-tl.csv index ccc36b5db..8223dec2b 100644 --- a/vocabulary/term_usage/ms_fq-tl.csv +++ b/vocabulary/term_usage/ms_fq-tl.csv @@ -1,4 +1,4 @@ -116|lb +118|lb 59|℥ 48|half 34|days @@ -72,7 +72,6 @@ 2|livres per canne 2|little finger 2|league -2|lb. 2|lb t. 2|in summer 2|hour & a half @@ -213,7 +212,7 @@ 1|one-third 1|one weight of calcined pebbles on three of minium 1|one quintal of metal for two of rosette -1|one part of pumice stone calcined & pulverized & tr with three parts of minium +1|one part of pumice stone, calcined & pulverized, & tr with three parts of minium 1|one day and one night 1|one & a half quintal 1|one & a half of @@ -236,11 +235,11 @@ 1|length of a paternoster 1|length 1|leagues -1|lb. & a half 1|lb, according to the King’s ordinance, per quintal 1|lb per quintal 1|lb a dozen 1|lb & a half or two +1|lb & a half 1|large enough that two fingertips can fit inside 1|king’s feet 1|king's foot diff --git a/vocabulary/term_usage/sn_fq-tl.csv b/vocabulary/term_usage/sn_fq-tl.csv index d178ac253..d8ee381c4 100644 --- a/vocabulary/term_usage/sn_fq-tl.csv +++ b/vocabulary/term_usage/sn_fq-tl.csv @@ -2,7 +2,6 @@ 3|touch 3|ring 2|taste -2|stinking 2|scent 2|look 2|bad odor @@ -21,6 +20,8 @@ 1|tasting 1|taste as of vinegar 1|stinky +1|stinking +1|stink 1|stench 1|sound 1|soft when handling it between the fingers @@ -31,6 +32,7 @@ 1|smell 1|shouts slowly 1|shouts loudly +1|screeches 1|perceived on the fingernail 1|pain 1|one smells it & brings it close to the nose diff --git a/vocabulary/term_usage/sn_fq.csv b/vocabulary/term_usage/sn_fq.csv index dcb3452b3..32b6d4752 100644 --- a/vocabulary/term_usage/sn_fq.csv +++ b/vocabulary/term_usage/sn_fq.csv @@ -55,6 +55,7 @@ 1|crient & petillent estant aproche de loreille 1|crie lentem 1|crie fort +1|crie 1|comme ilz sont encores en telle chaleur que tu as cy devant remarque mectant le doigt au trou gecte 1|cognoissoit sur longle 1|chaudelet de telle sorte que tu le puisse tenir a la main diff --git a/vocabulary/term_usage/term_cnts-tl.txt b/vocabulary/term_usage/term_cnts-tl.txt index 56f87187d..41dac216e 100644 --- a/vocabulary/term_usage/term_cnts-tl.txt +++ b/vocabulary/term_usage/term_cnts-tl.txt @@ -1,17 +1,17 @@ 190 vocabulary/term_usage/al_fq-tl.csv 106 vocabulary/term_usage/bp_fq-tl.csv - 27 vocabulary/term_usage/cn_fq-tl.csv + 26 vocabulary/term_usage/cn_fq-tl.csv 67 vocabulary/term_usage/df_fq-tl.csv 218 vocabulary/term_usage/env_fq-tl.csv - 2068 vocabulary/term_usage/m_fq-tl.csv + 2067 vocabulary/term_usage/m_fq-tl.csv 106 vocabulary/term_usage/md_fq-tl.csv - 376 vocabulary/term_usage/ms_fq-tl.csv + 375 vocabulary/term_usage/ms_fq-tl.csv 7 vocabulary/term_usage/mu_fq-tl.csv 233 vocabulary/term_usage/pa_fq-tl.csv 131 vocabulary/term_usage/pl_fq-tl.csv 104 vocabulary/term_usage/pn_fq-tl.csv 200 vocabulary/term_usage/pro_fq-tl.csv - 59 vocabulary/term_usage/sn_fq-tl.csv - 1014 vocabulary/term_usage/tl_fq-tl.csv + 61 vocabulary/term_usage/sn_fq-tl.csv + 1012 vocabulary/term_usage/tl_fq-tl.csv 167 vocabulary/term_usage/tmp_fq-tl.csv 81 vocabulary/term_usage/wp_fq-tl.csv diff --git a/vocabulary/term_usage/term_cnts.txt b/vocabulary/term_usage/term_cnts.txt index 280c673dc..5a62991e8 100644 --- a/vocabulary/term_usage/term_cnts.txt +++ b/vocabulary/term_usage/term_cnts.txt @@ -11,7 +11,7 @@ 145 vocabulary/term_usage/pl_fq.csv 107 vocabulary/term_usage/pn_fq.csv 199 vocabulary/term_usage/pro_fq.csv - 65 vocabulary/term_usage/sn_fq.csv + 66 vocabulary/term_usage/sn_fq.csv 1100 vocabulary/term_usage/tl_fq.csv 167 vocabulary/term_usage/tmp_fq.csv 81 vocabulary/term_usage/wp_fq.csv diff --git a/vocabulary/term_usage/tl_fq-tl.csv b/vocabulary/term_usage/tl_fq-tl.csv index 1b641934a..5bd66789c 100644 --- a/vocabulary/term_usage/tl_fq-tl.csv +++ b/vocabulary/term_usage/tl_fq-tl.csv @@ -11,8 +11,8 @@ 27|forge 27|candle 26|pot +25|pestle 25|mortar -24|pestle 23|paper 23|finger 22|vessel @@ -58,6 +58,7 @@ 9|bones 8|reverberatory furnace 8|penknife +8|linen cloth 8|hands 8|fingernail 8|cauldron @@ -69,7 +70,6 @@ 7|sieved 7|plane 7|little bellows -7|linen cloth 7|glass 7|gimlet 7|double sieve @@ -601,7 +601,6 @@ 1|pit 1|pipes of fer blanc 1|pins -1|pinon 1|pikes, with joists 1|pieces of plump & thick felt 1|piece of glass @@ -670,7 +669,6 @@ 1|little bells 1|little bands 1|lit hay -1|linencloth 1|linen sleeve 1|linen cloths soaked with water from a honey bee hive 1|linen cloths