Damasked cloth You can damask a cloth with two different colors and imitate embroidery without adding anything to it, in this way. Once it is dyed yellow, pounce onto it such a pattern as will please you. Then you will baste some string or a thicker cord onto the pouncing and thrust it into a dye of guesde woad or pastel woad & it will become green, except that which is beneathus the string, which will remain yellow because the green dye will not have penetrated there. And you can do thus with other colors, and instead of cord or string, add some pieces of paltry cloth, cut into moresque shapes, on top of the first colors. In that manner, you will have cheap embroidery.

Foundry casting One casts candlesticks and small works in a frame with sand. And after having imprinted the work, one sprinkles it with flour in order to make the e metal copper or latten run better. When the sand has been used for a month, it is necessary to take some new, because the one that was used, being reheated in fire +, dries out & loses its bond. However, it is used to mix among the new, for it makes the work not so porous. One casts large works such as artillery, bells & similar things in earth, & copper cast in earth makes less of a crust, and is whiter than the one cast in sand. The earth is sandy clay mixed with horse dung & cloth waste. That which is has been used for founding, which is black, cooked & as if burnt, is cast mixed with artificial sand, & is very good. / To soften & make the copper run, throw in, once it is melted, a little lead, which does not form an alloy but is found on the surface of the cast. + by the heat of molten metal

Casting gold and silver It is necessary that the sand be from something very dry & arid & reheated well in the frame, because, if it were humid, like founders' sand, the gold and silver would spatter, & cause damage. It is also necessary for the earth to drink the metal, for cast gold or silver is becomes very spongy. That is why it must be beaten again, otherwise it is frangible, as one sees in spoon handles.

Tablets Some are made from boxwood inlaid with ebony, sandalwood, ivory, or gold and silver like damascening. Then one writes on it with silverpoint, and next erases it with a cuttlefish bone by rubbing them.

Letter, more legible One cuts the largest pieces of beryl or crystal round on one side & flat on the other, then one sets it with a little handle and one sets down the flat side on the letter.

Stamping If you have some bronze medal & you want to make it very light, make of it a hollow form of lead, then spread upon it some thin plate of gold, or plates of lead or annealed annealed silver, & set your bronze medal on top & strike with a wooden mallet.

Softening horn Those who acou mount Agnus Dei & make circles from horn for certain little boxes soften ladicte the said circles by soaking them in hot water and next fashion them on a round or oval-shaped triblet.

Ears When some defluxion occurs there, one needs to be very careful not to put anything inside, and according to the proverb, one ought only to touch the ear & the eye with the elbow. However, it is good to put on an affected ear musked cotton, that is to say, kept in musk, for it comforts quite well.

Toothache Some put a clove of garlic in the ear which is on the side where the tooth is hurting, & within two or three hours they feel well because of it. Others put in the nostril which is on the side of the ailing tooth green skin scraped from e the small branch of visaube, namely the kind which is under the grey one which resembles a small branch.

Founding of soft iron Most people consider that iron, once melted, cannot be melted again because they only heat it in small forges, in which it only becomes red-hot. Alchemists undertake to melt it mixed with realgar or lead or orpiment. But without all that, some have found a manner of the melting not only brittle iron, such as the kind used for iron pots, but also soft iron such as d that of pigs & ingots, which is the most difficult kind. And to this effect they make a furnace in this manner which has a width of one pan & a half & one pan & a half of a depth of two pans. And the blast-pipe, which is the barrel through marked A through which the bellows’ pipes enter, has to be placed in the middle of the height of the furnace such that there is one pan of the mouth of the furnace above the blast-pipe & one pan underneath. Each pan of the mouth of the square furnace contains one & a half quintal, & the pan of the round furnace holds two 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 up the belly of the furnace & by such means, it spreads equally everywhere & above, like the flame in a reverberatory furnace, & by such means heats much more; for if the wind were to hit directly from above, the substance which is melted or ready to be melted, it would cool it down & prevent it from running & melting. It is also necessary for the bellows to be driven by the leaping & running of water as in forges, because in this manner, the bellows run with measure & compass & with great speed, which the strength of workers could d not do. Therefore one raises the wall as you see & the furnace on the surface of the ground at the edge of which you make a channel as with other founding, to put the molds of that which you want to cast & to do this, you unstop the opening that you had made at the bottom of the furnace to make the melted substance run. You will be able to melt two quintals of iron each time and to do this, you will choose the biggest charcoal you can find & put a load of it at the bottom, on the plane and surface of the furnace & with the bottom piling up as if to a point, up to the top of the wall Some make a mold of the caliber of the piece, & temper it, then beat a soft iron piece cut to size, & when this piece is very red, they beat it into the mold & round it off with a large file, considering these balls to be stronger than the melted ones which, being brittle, are more subject to breaking.

which is usually of a height of d three pans & will reheat well the. But first, it is necessary that you have reheated your furnace with with a little of the big charcoal, such that the bottom is red hot and then you will put there the aforesaid load of charcoals in the middle of which you will put your iron, not all at once but ten or fifteen lb each time. And when this will be swallowed & at the bottom of the furnace, always put in as much again. And add three or four shovels of new charcoal which should be of the biggest kind and remoistened, in order that it may have more heat & not be consumed too soon. And when you see that your furnace is full of substance, around two quintals, or less if you do not of it have that much, you will leave the charcoal to be consumed by itself. And when the charcoal is as it were reduced down to the level of the furnace, you will be able to pour into molds & iron or metal shells, which is even better because one iron attaches to the other. And it is necessary that the inside of the mold be well ashed with tempered ashes, in order that it does not adhere to it.

Against Go. Soak quince seeds in clear water & of this mucilaginous water make an injection.

For removing fine hair from the forehead Take a needle’s worth of fine silk & pass it tightly across the places with the hair & it will attach to the silk like fine cotton wisps.

Silk Crimson is more abundant than all other silks because its color does not charge as do blue & green, which are also more profitable for the worker. Black is less abundant because it charges much.

Keeping oranges One needs to choose quite whole ones which are not rotten & put them & fill a well closed and tin vessel with them & they will keep six months.

Candles They keep well in bran which makes them white & long-lasting, so say some. I believe, however, that it is enough to keep them in a cool & dry place, in such manner that they are not pressed together. It is better if there is a hemp thread throughout the wick, which gives it more light & makes the wick hold up straighter. Otherwise, if it is all of cotton, as those of Montauban make, it is necessary to snuff it out often, for after it has burnt il a little, the cotton droops & makes the candle drip.

On the gunner The cannon fires at point blank from five to six hundred paces. But not for battering, in which it can only perform well from two hundred paces, or three hundred paces at the most, and it should not be any farther. Its ball commonly weighs 40 lb of the King’s caliber. There is a cannon-perrier, which weighs xxv quintals, which are small, short cannons. It is for fighting the ditch casemates & for battering at close range. It bears a large ball of the King’s caliber like the others, namely of 40 lb. It bears in the breech only the width of two balls & a quarter of a ball. The front only bears the width of one ball & a third of a ball. Its charge is similar to those of bigger ones, namely xx. And for this reason, when one wants to try them , one ought not to over-charge it, for this damages the piece. And for the first time & until it has fired five or six pieces shots, it is better not to give its complete charge, for the piece is still proving itself. And the test that one can do is to give it a charge of xx lb of fine arquebus powder instead of ordinary cannon powder. And four good horses are sufficient to drag them. They are easy, & close up they have as much force as the big ones, especially for private houses & small towns & fortresses of little importance. They are no more subject to bursting than the others because they are short. For that which gives great strength to the powder & puts the piece in danger of bursting is the length of the piece, because the powder is burned entirely before exiting, & the its impetuosity is held constrained for longer in a small long piece than a gr short one. The cannon-perrier is commonly seven to eight pans long. It is true that this is a pan of Montpellier & not a King’s pan, which is not used in the founding of cannons for making them good. For the pan of Montpellier being of shorter, the cannons more proportioned there are shorter also, & compensate in thickness ce the length that they would have by the King’s pan, by which measure they will be found longer. But also they would be thinner. The e great canno strength of the cannon-perrier for making a battery is 4xx paces. The great cannon, because of the weight of its ball, carries a range of only a thousand or xii hundred paces without landing, & bouncing, it commonly bounces iii times. The cannon-perrier does not have a large effect if not close. One recognizes the good alloy of a piece by seeing it. For if, with the greenness which they expel on the surface, they redden, that is to say that they are composed of a sufficient quantity of rosette. If not, they are only of metal, which shows up whitish. If they themselves do not make this demonstration, scratch & you will see. The good alloy for pieces is of three parts of rosette & one of the fine metal of la large bells, where there is more rosette than in the metal of small bells. The metal commonly costs xv lb & fine rosette xv or xvi. The pan of Montpellier is equivalent to six of the King’s inches, which contains in it two common ones. It is necessary, for a mounting a piece well, that it be as high at the side of the mouth as at the breech. Otherwise, one does not mount well.

The large cannon, which is for great batteries, commonly weighs fifty-five or lx quintals. At the breech it carries the thickness of b two balls &one lof the three parts of one ball. At the front, it carries ba the thickness of one ball & two two of the three parts. It is thirteen or fourteen pans long. But they are very troublesome to drive. The head-on battery, to accomplish its task quickly is & batter with great force, is at d one-hundred fifty paces & at two hundred. And It is true that one batters well from three or 4 hundred paces, but it is necessary to give it more powder. Its common load is p of xx lb of powder, its ball of 40 lb. One needs xxv horses to draw it. When one fires it farther than its usual range, one puts in a half ladle of cannon powder more. A cannon can fire 4xx or a hundred shots per day, but one needs to refresh it every time after one has fired te nine or ten shots, if the battery is steadily continued. For if there is a break, it is not necessary to refresh it as often. For two quintals of copper, or two quintals & a half if it is for large cannons, one puts one quintal of metal. # The metal is composed at the beginning of eight lb of tin for one quintal of rosette, while for large bells one only puts six lb of fine tin for one quintal of rosette, to give it a bigger voice. For the more tin there is, the clearer the sound is. Its For gun founding, if one provides the material & charcoal, as one commonly does, for masters do not have the means, one gives x to xii lb per quintal. And for the mat when the master provides everything, one gives him 40 lb, according to the King’s ordinance, per quintal for large pieces & such as cannons, and for small pieces, L lb. For the more material there is, the more profit the master has of it. One founds another kind of cannon-perriers of xxx quintals which are longer than the others, and easily eight pans long, & they are for battering defenses & casemates, s placing them via trenches on the edge of the ditch by night. ◯ On each side of the opening of the breech they give the thickness of half a ball. And then they also add on each side the third part of a ball. Ain One gives it two ladles of cannon powder for its charge, & one & a half of arquebus powder, & the same for the others. # The composition of cannons of France is of one quintal of metal for two of rosette. But those of Toulouse & Poncet puts iii of rosette & one of metal. The rosette for re-melting is more profitable than cauldrons, which turn entirely into filth. Old pieces are composed of almost de dem as much of one as of the other, namely one part of rosette & one of metal. One recognizes this composition with a burin. For its substance is found to be brittle & the particle taken from the burin is found to be mixed with yellow & white.

Large culverins are for battery & piercing are forty quintals & eighteen pans long. Their ball, of the King’s caliber & for battery, is 30 lb and thus lighter than that of the cannon. And thus, it does not carry so much ammunition for fifteen lb suffices for its charge. The cannon makes a bigger opening due to the size of its ball, but the culverin hits more fiercely & propels faster, having greater force due to its length. At the breech it carries the thickness of two of its balls & esthe three third s part of a ball, at the front the thickness of one ball & two thirds. Culverins serve to batter defenses from afar when one cannot easily make an approach, and cannons approach more closely. They also serve to support the battery. One needs fifteen or sixteen horses for moving it. They are tout of the same alloy as the cannon, as are all pieces that exceed smaller than average, for to these, one adds a little more metal in order that the melt runs better. And for two quintals of rosette, one adds six twenties lb of metal for the smaller pieces. They shoot 8 or 9 hundred paces at point blank, & up to a thousand paces if the powder is strong, & half a league at range. Some invented the loading of cannons with cartouches. Some po do not put the powder in the cannon all in one go but in two & ramming each time, saying that each ramming raises & gives a further thumb’s breadth. But this is not certain for large pieces which are loaded with a lot of powder. The bastarde, which is a culverin middle-sized piece, weighs thirty quintals and its ball weighs xx lb xv lb and carries as its charge x or xii lb of powder. Its proportion is at the breech the thickness of two of its balls & thees threeird parts of a ball. At the front, the thickness of a ball & two of three parts. or They serve to batter defences of little importance such as gabions and garrets topped with a tower & similar things. It is thirteen or xiiii pans long like the large cannon. Ten horses can move it. It accompanies well the large culverin for point blank because it carries small ammunition. Some give it the thickness of three balls at the breech & at the front of two balls. The bastard culverin weighs 35 quintals & is xxv pans long. It carries three balls at the breech & two in front. Its ball is like that of the bastarde piece, weighing xv lb. These are pleasure pieces which s cannot be moved by carriage, but are for city defences. Some make these xxvii or xxviii pans long, like the Cow of La Rochelle. But to such pieces one gives reinforcement at the breech as of three balls. At range, they can shoot around one league, & a half league at point blank. Its charge is like the bastarde. And if one wants to fire at some cavalry quite far off, one increases the powder a little. A tail of smoke follows the ball which de guides your sight e to where the ball is going. This goes for the cannon and for the culverin, and not for small pieces.

The average weighs 18 quintals & measures xii pans long. Its ball weighs eight or 9 lb & its charge is six pounds of powder. And for At the breech it carries a thickness of three balls, & in front, two. It is more appropriate for the defense of a city than for battery. However, one takes it sometimes either to break a barricade or to support the battery after the cannons have fired, in order to prevent the assailed from re-fortifying after the cannons have played or fired. Four horses can draw it. It shoots eight or nine hundred paces at point blank & almost as much as the bastarde. To cannons & large pieces one givesn as much powder as is the diameter of a ball & a half, at which point the escutcheon sits. To medium pieces, such as field pieces, & smaller ones, one gives them powder the thickness of two balls. To the passe-volant & other smaller ones, one gives them powder the thickness of three balls. In general, one charges all pieces up to the escutcheon. One charges with the ladle all pieces from the cannon to the piece of four quintals de char, and one gives them two ladles of cannon powder or one & a half of arquebus powder. To smaller ones, one only gives one ladle, & those of one quintal are charged with a small charge. The field piece weighs ten or twelve quintals & is ten pans long or 12. Its ball weighs vi or vii lb & its charge is 4 lb of powder. At the breech it has three balls & two in front, as do all pieces that are smaller than the average. One gives them more of a breech because one makes them longer in proportion, and also because in a house or elsewhere one fires them more frequently than the large pieces. Their caliber is also small, which makes the breech 3 balls thick. They are used for following a camp promptly & for the defense of cities & houses, putting them on the walls or on a tower. One needs three good horses for drawing it. The passe-volant weighs vi quintals, is eight or nine pans long. Its ball weighs two lb, &, for its charge, a lb & a half of powder. At the breech it has three balls & two in the front. Two horses can move it, for a single horse does not begin to move a piece. It is used for the defense of houses, or for taking among the infantry to break a rank of cavalry. The falconet weighs 4 quintals, is x pans long. Its ball weighs one lb & a quarter, its charge is half a lb of powder. At the breech three balls, at the front, two. To move it, two horses, although such pieces are hardly moved insofar as they only serve to defend houses. The ones which are carted around either for battery or for siege combat, are cannons, culverins, medium-sized bastardes & field

pieces. The falconet is loaded with a ladle, and one commonly gives it only one ladle. There are also other falconets weighing three quintals, and which are nine pans long. Their ball weighs half a lb. Their charge is a quarter of powder. It is loaded either with a ladle, but more commonly with a charge. At the breech, 3 balls, & 2 in front. To the small pieces which are under 3 quintals one gives them at least 3 balls & a twelfth part of a ball at the breech, & sometimes takes away from the front to make this addition to the breech, according to the length one gives them. The strength of the piece is at the level of the trunnion, which is the point of departure of the lit powder. The strength of the berche is at the maslée, & at the back of the breech. A double musket weighs 2 quintals, is seven pans long, carries a ball of a quarter of a lb or a little less. At the breech 3 balls, two in front. One loads it with as much powder as ball, up to the top of the escutcheon, which in these small pieces can amount to 3 or 4 balls of arquebus powder. For if one uses cannon powder, one can load it to a thickness of c five balls. One needs to understand all of this as iron balls. When one shoots a metal ball, one over-charges by a quarter ladle because if a cannon ball weighs 40 lb, the metal one weighs lx lb. One also takes the gun-sight higher when shooting a metal ball. For if one shoots an iron iron ball point-blank, one takes six lines higher when shooting metal balls. A metal ball makes alloyed with copper, in order that it is not frangible, is more effective hitting at close range than that of iron. But the iron one hits more fiercely from afar. A simple musket weighs one quintal, is six pans long. carries a ball weighing qu One has no consideration for those which are under two quintals, which readily carry lead balls un of the weight of the ball, but of the caliber. However, those which can receive balls of metal or iron do better because they will penetrate more than six lead ones. Its charge is up to the escutcheon, namely the thickness of 4 balls. Arquebus à croc weighs lx lb, that is to say the large one is five pans long, its charge is up to the escutcheon, namely the length of 4 balls, it carries lead balls, and is for the defence of houses. Of these arquebus à croc, both the large & the small ones, one makes orgues which are or appropriate for an assault, both outside & inside the place. They are founded separately as if to serve for uses other than orgues. See the 4th leaf following, marked

Mathematical figures without ruler and compass You know how to draw a circle correctly with the quill & or else with the nail of your right thumb & the bent big finger. If you do not have a ruler, fold paper in two five or six times to use it. And if you want to draw a column, arch, oval, escutcheon correctly without a compass, fold your paper such that the fold e gives you a straight line, at the required distance from which, trace a point & a or a line & saturate it well with ink. Then fold again the paper & rub it on the back &

it will print however much you have made. In that way la l, A is the line without ink which the paper fold gives you, B is the line you have traced, C is the one which is printed.

P For writing as well from the left as from the right Write as best you can with well-gummed ink on as many little cards as you want to write words. & once each letter is well saturated with ink, put it down on your paper & rub with a tooth the back of the card.

Clysters One used to give them with leather sleeves or bags, which for the best result is must be of cat skin which is more mitten-like than any other. And then one would start to fold back the sleeve on one side & one would continue to fold it back & twist it around itself & in that way the clyster would run gently. But this manner takes longer & is less convenient than the syringe which has been discovered since, with which a man alone easily gives a clyster. It is true that it always causes wind at the end.

For making millas It is necessary to have millet pilled to remove the husks and then you will clean it well. Next one needs to grind it again quite finely and pass it through a hair sieve quite finely. This done, it is necessary to mix the flour with melted fresh butter and milk, and that there be as much of one as the other, in such a manner that it is very light in color, like the dough to make fritters. And you will put in egg yolks according to the quantity of flour, so that it amounts to two egg yolks for each millas. Then you will put in some saffron, if you like, to give them a little color. Next, you need to have molds, and it is necessary that they be earthenware, in the fashion of the crown of a catholic hat, but it is necessary that they be open at both ends. And then, having made a good fire, you will clean the place in the hearth where you want to put your millas, and then you will take your molds and grease them quite heavily in order that the dough does not stick when it is cooked. Having done that, you will put your said molds on the well-cleaned place in the hearth and will put a little flour at the bottom and fill them with the aforementioned dough. Next you will cover the said molds with lids which will be made like the molds, but it is necessary that they be larger and not be open at the top. Then having done that, you will put a little hay on the said lids and plenty of embers, and make a good charcoal fire all around. That done, you will uncover one of them soon thereafter and see when it is cooked. It should be hard.

Glassworker Glass from Lorraine is smoother & more even than plate glass and it is sturdier & more durable. But commonly it is stained by veins, in straight lines as if tanned, which happens because the glassmakers, having made it, put it when totally hot on straw, which stains it in this way. However, this is removed with varnish & salt & other drugs that the glassworkers put on. Glass from Lorraine is sold by the bundle & each bundle is composed of three tablets. The bundle costs usually x sous. Plate glass is sold in made in France, it is whiter & clearer, but alternately it is not so durable as that from Lorraine. It is also commonly blown & in that case, it is better to make little diamonds rather than large square pieces in the shape of a frame, because they cannot be set quite evenly. Plate glass is sold by paniers. Every panier contains 24 plates that are commonly sold at x or twelve lb.

For whitening the face Pestle puffball in cistern water, & no other, & wash with this whitened water. This is considered quite singular. And I believe that making it from wheat starch & to use it would be even better.

Against winds, colic, &c Sap squeezed or water distilled from orange peel is excellent against the windy colic. Candied peel, too, is excellent for the winds of the belly. And to make a trial of it, having poured foaming wine in a glass, squeeze orange juice on the wine foam, which proceeds only from vapor & wind, and you will see that the foam will immediately disappear. Also, if you squeeze juice against a candle it will burn all the brighter.

Skirret root They want to be planted in a very humid place where with such a rodier well or fountain one can water it often, for by this means they are tender. Otherwise a hard heart forms inside, which takes from it all its goodness.

Against burn Pestle an onion with verjuice & leave it to soak like this, then apply it. Or else, apply black soap on the burn. Experimented.

Common saying Bell tower of Rodez, church of Albi, bells of Mende. However, one holds the bell of Toulouse named Cardaillac as one of the most beautiful in France, all the more since it weighs two hundred and fifty quintals.

A form of regimen Every morning, take two or three eggs laid one or two days ago. Heat them until & do not cook them. Take the centers well dusted with sugar. And next drink one finger of wine. And apart from being nourishing, it makes a good stomach.

Gunner As for small cannons which are not loaded with a ladle, one charges them with powder up to the escutcheon, which is placed on the piece with due proportion. To point a cannon, that is to say to take its aim, one needs to take the sight, that is to say aim, from the sides before the top, that is to say above the cannon. For by aiming along the top, you will be better able to find the line tending to your target, but you would not find out if the cannon tends more to one side than the other. Therefore take your sight on one side, then on the other & adjust your piece to the point at which you aim. Then take your sight from the top of the breech, which will be done quickly. Next, lower your piece a little at your discretion if you are within true range, because the force of the powder usually makes it rise. But if you were farther away than your piece shoots at point blank, you would need to consider that the weight of the ball would make it lower.

For firing a cannon at night Some keep their pieces loaded and from the day. Then, in order that the gunner can fire into the breach where the assailed are perhaps making repairs, the besiegers raise a false alarm in order that the besieged throw torches & artificial fire into the moats or around the breach, at which the gunner aims. Sometimes, by using the reflection of mirrors or flasks full of water, the assailants light up the breach. The method you know, with a quadrant & plumb line, is very good. Others nail two or three rows of boards with strong iron pegs on the wooden platform made for mounting the cannon, and leave empty notches into which the wheels of the cannon can just fit. And by such means you will always te place it at a similar q point, that it will not incline more to the right than to the left. And in order that it be neither too high nor too low, when you fire during the day, you place a ruler fixed well in the ground, which comes just to touch the the bottom of the edge of the cannon after it has been pointed & adjusted for firing. If the platform, the wheels, or the wedges break or are disturbed, this invention is of no profit.

Others place two poles fixed well into the earth such that one is equally as far from the edge andof the muzzle of the cannon as the other. And underneath they place the above-mentioned ruler. Then when they want to fire at night, they push their cannon straight toward the above-mentioned ruler & make it so that the edge of the mouth rests on the end of the aforesaid ruler. Next, they measure with a ruler or similar thing cut to measure, from one pole to the side of the cannon & if it is too close or too far from it, they adjust it & do thus from the side of the other pole.

For unspiking a cannon Some say that one should remove the ball if the cannon is loaded & give fire through the mouth of the cannon. But it is to be believed that the fire would sooner exit that way than going to seek its exit through its usual touch-hole which is spiked & constrained. The most reliable way is that the gunner, who is often a founder, wedges & thoroughly rivets the nail that the enemies placed, and with a trepan makes at the side another touch-hole next to the one which has been spiked, which will be done in an hour. And if with time the violence of the powder loosens the nail with which the piece is spiked, you will make a thread in the second touch-hole & place a screw in it quite perfectly which will never come undone. M

Defense of a town There is nothing that has a greater effect for the defense of a breach than petards placed at the entryway at the time of the assault. They carry a lot of ammunition. be One fills them with cart nails, large steel dice, bits of chain & similar things. And when one senses that the enemies are close, one sets fire to all. Grenades, too, well-made and aptly thrown, cause great damage. And to make them worse, one puts coarsely pestling pestled glass either in the molds or in the crucible, when one wants to cast them; this worsens the wounds. The grenades ought not to be too brittle. But it is good that they be somewhat alloyed with the substance of the pieces in order that, holding the blast a little rather than breaking, they have more violence.

Cannon ball, weighing 40 lb, having 12 lines, king's foot.

A little too big, see the one of that follows.

Orgues

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 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 quadruple or more, you need only place a similar row of boards like the first, one on the other. For the other This kind of orgues penetrates & is quite stable. For the other ones which are made of one piece like a solid square have cannons only three four one pan & a half long. Also, they only serve for making a salvo at an entry or for defending a door. A small arquebus à croc weighs 40 lb, is four pans long, is loaded up to the escutcheon, has three balls at the breech & two in front. The double cannon is no different from the large ordinary cannon, except that it carries its ball which has one line of thickness, or of diameter, more. The line is a twelfth part of the ball of the cannon. At the breech, it has one line of thickess more than the cannon, & half at the front. Its charge is six or seven lb of powder, more than a cannon, namely by two big ladles. Its ball weighs 56 lb. One needs thirty horses to draw it. It makes much more of a fracas at the wall than the cannon. But it is very troublesome to draw. It is for this reason that one hardly uses it today, and it is more for moving to some nearby place & battering at close range or for an entry, than for ordinary business. One calls them basilics, and they are pieces made for pleasure.

^{On petards} Such a petard is made which weighs three quintals, carries a cannonball flat on the side on which it must exit & round on the inside of the cannon, as if it were a cannonball cut in half. It is two pans long. It is charged with xxv lb of powder for at it needs to be full up to the mouth & it needs to burst. It does not have a different thickness at the breech than at the mouth & is all of one piece. Its substance needs to be better than that of pieces, & for 4 quintals of fine copper there ought to be only one quintal of metal in order that it holds the blast, &, bursting with more force, has a greater effect. It is for putting against a door with a large iron cross in front of the ball, and sonce loaded, it needs to be covered with a well-sewn thick canvas which should be anointed c all over with turpentine. It needs to have four handles, made while it is founded, for it is thus easier to place. The iron cross is joined to the mouth with the canvas with which it is covered. To place it, it The handles must be kept at the edge of its muzzle, as you see. To place it, one needs three or four iron pegs one pan long & as thick as a finger which should have their point like a wimble gimlet, & the entire leg as a screw, like an auger, & a ring on the other end to turn them with a short stick which has play within the ring. And the pegs are placed in the door but not straight but for they would not have any strength, but at an angle as if you wanted to fix them toward the middle of the petard, and to do this, the hole of the handles needs to be quite large. In this way, the firing petard pushes the pegs along & across into the door & makes more of a breach. Once it is placed, you need to have a buckram sausage made in this manner: take eight or nine canes of buckram strip or more if the ditch is larger, and let the strip be four or five fingers wide. Have it well sewn in such a way that it is like a gut through lwhich a stick as thick as a finger can pass. Fill it completely with good This one is for putting below an undermined tower with the muzzle pointing up. One makes two large iron rings & with a bar or two, four men carry it. They are also used for putting in breaches but here one needs only half a charge, namely x lb, & to fill it with flint stones & cart flint stones.

One needs to cover it entirely with waxed canvas & rubbed with turpentine & combustible things. This cover is made in order to secure the ball, such that it does not fall and in order that when the fire takes to the cover, the primer powder does not fail. Precisely at the fuse, you will need to put in a good quantity of primer powder. Some put a cross of iron on the ball which exptends beyond the mouth of the petard by two pans. Others only put the ball.

powder. When the sausage is full, dip it well in lightly, to wet the canvas & not the powder, in two parts of vinegar & of one of eau-de-vie. Next, let the said canvas dry well, and then one needs to join to the said sausage a long string or cord which should be two times longer than the sausage, & one ought not to tighten it to the sausage but only to bind it to it at both ends & to sew it on the sausage in a few places in the middle. Next one needs to anoint the entire sausage with very good turpentine, and at whichever end of it you wish to join to the touch-hole of the petard for giving fire, you can sew a or tightly attach a large strip of canvas one empan wide which should also be well soaked in turpentine; & this strip must be split in the middle in order to wrap & tie it around the petard, and one needs to attach it in such a way that the touch-hole should be close to u mthe the tip of the sausage, which should be open, should be joined to the touch-hole of the petard. Then one needs to put a lot of tightly-pressed powder onto the touch-hole of the petard. And next, the one outside the ditch needs to pull the thread & cord that is joined to the sausage until it is moderately extended, but not so much that it is detachedsen. And if there was water in the ditch, one would need to support the sausage with forks. Then, the one who holds the end of the sausage will be able to give fire, having gotten himself to safety, & the others also.

^{On petards} Petards that one wants to place on doors or iron grates are sufficient if they weigh 40 or 50 lb. Moreover, as for its charge, ball, & fashion of proceeding, one needs to do all as is already said above, concerning the one of 3 quintals. One man can carry it. The ball needs to be be round on one side & flat on the other like a half ball a half of a cut ball. It is also necessary that the cross is held to the ball and that it, when the ball is founded if you make it from metal, is bound up with the middle of the cross.

Grenades Grenades must be made from the finest metal one can find, for there is fine metal and crude metal. Fine metal is that of a large bell, because one puts in more copper to give it a bigger voice, & for small bells one puts more tin to give it a bigger clearer sound. The metal of a large bell is made one with 3 quintals of rosette & twenty or xxv lb of tin. Tan Each grenade must weigh four to six lb. And in order to throw them, it is necessary that they be full of powder mixed with coarsely pestled glass. And for a quarter lb of powder, one needs half an ounce of glass which is put with it, in order that on the face or places where the powder will have its effect, the wounds will be all the worse for it. The best arquebus powder is required here. The hole needs to be as large as the thickness of a swan’s quill, & you need not bother to make it threaded, but it is enough to make it even. Next, you make a well-soldered pipe of fer blanc, which can enter into the hole & enter into the middle of the grenade & which comes out of it by the width of one finger. You will fill it with good powder, pestled in a mortar & lightly mixed with good eau-de-vie or strong vinegar which seems. And when This is done to temper the powder. And to know if it will be slow enough to allow leisure to throw the grenade without danger, try this powder thus bathed in another pipe. You can keep d your loaded grenades in a very dry place, & on the contrary you shall keep your pipes filled with that bathed and well-compressed powder in a humid place. And nonetheless, you shall have some already inserted into the some grenades, to be always provisioned. And every three days you shall change them if you recognize that they have become too dry. To throw your grenade, take it bravely & in one hand & with the other give fire to your pipe with the a match, & throw it promptly amidst the powder troops. The thickness of the grenade should be twice the back edge of a knife.

For bringing a cannon over land If you have To bring a cannon, one needs a hundred pioneers or more to flatten the tracks by levelling ditches & others obstacles, such as trees, stone mounds & 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 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 that place. And when one has made a breach at the strongest part & the cannon removed, it will surprise the assailed. One approaches fortified towns at night, but to poorly fortified towns, pioneers bring gabions and carry once these are placed, one puts some boards or planks 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

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 one sets them into the earth. The platform is five or six cano feet larger than the wheels of the cannon on each side m if there is only one cannon. But if 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 & goes running to them. In large

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 the breach is the best because in in this way the cannon hardly pushes back.

a hundred paces away from the battery & one surrounds them with barricades or trenches. And there one goes to get powder in bags or frails. And each piece has its own frail for loading three or four times. Then, when the cannon is set on the platform, one puts a board that is proof of an arquebus between two gabions. Then a gunner loads it with a ladle, & with the rammer which is at len the other end of the ladle, two men ram the powder as much as they can, in nine or ten pushes, until they find the powder to be hard & well-compacted. Next, another puts hay or straw and the r others ram a little. Another puts the ball and the hay-bearer puts in as much of it as before & one rams a little. Some put wooden bungs but this runs the risk of making the piece burst. And where one has to fire many cannon shots, one would need many bungs, which would cost much to carry. Once the cannon is loaded, xx or xxv pioneers push it forward with bars, keeping to one side behind the gabions without taking off the board until the cannon reaches it. Once the cannon is in front, the gunner mounts it with the wedges which are at the back, taking the sight on each side and then in the middle. Then another who is nearby gives fire. Each gunner cannon needs 3 gunners: the loader, the one who aims, the one who gives fire. Sometimes, against a camp or into a breach, one shoots cartridges, made as you have elsewhere, or else one uses a basan full of flint stones, cart nails & similar. P A ch cannon must not move unless it has two harnesses, be they of wood or iron. And to furnish the wheels, powder box, and other furniture of the cannon, one needs seven quintals and a half of iron. Pour les pre The best battery is done at a curtain wall, some say, for that is, as if at an bieve angle, for by doing this you shake loose several stones.

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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 the wheels & also put leather soles or shoes on the horses’ hooves in order that one does not hear them.

Gunner There are three reinforcement rings on a cannon, one at the breech, one in the middle, one at the mouth. When founders want to work on their craft or render the cannon or other piece lighter & easier to cart around, they make it from the ring at the breech to the ring in the middle of the thickness & proportion of the balls, as is said above. But from the ring in the middle to the ring of the mouth & they diminish it one line, or more or less, on each side, always taking their measurements with the compass from the straight line which they make in the middle of the model of paper or otherwise. And this reduction amounts to seven or eight quintals reduction & lightening in weight, and the piece is not less secure for it. This is done for big pieces, but for gr small pieces from lesser than the average, one needs to observe the aforesaid proportion, & draw the piece in a continuous line from one end to the other. The trunnions are commonly situated one foot from the ring of the middle, from toward the edge of the breech. But because some gunners prefer a piece which is weighted at the front because it is easier to plant, to do this, one only needs to move the trunnions closer to the breech & further away from the middle. On the contrary, if you want to render it s more weighted at the back, you will move the trunnions closer to the middle of the piece or place them further up toward the mouth. When you bore your piece you make a fluted cast iron box like a bedpost & there ought to be sixteen channels or notches in which you will slot sixteen blades quite evenly, with in order that all together they cut & scrape in the same manner. Because if some were to not cut & scrape, chambers & waves would be made in the cannon which would make it lopsided and there would be a danger that the piece might break in the middle. In order to avoid this, it is necessary that the borer should pass evenly from the breech to the mouth, & that the opening of the piece should be evenly bored from one end to the other, because thus the powder goes off all at once with more force. On the contrary, if restrained, it goes sideways & makes the piece break.

Cannonball This is the true measure of the caliber, but the borer always takes away a little more.

Petard They are made better in crucible form, hollow at the narrower at the bottom & becoming larger toward the muzzle. It is necessary to pestle the powder thoroughly & put on top of it either sand or cork or better still a fitted plate of wax thoroughly pestled on top, for it seals precisely & makes for greater force. The ball only makes a hole, the powder alone makes more of an effect. One holds that, once loaded & kept in a dry place for fifteen days, they have more force.

Culverin ball

Bastarde ball

Medium ball

Field piece

Falconet

Falconet of 4 quintals, alternatively passe-volant, is 8 pans long

3 quintals, is 9 pans long

2 quintals, is one cane long, which is 8 Montpellier pans

1 quintal, is six pans and a half

1 quintal and a half is 7 pans and a half

60 lb musket, is 5 pans and a half or 6

5 quintals is eleven pans and a half

The measure of the caliber of pieces

The numbers and dots show how many quintals the piece weighs that carries the marked caliber.

Pewterers They deem the best tin is the one that comes in saulmons, which has not been remelted since it came from the mine, because the masters remelt it a in grille, weighing two or three lb, to easily cut it up and sell it by the piece. And in this they often make a mixture of leftovers from plates, solder & common tin. And to recognize the best one, it is the most lustrous, which looks burnished, because it is the softest. Sometimes in their saulmons they find pieces of iron, stones & similar jumble to cheat on the weight. The tin from England is so hard that the miners put in lead to soften it. The one that comes by way of Germany is softer. Commonly, the sworn master pewterers, from bonnes villes, add six lb of fine lead on or eight on a quintal of fine tin. The others, who work in the countryside, put fifteen or 20 or as much as they can, and to cover up the blackness of the lead they and its softness, they put in looking-glass tin, 4 lb per quintal, + po which whitens & hardens, and a little six or eight lb of rosette on a quintal to render the plate sonorous. To mold platters & dishes, they make them out of pierre 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 almost a sufficient quantity for a platter, they cast leu in their cold molds, which they keep joined & tight between their knees. And soon after, they open the molds so that they do not heat up, & having taken out the cast which is on the female side, & which breaks easily. Then, with a cloth which soaks in water, which they always have beside them, they rub the middle of the back of the dish & around the edge, so that it comes out better, and rub the female mold with it. + When the tin is fine, one adds less glass-looking tin, namely 4 lb per quintal, but if the tin is base, that is to say alloyed with a lot of lead, one puts at least five or six lb of looking-glass tin to it. If there is hardly any looking-glass tin, one puts about two or three lb per quintal. One puts eight lb of rosette. But if there is a lot of looking-glass tin one, like 4 or 5 lb, one only puts six of rosette. And commonly, per quintal of tin, one adds x lb of both. Go to the fifth leaf.

Stucco for molding Take tragacanth gum and put it to soak until, having drunk its water, it is swollen & rendered like jelly. Then grind it quite hard on marble & next take rye flour, which is better than wheat because it is more humid and does not make the paste as brittle, and sprinkle your tragacanth gum with it, & continue to grind and mix in thus, little by little, le et mesler legi the very finely sieved flour. And knead it as if you wanted to make bread, until you you perceive that it has enough body & is as firm as bread dough that one is ready to put in the oven. This is recognized when it can stretch enough without breaking. And if it was not strong enough, it would not sti release well. Once the paste is prepared, rub the hollow form au u with oil, with a brush, in order that the oil penetrates everywhere to make it release better, and press the paste inside quite hard. And if it does not release well, mix in more flour until it has enough body. With this you will mold whatever work you like, masks or garlands, which will be dry within one day. Next, you will apply them with strong glue or paste glue, as you like, and you will be able to paint and decorate them with gold & all colors. One makes ceiling ornaments with it in Rome. One can make bed ornaments with it. If you want that the work stays white, it is better to mold with plaster instead of flour. It is true that it is more brittle and firm as well, but one needs to prepare it like this: temper it, when it is powdered strong, in a good amount of water so that it is clear, & grind it several times a day for fifteen days. Then pour off the water by tilting, and gather the plaster & grind it finely on marble, & place it in some kind of clean lead vessel, so that no dust & dirt falls into it, & leave it in the open air & in the serain for fifteen days with its water, and it will become matte, strong, white and light, very suitable for making a seat for burnished gold. And this, in powder form, you can mix, instead of flour, with tragacanth gum, and your work will be very beautiful. Lacking plaster, you can mix in well ground chalk or ceruse, & try bole & similar things. This stucco with the tragacanth gum has the quality that, yielding when it is not yet dry, it can be accommodated on either round or flat things, as you like. It is to make an ornament at little expense. Flour is not good in this, but chalk or ceruse is.

Color of gold without gold on silver Color your applied silver leaf with terre emerita, and once dry, give a coat of spike lavender oil varnish and of sandarac. And it will be more beautiful than tinsel.

Layer of burnished gold on paper Make your seat of starch soaked in water & your gold will burnish very well. Clear starch water layered on the paper, then dried, & repeated in this manner 3 times, is a good layer for burnished gold on simple paper & has no body.

Removing stains Good eau-de-vie removes them if you rub the garment with it.

Seat for gold Ground terra emerita with some saffron, all of it tempered with very clear strong glue & passed through a linen cloth.

Extraction of oils Apothecaries say that anything which does not adhere to the mortar while pestling is oleaginous.

Dragon’s blood Take a well chosen tear of it which shows off its transparent red. And in a glass bottle put the best eau-de-vie you can find, in sufficient quantity. For it And stop it well and so diligently that it does not vent, otherwise it would be worth nothing. And leave it thus for a long time, because the longer it stays there, the more beautiful & better it will be & it will dissolve if it is good, otherwise it will become like wine lees. When you want to use it, make a small hole in the stopper of the bottle & pour a little & stop it again each time, then apply it on gold. The good kind of dragon’s blood can be found in large pieces like cake this one has no value and is adulterated & once broken it shows on its edges scales, transparent as ro rouge clair enamel, it is also lumpy in some parts like small rubies. The eau-de-vie needs to be very ardent & passed several times. The darker dragon’s blood is the best & has more of a tint; it is the tear that is found in gr pieces like peas and large hazelnuts which look like

. I put it in common eau-de-vie, mixing in some aquafortis to give it strength. At the beginning the water took on a slight tint, but at the end there was only an appearance of tragacanth gum with which I think they adulterate the dragon’s blood. When it is applied on burnished gold, it is prone to break. For this reason, some coat it with turpentine varnish. Cold delays the action of the water and the extraction of the color. And for this reason, one can keep it close to the fire.

Lead The best, fattest & softest is brought from Germany and is not in saulmon, but in lattes of around an arm's length & three fingers' width. It is transported to Lyon, and from this, the leaf is made for small mirrors in Nuremberg.

Pewterer They also make their molds from metal which lasts longer & molds more cleanly than grais, because the plate comes out without flashing & smooth. But this is for the rich because a mold costs fifteen or sixteen frans. They are mainly made of metal, for basins & ewers & salt cellars & similar things which are fashioned. For pints, molds are made with white clay earth mixed with horse dung & cloth waste & well beaten, because the pints, being sunk in a half round, would not be able to release as well from the grais mold as from the earth, which is soft. One makes the noyau of the mold of the said pints in grais. In metal molds, one makes vents and casts all at once, which is the reason that in the middle of the dish, no smoky black line which comes from the vapor & fumes of the metal that is cast, which is the cause that in that spot, the work is lumpy & very often pierced. However they repair it with solder du n, as is said. These fumes are made right in the middle of the cast, & in grais molds. The plate can be hammered mar to make it more vendable. But it will not last as long. Depending on the size of their platters & plates, they have notches on the spoke of their iron wheels. And when they want to apply

any dish or plate, they loosen & undo with the strike of a hammer the iron wedges that slide along the spokes of the wheel. And, when they are at the notch and points that they need, they tighten the said wedges, wedging them with the hammer. When their plates or dishes have been cast, soldered if needed, & purged of surrounding flashing with the hot soldering iron & then with a large file, they adapt it on the wheel; & first of all they wrap their desgrusoue desgrusouer with a rope, as thick rope as the little finger, & lean it firmly on the crossbar to secure it well. And while someone else promptly turns the wheel, they guide the sharp edge of the esgrusouer by hand s toward the edge of the round hollow, & gently guide it to the center of the circle. And this desgrusouer is for removing the first rough & lumpy skins of the work. And next they even it out with ae cutting iron called a plane, the sharp edge of which 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 & 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 esgrusouer. Then, with a knife or another sharp iron, they scrape the edges of the platters or plates to smooth them so that they are not found sharp when handled

Their hammers must be quite even & polished, and if by chance the rust, the or some other use, has damaged them, they first polish them with emery stone powder, then they finish burnishing & smoothing with the putty. Otherwise they would not strike neatly. It is also necessary that the surface of the anvils be the same.

New vine Having taken well, if you want it to grow strong branches, having plowed it, put at each foot two handfuls of pigeon dung.

Colored waters Distilled urine, distilled vinegar and eau-de-vie take on a cerulean and green tint from pulverized and finely ground aes ustum. And this tincture is red copper in its residue if you distil the aforesaid things through a filter.

Varnish resistant to water 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 very clear & beautiful & dries soon. This is why one uses this one for painted banners & signs that one carries in the rain.

Fruit made from sugar One does not paint them with a paintbrush like other s things with moistened color, because the sugar would melt. But one rubs them with color with the finger.

Painter Scribes achieve darkening of lake & other colors for garments with egg yolk, but this is trumpery and does not last. Others glaze reds from minium & others which are not beautiful in oil M using glair of egg, and it appears to be done in oil. But humidity corrupts all this.

Brushes Take those that have been used a little by white-limers, for the harshness of the lime & use make them more handleable.

Painting from nature One ought not to undertake to work on it in overcast weather because you would make your flesh colors browner than one ought to.

Painting on glass For blue, they take the coarsest azur d’esmail & grind it on shale, & mix in two or three rosary beads’ worth of rocaille or more, according to the quantity of the work. And having done their drawing with noir d’escaille (which is painted toward the light with the piece of glass upright), they lay all their pieces on white paper when for knowing by the whiteness of the paper the lighting of their histories and as set down all colors which are of one kind all in one go. Then they heat it up.

The body of the cuirass The high plates of the pauldron of the brassard are like a masterpiece of the masters, for it is necessary that these pieces be very precisely hollowed & 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.

Painter As soon as the colors of panels are well dried, the Flemish varnish them so they do not die any more than they already have & remain in that state. The one who knows to work well in distemper will work well in oil. But, on the contrary, the one who knows how to work well in oil will not work in distemper.

For layering gold in distemper Common painters & scribes make batture, that is joiner’s glue tempered with water on the fire, moderately clear, mixed with very little honey, that is to say a few drops to make it stick. And with it they form letters, or that which they want to gild, with a paintbrush, and immediately after layer the gold, but they never do their work quite neatly, and if there is a lot of honey it dries only with great difficulty. This layer is undone in the rain. Others do better, they temper candy sugar in water and mix it with sanguine that they call cocon, thoroughly ground, adding in a little soap. This is done neatly, & renders gold beautiful if one uses it as the seat.

Mat maker They make two kinds of them in Toulouse, one to hang on the partition walls of rooms, which they weave almost as fine as the straw phats worn by villagers. And they make them in long bands, some the width of ten b straws, others of thirteen. And they work on them mainly in summer. And in winter, when they put it to use, they sew it. But beforehand, they put it in dye and commonly make it in three colors, green, red, and sometimes violet. The green one is made in a single pastel woad dye, because green being made from yellow and blue, the pastel woad discharging itself onto the straw, which shows its dark yellow, one obtains bright green. For the red, they use alum and brazilwood. For the violet, they use pastel woad & a little copperas, which browns the blue with its black tint.

Glassworker They do not have the invention for making a perfect red in a work which one needs to reheat. Nonetheless, try the red from German, which is rouge d’escaille. They make their common red with sanguine, looking-glass tin, rocaille, litharge & a little iron scales. The said red is applied on one side & the other of the glass in order that it has more color; if it were applied on one side only, it would be too pale orange.

Founder They buy rosette at xx lb a quintal, which is harder to melt than latten because it is softer. For, the softer the great metals # are, the soft more difficult they are to melt. The tin for bells, which is fine tin is more and which is brittle, is easier to melt than lead, which is soft. Latten made brittle by the calamine is melted more quickly than red copper. The metal, which is the substance of bells, mixed with tin, and very brittle, is soon melted. The more silver is alloyed, the sooner it melts, that is why solder is made with it. In Germany they make very light candlesticks, it is because they turn them by means of water, but they are breakable. A quintal 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 # Gold, silver, copper, latten, iron.

Knife for cutting the nose or a finger

This is a well-furbished knife, nailed through the middle in such a way that it easily moves to one side & the other & the side A, as readily as the side B, is hidden inside its handle marked C. The two tenons you see at the tip of the knife are for locking it on one side or the other against a nail which is at the butt of the said handle, in order that, when one wants to press hard on something to cut it, it does not come out from the handle. You may allow the side marked B to cut for demonstration purposes, but not much, but the side that is notched A and marked A must not cut. It It is sufficient that it be furbished well. And also the notch needs to be as thick as the back of a knife in order that it cannot cause pain. And you will only show the part of the knife which is not notched, for the side with the notch needs to be mar hidden inside the handle. And when you want to cut the nose or a finger, pretend to sharpen your knife on the thigh and, while while doing this, turn the knife deftly. & the part with the notch, which you will cover l with one finger, will come into your hand, and you will place the notch, colored with brazilwood rosette or black cherry juice, upon the nose. The conjuror ought not to amuse himself by watching what he is doing, but look at the spectators and give them plenty of good hocus-pocus words so that they look at his face & not at his hands.

X For relighting an extinguished candle between your hands without blowing

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 clasp both your hands, fingers well joined, and pass them deftly around the lit candle as if you wanted to cover it with them, & your wicker will light, & immediately remove your hands jo thus clasped, & immediately put out the candle. And then put your hands around it again as if you wanted to cover it, & your little of light p wicker light, by means of the smoke that you are holding with your two palms the candle will light. Then immediately extinguish your wicker & secretly cast it aside.

For making it seem that to someone that he has a piece of silver on his forehead Take a token or piece of silver and wet it and make it hold against your forehead. Then say to the bystander that if you put it thus on his forehead, he will not be able to make it fall without lifting his hands to it, no matter how he shakes his head. And making it seem as if you are placing it on his forehead, retain it in your hand & wet your thumb with your saliva then press it quite strongly on his forehead. And thinking he has the piece on his forehead due to the coolness of the saliva, he will shake his ears & will get nowhere.

For making blood or wine issue from someone’s forehead or from a wall

Take a funnel or funnel of fer blanc which is double-walled in the body d but not in the spout. Make a small hole at the top edge & au another, slightly bigger, on the inner wall that will be a little above the spout, just as you can see in the adjacent example. Then when you want to use it, put in wine or liquid rosette of Brazilwood or black cherry juice, and blocking the hole of the spout the with your little finger, make sure that the funnel is well filled in order that the wine can enter there between the double walls through the hole at the side, & if it does not enter well, making it seem as if you are tasting the wine, suck & draw in a little air, drinking where the little hole is. Next, make one of the close bystanders drink the rest of the wine or cast it aside or let it flow through the tip, but before, you must have pressed your thumb well over the hole on the top edge, because in this way, by the compression of air, the wine will be retained between the double walls. Then with a bodkin rounded at the tip & that goes into its handle, you make it seem as if you pierce the forehead of someone who holds a glass in his hand, and while you pierce, you cover what you are doing with the funnel that you hold close to # # his forehead. Then removing your thumb from over the hole on the top edge, the air, being free, will make the wine issue from between the double walls through the hole marked B, & fall through the tip marked C into the glass. But you must make the fellow bend his head enough in order to do it well.

For telling someone that by putting holding a finger to his forehead, you will prevent him from exiting a chamber X Make him put his arm around a bedpost or something similar, & with the same arm, let him hold a finger to his forehead.

X Wager someone e that walking to a certain place and back, he cannot say boot without spur four times in a row 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 wager.

For making a candlestick hold to the wall without making a hole in it X Make a servant hold it to the wall.

X How not to break a glass with a log or a large stick 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.

Writing cunningly Cut some long strips of fine parchment & mark them according to their order with A B C & caetera, then have them sewn inside the hem of a shirt of rough cloth, like that of a messenger, who, if you want to tear up his shirt, will know nothing of it.

For melting or transmuting a jewel put inside a box

Take a box of boxwood banded with rings, as you see, into which will easily fit another small box, like that which you see marked B, and make it so that it does not touch the bottom of the large one marked A, but that there is some distance. Also, that which enters the large box must be smooth, but the rim must be made with rings so that, being joined, it appears as if they are one and the same box. You must also have a round leather cover of the same length as the box, as you see marked C, which fits let easily & surrounds the said boxes thus placed one within the other. But before you do your trick, you must put at the bottom of the larger box powdered gold or silver, or mercury amalgamated with silver, and then place the little box marked B on top. Next, holding the box with your index finger on top, you present it, and seeing only the bottom of the smaller box marked B, one places a jewel or something similar in it. This being done, placing the box on the table, you cover it with the leather box, and making the requisite gestures, you will remove the leather box, & without showing the inside, will put it on the table & let it be recognized that the jewel is in the placed in the bottom of the small box marked B. Then you will gently place the leather box back, & after saying inhonorificabilitidinitadtudinibus, you will take the top of the leather box with two fingers, and with the clasping it more firmly than usual, at the same time you d will lift pe the smaller box that is inside & which contains the jewel, & you will gently put both on the table, then you will pour the powder or amalgam that is at the bottom of the large box, then replace the leather box with the box inside it, as it was at the start. Then, removing the leather box without removing the smaller one, you will show the jewel at the bottom which has returned to its previous state, holding your index finger on the rim of the box so that it does not slip.

For telling someone that you will show teach him something 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 nose and show it to him. Thus you will teach him something you did not know, and neither did he.

For supporting a bucket of water on the tips of three knives laid down without touching the ground

According to the strength of your knives, either kitchen or table, you will make them support a large weight on their tips laid down & arranged in a triangle, edge to edge, as you can see, & they would not touch the ground. And if, after arranging them this way, you turn them the other way without unjoining them, the tips of the handles can also support a large weight without touching the ground. You can easily adapt this to another use with pikes, with joists, or to promptly make a tripod in a camp with three halberd points. If the edge of the knife marked A faces from right to left, the butts of the handles will rise, but if the edge of the same knife faces from left to right, the tips will rise.

For boiling an egg in cold water without fire Empty an egg from both ends so that nothing remains inside, then fill it with quicklime & natural sulfur, then stop the holes with wax & put it in water so that it floats by two or three fingers.

For making rabbits come out of a burrow Take some embers in a pot, & having put sulfur on top, put it in the burrows & block it with something light.

For preventing someone from eating a foodstuff Dry some calf’s foot root, otherwise arum, & sprinkle the foodstuff swith it. There is no danger in this. See Mathiol.

For transmuting grain from one vessel to another

Take two small wooden bushels of the same size, which should be hollow on the bottom exterior by about the width of the back of a knife or more. One of these will remain empty, & on the bottom of the other you will glue kernels of grain with starch such that it will be covered entirely with grain, & it will seem to be filled with it. Take also a wooden bell into which you will place as much grain as can be held within the capacity of one of the bushels, and over the top put a simple piece of leather that fits tightly inside the bell. Put all into a bag or a napkin or a folded handkerchief, if you do not want to use a conjuror’s pouch. First show the empty bushel, then in front of the audience fill it with grain, then put it back in the napkin. Next, leave that one there & take the other where the le grain is glued with starch & it will seem to be the first one, filled with grain. Put it under a hat & place the bell gently on the table for the first time. And if you like, promptly & without stopping, show the bottom which will be covered with white leather of the color of the wood. Then pretending to show the bushel that is under the hat, you will turn it deftly to the side that is empty & leave it covered. Then you will command that by 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 bushel semb will be found empty and the bell full of grain, which you will scrape deftly along with the piece of leather

so that it cannot be seen, & you will very subtly with conceit cast it into the bag or pouch.

For transmuting a ball into a thimble, cunning

of leather

Make a small sheath of plain leather, such as cow or morocco, somewhat thick, as tall as three fingers, sewn like the finger of a glove & large enough that two fingertips can fit inside & which, at the tip, which is a little puckered, has a round hole as large as a double liard. Take one two similar boxwood balls, & let one be hollow & open with a round hole on one side only so that the thimble can fit inside. Thus, when you want to perform, you will place your leather sheath on the table with the ball that is not hollow. Pass a stick inside the leather sheath to show that there is nothing there, also show the full ball, and hold the one which is hollow & has the thimble inside it by your little finger & ring finger, and do this with your right hand with which you are holding the stick. Next, you take your leather sheath & place it over the hollow ball which is in your fingers, & making it seem as if you are putting some oribus powder over it, you put back the leather mold that contains the ball with the thimble on the table, then you take the round & solid ball remaining on the table, and command it to enter from under the table into the leather sheath. Then, when lifting 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; & 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.

Founder Kitchen pots are made well, in order not to give a bad taste to the food, with the same metal the bells are made of. It is true that founablesders mix in more latten to make them yellower, to make them more vendable. But the latten by itself, & at a mere touch, is stinking & of bad odor. Latten does not lose, or only slightly, its calamine in an four à vent when it is melted in a crucible, nor in a wood furnace, but it does in a bellows furnace because bellows give violent fire.

Four à vent It is necessary that it be narrower at the mouth than at the bottom. And it is enough that the crucible be able to enter in it, & that there be space to remove & take it with pincers.

Glassworkers’ glass One says that in Lorraine & in Flanders well-made glass is made of fern ashes & pebbles, and first they blow a long bubble, which another worker, with long shears, cleaves & cuts lengthwise. Then, having set this long, cleft bubble on a stone or large plate that is in the furnace, a little less hot than for the melt, it is left to stretch out. And again in addition to this, they flatten it with a long & thick round iron rod, then they remove it to the annealing furnace. It is made in the same way in England more beautifully. Near Rouen in France, plate glass is made with some salt of saltwort & pebbles, that is whiter & more delicate than that of Lorraine. For 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, A then puts it to anneal. Thus the middle, whence it is begun, still remains. The glass can be cleft again with the light of a candle by wetting, but not as precisely as with the hot iron.

Founder The metal whitens the more it is melted, because the tin does not go away but rather mixes in more. And, by holding it a long time in the fire, the filth is eaten away, which is what makes it brittle. If you want to chase the tin from the copper, after it is quite hot, throw in saltpeter often. This only & not the fire separates it, & purifies it, & eats the filth away. The metal is cast very neatly. The copper is prone to swell, but because it is soft, it can be fixed with a hammer.

Medicine for the stomach which heats it and unstops the liver Take Take wormwood powder, dissolve it in capilli veneris syrup or preserves, & make with it an opiate of which you will take once a week on a host soaked in wine. Then you will be able to drink a finger of sufficiently tempered wine. This dissipates the phlegm & the winds which arise from it. You can take six pepper grains & grate their rinds such that they are smooth, & swallow them without chewing. This benefits the stomach without heating the liver.

Foil backings for the gemstones Once made, one ought not to keep them in any case of iron or metal, for this stains them, but in some box of

For keeping candles from dripping and making them white Having made them, put into the mold fresh water well beaten with bran, which should not at all be purged of its flour, so that the water becomes white. And dip your candles in that, then leave them to dry. And do thus two or three times.

Gardener For sowing melons well, it needs to be at the end of a moon cycle, for otherwise they would bud too many leaves & not bear enough fruit. Make small e holes, two fingers by two fingers, with a stake & put in each two or three seeds. Next, take very fine earth & fill the holes lightly with it. Next, spread over all the thickness of a thumb of havets, that is to say wheat fl chaff, in order that the coming rain does not beat the earth & prevent their birth. Havets attract field mice who eat the seeds. And for avoiding this, one must moisten them with s a decoction of wormwood.

Glassworker Some do not apply gris d’escaille to the glass for painting on glass, but trace on the clean glass with noir à huile. But it is very necessary that the wood be rid of grease, for if it has grease, however little, the color will not take on it at all. And likewise, if the glassworker who is working has a stench from his nose or his mouth la, & he breathes on the glass, the color will not take on it. Those who discovered the invention of working in small works of soft enamels use only esmail d’azur, which is blue, & esmail colombin, which is the color of purple, which they soften with rocaille or leaded glass. As for the yellow, they make it from silver, the red from sanguine, as is said elsewhere, the black & gray & shadows with noir d’escaille, either strong or weak, the flesh color with clear sanguine. The green is made first from yellow, then on top they coat esmail d’azur, either strong or weak, according to whether they want to make it bright or dark.

Yellow Amber It is cut with a file, then one passes a certain pulverized salt over it, which an Englishman called desramonet. But I suppose that this was pulverized pumice stone, for it had the harshness of arène. And with a taut cord, he polished his amber, then passed tripoli from Bretagne on it with the finger, others with a piece of leather or a cane. Amber loses its color if an unhealthy person wears it, & becomes whitish. But to restore it, it needs to be soaked for one night in urine, then boiled a little in it.

Sapphire 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 Charlemagne, 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 blemishes. I am of the opinion that these are artificial & that they are of taffer or very clear esmail azuré melted entirely on the sapphire. The file bites on it as on the beryl.

Saffron It is counterfeited & augmented with marigold leaves half-dried, & twisted like a thread, & put in the hottest sun to dry, & is mixed, & the said marigold even gives some color.

Sapphire Stone cutters sometimes choose old pieces of antique glass in church windows, which are much thicker than those of today & are of more lively colors. If it is for souf sapphire, they choose beautiful blue & from such a place that there are no pieces grains, if it is possible. And having cut it in squares with emery, they cut it in bevel & polish it. And in this manner, they counterfeit very beautiful sapphires. The old esmail d’azur for silver verging on aquamarine was very appropriate for counterfeiting sapphires, but it is scarcely found. One counterfeits aquamarines with white glass, but they take it from the bottom of the glass.

Amber The orangeish color that is in transparent amber and in the other one that has body is not internal, for on the inside it is whitish. But through age it or wearing it, it acquires this reddish crust. This is why those who cut it with the file or on the wheel do not remove, if it is possible, this crust. But they only polish it, rubbing it with a willow stick or other soft wood dipped into water & dusted with tripoli of Brittany, and it takes a beautiful polish. If it is too straw yellow & you want to intensify its color, hang it inside a chimney where there is much soot & smoke, and it will take on a reddish-orange color. Try to take the most whitish transparent one, and put it under dung to turn it green, like bones. Or smoke it in a closed space, with the smoke of safre or manganese & other drugs that you know. Or in urine & distilled vinegar mixed with colors, or in the 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 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. I have experimented by making it boil in lye or corrosive water, it turns reddish on the surface. And if it is rubbed against fir & soft wood before it is cooled, it is easily cut.

Black color for dyeing Take lye of quicklime & litharge, mix & soak, & you will make a tawny dye, & by reiterating it you will make black. Try other colors with lye of lime.

Against nose bleed and for dyeing Pestle some sorrel or lapathum acutum of the sort that is red-veined, which is called dragon’s blood, and apply it de to the forehead of the one who bleeds. This herb is a strong dye & makes beautiful violet.

Beautiful artichokes One needs to prune them every year so that only one stalk is left, & water them thoroughly. L Also replant some every year, for the second year they will bear very beautiful fruit.

Planting trees One says that rarely a tree planted on St. 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.

Merchant Those who sell velvet & es other stuffs by retail do not make double-entry books because selling by retail & in detail it would be too much effort for them. They have only their sales book & their account book. But those who sell in bulk & those who traffic in pastel woad have double-entry books.

Scarlets Because one aulne costs 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 pure scarlet pastel woad & a little cochineal. Black cloth is thin so that the dyeing is inexpensive.

Goldsmith They assemble silver filings with saltpeter which refines it & does not make it brittle. But gold filings are assembled with borax or, to save the borax, with lead, which refines the gold & softens it, for the saltpeter would make it brittle, which silver does not do. This is why, to save money, goldsmiths use it to assemble, in order to save borax, which costs viii sous per ounce, & saltpeter x sous per lb. When goldsmiths have thus assembled their silver filings with saltpeter, a red enamel vitrifies at the bottom of the crucible. I do not know if the copper mixed in with the silver is the cause. Try for enamel.

Pastel woad It is grown in Lauragais where the depth of the earth is so fertile that if one were to grow wheat there every year, it would lie flat for being too vigorous. This is why one alternately does pastel woad and wheat 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 St. Anthony’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 is good in one field & in the one close by it will hardly have worth. The goodness of the pastel woad is known when, put in the mouth, it gives a taste as of vinegar, or when crumbling & breaking it, it has some mold-like veins which are as if golden or silver. One assays it in the dyers’ vat, and to fill a vat with it, one needs six balls of it. In this, one dyes several locks of wool, and if it dyes fifteen times, it is said to be fifteen florins, if it gives xx dyings, xx florins. The good kind dyes up to 30 times & commonly up to xxv or 26.

Enamel 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 foeillages of the engraving. Copper has a similar hardness for engraving as fine silver or pistolet gold.

Colors for illumination on glass In order that your turpentine colors do not spread, & hold together, mix in a little of tear of mastic together with the turpentine.

Tracing some history on glass If you want to trace some history in intaglio on glass, you can do it in different ways. Lay your glass pane on, the thinnest you can find, on the printed history, & having cleaned the glass well with lye & ash so that it is not greasy, trace over the lines visible to you with noir à huile or noir d’escaille with the paintbrush; if you want to paint with colors in the fashion of glassworkers, who wash their glass pane with noir d’escaille & then scrape & clear the parts which they want to coat with color, leaving that which is necessary for shading. But if you want to make gilt histories on glass with a background of colors, which imitates the basse-taille of goldsmiths, gild your entire glass pane with gum water or garlic juice or milk of the fig tree. Then moisten your printed history between two wet linen cloths, and lay it down on the gilt glass. Then with a pin mounted on the end of a small stick, follow the lines of your history as if you wanted to pounce it, & thus you will exactly trace it on the gilding of the glass. & next you will clear the background & that which needs to be blank with a quite pointy steel awl, & neatly follow once more the lines & accomplish your work & make your faces & flesh colors in argent moulu; then you shall fill the background with azur d’esmail or verdigris or fine laque platte platte tempered with clear turpentine, mixed with a little of tear of mastic if you want that the colors are more even & do not spread. Next, layer on the back of the glass & over the colors a white tin leaf. And once this is dry, you can cover the tin leaf of with color to hide your secret. The tin leaf gives light to the colors. Thus you will be able to paint without being

at all expert in painting. If your glass pane is bulging as if taken from the belly of some jar, it will show all the better for it. When you apply your turpentine colors to your glass panes, first place them on a hot tile &, once they are hot, spread your colors & leave it a while on the tile, then lay down your tin sheet.

Dye Some take the root of lapathium acutum maius, which resembles monk’s rhubarb or sorrel, & with the root, which is yellow in the summer, they dye thread & similar things.

Aquafortis Some put on for four pounds of substance of aquafortis four which are in the retort four ounces of common water in the receptacle, which is better than putting it into the retort. One de-phlegms & calcines alum in order that the water does not have as much dregs. Several make it without de-phlegming the alum.

Vinegar One holds certain that heating red-hot the mineral salt, which resembles marble & which one calls Cardona salt in Catalonia & at the border of Spain, thr & throwing it in the all red or quite hot into wine, that it turns it into very good vinegar. Some make it with water poured on pomace soured after being pressed by vintagers, but it does not keep, & spoils in heat & thunder storms.

Buttons of vermeilles Because vermeilles do not fear fire, one cuts them into lozenges flat on one side, then one joins them together in a star shape in a paste of ground enamel, next one melts it & one gilds the enamel with gold leaf which one reheats.

Grottos To fill some empty place that cannot be laden with some sort of hanging rocks, one puts a piece of thick parchment close to the fire, which shrinks & crumples. Then one paints it with distemper, then in oil. Next one affixes it.

Cross of the commanders of Malta This beautiful rouge clair which makes the field of the white enamel cross is blood of fine tear of dragon’s blood tempered with eau-de-vie or else Indian laque platte, which in my opinion is made in Flanders, tempered with clear turpentine & tear of mastic & laid down on a silver leaf, not the kind which the painters use, but a thicker kind, which is burnished by those who make gemstone foils Av or by goldsmiths, & that gives it this beautiful brilliance.

Latten and calamine Founders do not melt latten in a à vent bellows furnace but in crucibles, for in a à vent bellows furnace & amid the charcoals, the calamine would go away. A

Metal Tin should be pure for if there is any lead, it will go up in smoke while melting. Mixed tin holds in the fire for a long time but the cendrée separates it.

Aquafortis If your retort is well luted, you ought not to surround it with ashes, which would only get in the way of chasing the spirits properly. But when, at the end, you give it violent fire, surround it with chacoals which should be lit elsewhere beforehand, as those in the furnace should be, in order that they do not crackle & do not make smoke. Put the said lit charcoals around the body of the retort, & not close to the neck, which does not need to be heated as vigorously. The top grate, where you set your retort, is sufficiently far, one dour or half a foot, from the bottom grate where the charcoal is placed, for by doing this not as much of it is wasted.

Earth for casting, for founders It renders itself fatty once beaten and also mixed with horse dung. Potter’s earth would be too fatty and would crack & would not hold in the fire, but one needs to mix it with half as much sand and a quarter or a fifth of horse dung. And leave it to dry, then turn it to powder, then sift it to render it fine & purged of gravel, which would prevent it from casting neatly. The dung renders the earth more amenable & easier to deal with, but it is necessary that it be well free of straw & other things. And when the earth is very fatty, one needs to give it more sand & more dung. But one does find fatty earths, in and of themselves mixed with sand. If they are not, do it by artifice. One always needs to reheat the earths before casting.

Garden lily If one breaks it at its first blossom & it will bud & bloom only in the following year, & I believe bulbous herbs do this.

Sand The sand cast for casting should be chosen neither so lean that it has no hold, nor too fatty. And although it is found in nature, it is nonetheless not everywhere. And if you are in a place where it is not found, you can make it, but not with fatty earth, for the sand does not want it at all, for it makes it very porous. But you can give it bond with brick thoroughly ground on marble, or plaster or calcined alabaster or something similar, or the burned marrow of ox horn or burned aspalte throughout. If you grind it quite finely on porphyry, it s acquires hold & then you can burn it with aspalte or mix it with a quarter part of tripoli. Guard against bread falling into your sand because it makes it very porous. Try mixing in soot black.

Ducks Young domestic ones do not grow for a month after they are hatched, but remain in this state. But after that they grow quickly, especially if they go into the water. One feeds them with boiled millet grains, crumbling in bread for them and scattering in well chopped lettuces.

Glassworkers’ black Iron scale taken from bars that have been in the fire for a long time, & which is thick, is much better than that common delicate kind that falls under the anvil in the forge, because it imitates niello. To the said black, described elsewhere, some add d a little minium to it.

Sheared ewes If the shearer sometimes wounds them, he puts the very dung of the ewe on top. When they are fat, they are easier to shear & do not get wounded so easily. If the shearer wants to viscorter them, that is to say castrate, when they are one or two years old, he must not have been with his wife for this would make the sheep die.

Colors and gilding on glass One ought not to give as strong gum water on glass for the gold layer as for silver layer as for the gold layer because a silver leaf is twice as strong as a gold leaf. Also, silver is harder and therefore does not scratch as easily. Q And if the gum was not a little strong for the silver, the latter would not split so neatly. When you work, the humid the exhalation of your breath moistens the leaf laid on the glass, & therefore it would be good, while working, to heat it up a few times. You need to be very careful to wash that which you want to be blank & serve as a background for painting with colors, for if it were not quite clean of the gum’s greasiness & viscosity, the & of other things, the colors would not be so neat on it. To advance your works, you can pounce, or, better still, layer the gum & leaf on a cut paper. In this way, you will only need to repair very little. If you want to make gold color there without gold, mix soaked dried saffron with a little massicot.

Founder The mold of earth is reheated until, sometimes, it is as if red, for otherwise the metal would spatter & would not do anything good. And similarly, the noyau on the inside should be very reheated, & mixed with charcoal powder.

Wax for seal and imprint For the large wax seals, you need to have tepid water always ready & apre keep your wax in it. But before, it should have been kneaded between your hands to render it very uniform, for otherwise the water that would get in between would prevent it from becoming uniform. Next, you will press it into whatever you want and put three or four pieces of paper on, & with a stick you even & round like a pestle, you will roll it as if you wanted to polish it, and it will attach itself to the paper, which will help you lift it off the mold. Thus you will imprint better than if you were to cast it molten. You can carve the figures & gild them, silver them, & paint them with colors in varnish, & transfer them onto a base of glass painted with colors in turpentine & mastic. And if you want to apply these plates by incrustation, do it with gum ammoniac tempered with vinegar, and you will have good glue.

For casting in plaster Melt some wax, & with a large brush coat the relief of which you want to have the hollow form, as if you wanted to paint it. And a light crust upon which qu will form, upon which you will cast you plaster, to give it body and strength. Next, in the hollow form of wax, you will also cast your plaster in order to have your relief, & it will release very easily because of the wax. This is done more for large pieces in high relief than for others.

Pounced design for scratching satin After you have pounced with flour or ground chalk, in order that the dots of the pounced design be not erased, follow the trace with glair beaten with the milk or bark of the fig tree, which will immediately make it clear up like water, & without becoming thick, it will keep the trace, which you will follow again & scratch with d a piece of glass or a penknife.

Canvas for painting in oil without breaking In order that your picture in oil does not break & spoil in the folding of it, make your layer with honey oil, a bit of oil, & water, & flour.

Painting in oil on taffeta which In order that the oil does not run, make your first layer with honey, alum water & starch water.

Sand for casting The main thing is to grind it well on marble, & that it be impalpable & mixed with a little calcined alabaster.

For outlining a portrait Follow the lines with lake ground with olive oil, which will not dry.

White varnish on plaster Give two or three coats of quite white glue for painting. Next, varnish with varnish of sandarac, spike lavender oil, and a little mastic. And in the evening put it into a vessel, all pestled well together, without fire, which would turn it yellow. Then with a paintbrush, it is dry immediately. Pour the oil, which will have taken the substance.

Mericotons and pavis One should graft them en during Advent of Christmas provided that it does not freeze too much.

White bronzing on plaster One needs to give four layers of painters’ distemper glue on the plaster portrait, always leaving each layer to dry. Next, with minium from England ground on marble, or burnt lead, grind av & temper with a bit of gum or go glue, & coat lightly. Once dry, rub lightly with a little cotton and the plaster portrait will seem to be of lead. Others grind minium with quicksilver.

Purple ℞ stagno dolce, meza onça, farlo fondere in un cochiaro. Depoi fonduto, gectarly dentro una ℥ de ☿, mesedar insieme. Essendo freddo, macinar supra il porfidio. Dapoi piglia una ℥ de sal armoniaco, una ℥ de solfo del più giallo que se possa troval, macinar tutti duoi. Et poi mesedar molto bene tutti gli matteriali sopradetti. Dapoi metter tutto insieme dentro un a pignatta sublimatorio di vetro, tenerlo sopra picciol fuoco una hora & una hora un poco piu forte & una hora bonissimo fuoco, et sarà fatto. Dapoi, per adoperarla, datte il negro di resina con colla di pintori da pintar & per doi o tre volte, fin a tanto che sia ben negro. Dapoi datte un poco di vernice. Essendo secco, datte a secco con ditto la purpurina dove vorrette. Tanto più ne darette, sarà piu bello. Dapoi, si volete, datte vernice sopra.

White bronzing Apply black with glue, as was said, on the medal, then varnish. Once dry, grate minium from England on top with a paintbrush or a finger. The said grated minium embellishes lead medals.

Varied and transmuted wine Grate brazilwood very finely, put it to soak one or two hours in clear water, then take this tinted water & add to it some clear water & you will make e wine as claret colored as you like. If you please, put a drop of lemon or orange juice in it & it will immediately turn white. It can be drunk without danger.

Pearls It is said that pulverized talc blown into with a lamp renders them thus.

Arquebusier For firing your arquebus precisely, it is necessary that the end of the breech be & come precisely to the edge of the touch-hole, because in this manner the powder, without blowing, catches & burns all at once & has more force & does not push back. On the contrary, if the breech is made hollow, as they commonly are, the powder catches sooner in this place, makes it push back, & blows, which a chambered arquebus clearly shows, which pushes back more than another. And since the barrel is thicker at the breech than at the muzzle the sights are also uneven, for that at the breech is higher than that at the muzzle. And then, the thickness of the barrel gains about one line over the caliber, and the sight another. It would therefore be necessary to either make the barrel all of one thickness or to raise the stock on at the end & toward the muzzle, & sink it in & lower it toward the breech. The weight of the powder must be the third part of the ball.

Hail shot of the arquebus If you want it to go together, set a piece of felt or leather or paper on top, according to the distance, & let thee piece be made with a cutting-punch precisely cut at according to the caliber of the arquebus.

The range of an arquebus The proportion is of the fowling piece is 4 king’s feet long & the ball xviii deniers, the charge vi deniers of powder, its range iiiixx 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 easiest, carries a ball of xv deniers, v deniers of powder & a range of lx paces.

Pewterer 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 & 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. This tin is called common tin.

Arquebus To keep it from pushing back, it is necessary to clean your arquebus every eight days, & rub it with oil, & when you fire, wet some linen cloth in oil & put it in instead of paper.

Lake To test it, temper it & apply it to paper, & if one or two hours later it does not die there, it is fine and good.

Dyes from flowers The red poppy, which grows amongst grains, makes a very beautiful columbine on white leather. The cornflower makes a very beautiful blue. A plant which grows in hedges, which has a stem similar to flax, a long & broad leaf like small bugloss, which has a violet flower verging on blue & is shaped like the lily flower, makes a very beautiful turquin, surpassing azure. Another flower, the columbine, of the shape & size of the bugloss flower, which has a petal resembling that of the pansy, also makes a very beautiful turquin. It grows amongst grains, in light soils.

Horsehair sieves They are made at Coustance in Normandy with horse tail hair which they clean with lye because they sort them with the mouth & separate out short & broken ones. They do not make the reed longer than the sieve, & the reed is round. They attach to both edges of the reed the hair, either black or white, according to the work they want to make. And the weft is is done over & under as for making any other fabric. And passing a small flat stick of ii or three fingers wide between, next they pass two hairs at each step of the pedal and weave with three pedals. There are xviic hairs in the entire sieve. They sell them by the dozen & each dozen xxx sous. They bring them to Toulouse to transport them afterward to Spain, and take silk tammy in exchange for it .

Excellent water against the plague of Monsieur de Montorsin Take some theriac, rue & dittany, & good vinegar, put the whole in a glass bottle, leave it half-open & well strapped, and put it in a very long bath for three or 4 days. Then separate your decoction from the residue, of which in time of need you will pour some on a flaming red tile & receive the vapor of it & also fumigate your clothes with it. This is a very rare & tested secret.

White soporific oil Take x or 12 mandrake apples, put them in quarters 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 soles of your feet with the same, you will soon feel like sleeping.

Stucco For glueing stone, some do not use poi resin & black pitch resin because it is too fatty, but take rosin & sulfur, as much as of one as the other, & as much of wax as the two together, and mix it with pestled brick for greater strength. Others, white chalk or white stone pestled & pulverized & sieved.

Loading an arquebus with hail shot

One needs to make a wooden pipe as long as the width of 4 or 5 fingers, which should be hollowed precisely according to the mouth of your barrel, of the form represented in D A. Then, having cut strong paper, of the as of large printed books, in the form of D, as wide as you want to make your cartridge long, wrap the paper around the baton B & at the end, where the point F will be, fold all around the said paper, & your cartridge will be formed. But in order to make the bottom more uniform, put it into pipe A, then put in the baton B and, through the other end of the pipe, which is marked G, put the baton C & beat so as to tamp & press the folded tip of your cartridge, then take it out, & load it. Put three or 4 pieces of shot or tears into it. Then, with a cutting-punch, marked E, which should be of the same caliber as your arquebus or pistol, punch round pieces on cardboard or felt or waxed cloth, and put this round piece into your cartridge, and push it onto the pieces of shot with the baton B. Next, more pieces of shot, 3 or 4, then a round piece. And do thus until the cartridge is full, then put it into your arquebus. If you want your hail shot to scatter sooner, make the round pieces out of paper. If you want it to reach farther without scattering, make the piece out of cardboard. If you want even farther, make the round piece out of waxed cloth, or else of leather or felt, & a piece of waxed cloth on the top. And if you make the cartridge itself of waxed cloth or waxed paper, it will reach one hundred paces & will make for great piercing, & the hail shot, barely scattering, will make an opening. But if you make your cartridge with waxed cloth or a material stronger than paper, you ought not to make so long the part coming from the square to the point as in D, because it is enough that it wraps around twice, #. In this manner, the hail shot barely scatters & makes for great piercing against a door, cuirass body, and others. as D H

Loading an arquebus You ought to have different charges according to the range that you want to give to your arquebus, all of which should have a screw on the end that fits in the nut of the ramrod of the said arquebus. Thus, when you have put the powder in the charge, which is in the nut, hold the ramrod upright. And raising your arquebus up, insert the said ramrod until the charge is at the bottom of the arquebus, then right the arquebus, the mouth of the barrel up, and remove the little ramrod. Thus your powder will be entirely in the breech without any of its grain or dust attaching to the sides of the arquebus, which always has some filth in the chamber. Thus it will not push back, and you will shoot more true.

For adjusting a crooked cannon Take off the breech and place it on an smooth & well-leveled table and pass through the inside a very smooth string without knots, on each end of which there should be a plumb hanging from each side. Then look into the barrel along the string, and if it does not touch equally all over, note the place where it does not touch & hit with a hammer on the outside on that side & in the same place, & thus it will be righted, & do thus all the way round.

For the teeth, oil of sulfur Some people whiten them with confections of aquafortis; however, one says that this corrupts them afterward & causes a blackness on them. One says that oil of sulfur is excellent, but one needs to mix it in this way: take as much clove oil as can be held in a walnut shell, and as much rose honey, & seven or eight drops of oil of sulfur, & mix it well all together. And after having cleaned the teeth with a small burin, touch them lightly with a end little cotton dipped in the aforesaid oils and leave it there for a little while, then spit or rinse your mouth with tepid water, and reiterate two or three times. Oil of sulfur penetrates & is corrosive, and the but the clove oil & the rose honey correct it. Therefore use it with discretion.

Wheat oil Applied to hair, it makes it fall out & keeps it from being born.

Against the falling sickness Take or four or five fresh crow eggs, & the over the space of 4 or five mornings cook one of them, and, having mixed in it a bit of powdered gentian & one drop of oil of sulfur, give it to the patient. It is held that the pain will not return.

Against cold gouts Oil of guaiac & of sulfur mixed together, applied.

Go Flowers of trees Those that are seen with everyes new ☾ scarcely come to profit. One ought to leave only two buds on the graft.

Scribe, Oil of sulfur 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.

Shoemaker If he wants to do some tanned work on black leather shoes, he can dip a writing quill in oil of sulfur and paint with it what he would like on shoes, boots, and colets. And he will obtain a reddish color which will not disappear by any effort. Urb.

Erasing a letter Dip a writing quill in fresh & good oil of sulfur & thus retrace all the letters with the dipped quill & they will disappear on parchment. Urb.

Writing without ink Write with oil of sulfur & heat & the letter will turn as black as this one. Urb.

Making a letter à jour on paper and other work If you write d or trace something on the paper & heat it quite soon, & immediately it will turn black; then by rubbing with a sponge, the letter will be cut because it will be burned. Urb. Or retrace the letter with a dry quill of.

Making someone’s boots burn Rub with the aforesaid oil, & as it becomes warm, they will burn without a flame. Urb.

On stone, black letters The same oil on letters engraved in stone & heated turns black & penetrates.

For teeth Sal ammoniac i ℥, rock salt 1 ℥, alum half an ℥. Make water with the retort, and 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.

Antimony oil It yellows quite strongly, even silver, if you put it on it being heated.

Against falling sickness or vertigo Hung round the neck, wear root of peony which should be picked at the waning of the moon.

Crucibles Those from Bayonne, which seem to be made of grès are better, for they last, without comparison, longer than others. And because they are not very thick, one wastes less charcoal melting gold & silver, for they heat quickly. They do not drink as much silver as the others, & for this reason, there is hardly any residue to be found in them. They are less prone to tipping as others that have a flat foot.

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 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 in a piece of beef, then boiled, rejoins them, as they say.

A drink having a taste of wine Take tartar from large vessels & soak it in water & it will have the taste of wine.

Founding Some, to make it run neatly, put half metal & half copper. Others take one part of potin & one part of copper latten. Others take one part of candlestick latten & one part of basin latten. And among basins, the latten of larger ones is brittler than that of skillets, because for making the curve of the round so small it is necessary that the substance be softer. For big ones, to which they give a more ample curve of the round, a brittler substance can be taken. In any event, the brittlest latten runs better & casts more neatly, but let it be cast very neat hot. One When one wants to cast, one casts lead into the substance, which makes it flow & run & goes up in smoke, & keeps the mold from corrupting. And if you want to cast fire pieces, mix in more rosette than latten, in order that it be less breakable. The crucibles for melting metal should be better than those for glassmakers, as glass is not as heavy as metal. And in this instance, one needs to lute the crucibles with earth and pestled glass.

Crucibles Those that are made in winter & humid weather are not good. Those of the founders must be thick and must be luted.

Casting Finely calcined pumice stone casts 22 carat gold without repair, but it needs to be ablaze and red like the metal. And it withstands several casts.

Founder The heating

For a furnace for melting a large quantity of metal

Curing dogs of mange Give them a pill of precipitate, that is to say iii or 4, or up to 5 grains, mixed with their food. Having given it to them for one one week, give them another seven or eight days after.

Excellent mustard Dry bread in an oven, then lard it with cloves & cinnamon & thus put it to soak in good wine. Then, pass everything through a tammy cloth, being well pestled, & incorporate it with your mustard seed.

Keeping birds and animals skin them Take a measurement of their body, which is fleshy & more subject to decay, with some canvas that you will cut to their size & width. And having cou filled it with cotton & sewn it, skin them, birds leaving, however, the head, the neck, the wings & the feet on the birds, & the head, the legs & the feet & tail on the animals, because those dry easily. Then fit that skin on the a you mold made of canvas. Small ones are dried in an oven or prepared with sal ammoniac & .

Extraction of regulus ℞ one lb of antimony, half a lb black soap, and half a lb of tartar from Montpellier. Once the whole is pulverized, one needs to boil in a varnished earthenware pot on a big fire while stirring the whole often with a pick of wood or iron, & the said soap will be consumed and burn off and the rest will stay as if red, and it will be necessary that it is reduced by a third. Then one needs to cast it on a tile and it will turn blackish. One will need to melt this four or five times and pour it on the flat tile and then you will have the regulus drawn from antimony. Others pulverize the antimony & mix it with saltpeter & pulverized tartar, as much of one as of the other, &, having heated a pot or crucible red hot, they put a little of it at a time, & se turn their back for fear of the fumes, and continue thus until everything is put in, and strengthen the fire until everything is thoroughly melted & melt it again several times.

Lead, tin They become brittle having been put back to melt often or for a long time, and they thicken and burn, in such a way that even when one melts 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 & the or tin & stir to renew it at each melt. The antimony renders them breakable. The looking-glass tin whitens them. One Pewterers put in on the fine 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 & brittle tin. The brittle one is cast in grille by the pewterers to sell it better. O They come out better & more neatly in stone molds than in a copper mold, because copper is fatty & sticks unless one heats the mold well or one casts large works. Three quarters of lead per one lb of soft tin, makes a very liquid line & proper for casting, which has a shine like a mirror. Sandiver lightens them. And all things that thoroughly lighten metals & remove their thickness & dense nature & render them like liquid like water, render them proper for casting, for it is the thickness that prevents them from running. Soft tin is more even com than the brittle one, which is whiter and seems to be burnished like a mirror. To alloy well tin & lead, one needs to melt one by itself, and then mix in the other, small pieces at a time, and throw it often on the marble or the square tile. And when you will see it become quite even like & shiny as if it were burnished, it is good. For sometimes it becomes spotted due to too much lead & sometimes due to too much tin. There is some tin which takes more lead than another. Common tin is the one that is mixed with lead.

Casting of lead Those who cast those small works that are sold in front of churches, y melt one for one lb of tin a half of lead, & cast in stone, & if they want their work whiter, they put p half tin and half lead, but the first mixture is the best, & does not become porous. One needs to cast it rather hot, for otherwise, it would not flow. Others smoke their molds with a resin candle to cast neatly. The antimony makes the substance brittle & breakable. The looking-glass tin makes the work whiter, but not more runny; as for tin, it works well to the with pure lead. 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. Poncet They cast with solder that pewterers glassworkers use. Lump of iron Calcined iron oyster shell

Sand for lead casting Rye straw ashes well boiled then dried & then well sieved. Bind it with glair of egg. One can cast copper, latten, and others in it.

Another Burnt & calcined pumice stone. Burnt & calcined cuttlefish bones, as much of one as of the other; & ashes of walnut tree or vine, well boiled, dried & finely sieved, bound with glair of egg.

Pewterers They put into one quintal of fine tin one 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 do it more neatly, in copper molds engraved with a burin, or in stone, or in earth. Since latten scraps, mixed in, only render the tin more breakable & harder & difficult to work with, they cast in their very hot molds & almost red & with very hot tin. They fumigate their tin molds with resin candles. Brittle dou tin is found mixed into saulmons, easy to cut, but difficult to put to use & melt if it is not mixed with the other soft one. And without this, it would become waste.

Birds Calandra larks & all birds taken from the nest & which have not had freedom are better, for these which are taken by net never sing so well. However, the wild ones give much pleasure with their chanting, but they ought be taken before St. Michael, otherwise they scarcely live. A small impostume occurs on all on the fork of their tail, occasionally, which some call gaillardise, which makes them sick & sometimes makes them die, especially calandra larks. One knows this when they are sad & do not sing. One must pierce it av, not with a pin, but very gently by turning with the tip of quite pointy feather. The calandra lark does not want to be without grey river sand, & the grey is the best, a little coarse. It rubs itself in it & purges itself with it.

Grain of lead Take a pierced playing card, pierced with a pin or needle, folded on all four sides. Hold it with the end of a small cleft stick and, holding the said stick by one end the other end, put your card three or 4 fingers away from the water that you will have put in a dish or similar vessel. Then pour your lead, which should not be too hot, into the card & continually tap on the stick that holds it. And thus your lead will granulate itself roundly. And pass it through a coarse sieve to separate the largest grain from the smallest. The largeish one will reach 25 to 30 paces.

Birds Those that can are taken at St. Michael are good for keeping, but those that are taken in March die, because they are starting to fall into love. Ortolans are fed on oats all summer in order that they are nourished without becoming fat, to be more appropriate for hunting & catching others. Then, when one wants to fatten them for selling, one gives them millet. They sing at night. One needs to c take them after mid-July until St. Michael, for after that time when they have their young in this country, they go away like turtledoves do. Siskins should also be taken from All Saints’ Day until Christmas, for after that they go to the mountains to brood. Ortolans are ventriloquists, such that singing without opening the beak, one would say that they are.

Keeping fruit for the entire year ℞ a glass ampul with an opening capable of receiving cherries and plums or whatever fruit that you want. Put in some hot water for the space of two hours. And when your water is cooled, throw it out & turn the opening upside down on a quite even & table, & in a room where there is not a drop of air & of wind. Then en prepare a stopper of new wax, wrapped in waxed canvas, and adjust it to the ampul quite precisely in order that it will be all ready to stop it when you will have put in the fruit. And when you will have delicately picked with your hand the fruit without it being corrupted & on a warm & dry day, return to the well-closed room, where neither wind nor air may enter, & put it gently & with dexterity in the bottle. Then stop the bottle well with the stopper & lute it & making the lute if it seems good with some quicklime & oil, & such that no water may enter in. Then put your bottles in a vat full of water, during the summer Et lhiver pourceque la cave s in a cellar, and in the winter put your bottles into a basket furnished with some weights & lower it to the bottom of a deep well. For in the winter the water of the vat would be too cold if the cellar is not quite warm, for one needs the water to be like river water.

Molding If you want to promptly mold something in half relief that comes to hand, fold some paper in five or six doubles, & place it on the medal & make sure the paper is folded on the back of the medal so that it is well secured. Next, take a stick, broad at one end & pointed at the other, well softened, and rub well on the paper, & with the point of the stick retrace the lines & proceed until you recognize that your imprint is well done. Then, at your convenience, slightly rub oil with a paintbrush lemp on the paper imprint and cast in tallow or wax or sulfur, & the paper, without burning, will render your portrait neat, which you will afterward be able to mold in plaster or tripoli, and then in lead & other metal. Polished carton of little thickness & a little moistened is proper. Then if you want, strengthen it with paper glued on the back.

Small birds Ortolans sing at night if they are left in the serain, but they are better for fattening for fine tables than for singing. Chaffinches are prone to becoming blind, & their eyes become swollen at the beginning of August. Goldfinches like lettuce seeds very much, & often one catches them in gardens on seeded lettuces with two lime-twigs. But because such regular fare would be too expensive for them, they are ordinarily fed with hemp seed. The passe solitaire is purged with a spider, which one needs to give to it once a week in order that no gaillardisse comes to it. The calandra is purged with dry mortar, composed of lime & sand to keep it from gaillardise & fattening too much. Young small birds are purged with the same dry mortar, by putting some pieces in their cages. The cuckoo lays in the nest of ortolans otherwise called verdaule. This bird is very simple. In the past, I have given leave to two of them, which after several days returned to their cage. For feeding young goldfinches, one needs to pestle almonds with pith a very little amount of bread pith and lettuce seed or hemp seed. If it is for linnet, some rapeseed.

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 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 comes from the mine. And the workers choose it & use it like the other steel. And because that it comes from common iron, they call it strong iron. But it is not as excellent as purified steel like that from Germany & Biscaye, which is sold in small beads. Some curry steel, giving it a heating, then temper it & water in a large quantity of water, then forge it. & fine steel, which is brittle, breaks and crumbles, & iron allows itself to be stretched. Thus they separate the finest steel &, which with another heating they reduce to a mass. The Germans make their files from strong iron. One applies steel to tools dess not on both sides, but underneath the part where one sharpens & whets them. & in this part, they must be of very soft iron. Levantines refine our steel because their country does not provide them with any. And they reheat it in a pot with bitumen, &c.

Counterproofing Make some soap water & with this, rub & moisten the intaglio piece that you want to counterproof, then lay white paper on it & rub very vigorously across the top with a tooth or the bottom of a glass & you will transfer your printed piece. It is true that it will be in reverse, but if you oil your paper with spike lavender &or turpentine oil, it will represent 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 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 not do this. If you want to, for the same effect, make gummed water, then mix some soap in it & do as is said.

Cutters of printing plates To clean the copper plates, or to make worn ones print better, boil them for four or five good hours in a good lye quite spent in the wash water. Then make your ink with some linseed oil & not with walnut oil & press with the rollers. The copper plates are sooner made than wood blocks, but they are not so appropriate for printing promptly. The wood ones are laborious but also will sooner have printed twenty sheets than the other two. To carve in wood, the secret is first to poach, that is to say to lay the counterproof or drawn piece onto the wood block & to make sure that the side with the traced line is stuck to the wood. Once dry, you then gently rub with a moist handkerchief the back of the paper which, by rubbing, will become so delicate that almost only the line will remain, which, next, one follows in cutting the surface. You could do this with historiated glass & coat with noir d’escaille, to then scrape & layer your colors on the uncovered area. To make ink for copper plates These rollers are good for promptly printing with cut cartons different kinds of pastes. One can place the plates among the linen when the lye is quite pure, or in a pot.

which is different from that of the printers, one needs to boil walnut oil or, even better, linseed oil for a long time. & having boiled for a long time, you will put in garlic & bread crusts to rid it of grease & leave again to boil thoroughly, then finally you put in one part of lampblack that you have previously ground on marble with oil. And finally you will mix everything as long as & until you see that the plate prints well. Which And when you have spread the ink on it, wipe the plates well with the surface of a piece of white paper. & do this until the paper looks clean and then print. If you were to wipe the plates with a linen cloth, it would remove the ink. Linseed oil thickens while boiling & becomes like a varnish & is in danger of catching fire. Therefore, when you boil it, make sure it is in an open space or in a place where the flame cannot cause damage. Some burn tartar until it is black & grind it with non-boiled linseed oil, or walnut oil which others find to be better. This black is beautiful, but the one of lamp smoke is blacker. When you want to print fr, take with your fingertip of the said black moderately thick, the whole plate having first been cleaned in lye as said, then, rub it with the surface of a piece of white paper until the paper remains white & do not touch it with the bare hand because but with a piece 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 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 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 rollers must not be too loose.

The work done in Algiers Take a colt of three or 4 years & feed it on rye barley & straw pig cut in the manner one feeds horses in Spain, and water it with good fountain or river water. I do not know if it would be good to water it occasionally with water of sulfurous baths, & to sometimes give it fenugreek or other hot foods, for the intention of the worker is to it to use the heat of its dung, & the climate here is cooler than that of Algiers. Keep it in a warm & close place & so that none of its dung & urine should be lost, of which you will make a heap or two in order that while one cools, the other will be at the appropriate heat to continue. Also take a large glass mattras, as thick as you can, & one finger thick if it can be done, & of the capacity of one pitcher or earthen jug. Around the feast of St. John, put into it a dozen & a half chicken eggs, that is to say, the yolk without the glair & the germ (see). Others say lx yolks. And it will be with this dozen & a half egg yolks put in half an ounce (others say for lx eggs half a lb) of female silkworm seeds. And after having luted the mattras well (I do not know if it is at all necessary for the generation that there be air), put it & bury it in the heat of the dung up to the neck, and leave it there until several f worms are engendered. And then remove the mattras & do not bury it in the dung any longer, but only keep it placed on the hot layer of the dung until all the worms will have eaten & consumed one d another, bustling & stirring, and only one remains. When this is the case you need to feed it at regular intervals, day & night, with the aid of two men, who by intervals will take care of it, and you will feed it with an egg yolk covered with a gold leaf, or with a liquid egg yolk with the gold leaf incorporated; & take good care that it does not want for such food (some say one egg yolk per hour, others three, but the thing itself will demonstrate the practice). Nourished in this way it will achieve its growth in two months or seven weeks & will become like a snake, one empan & 4 fingers long, & one lb in weight, and as its wings begin to grow, one will need to put it to death by making a ring of charcoal fire around the bottle one empan distant from it, and then stopper & lute the bottle well in order that it does not exhale.

Or to be safer, retire from there until the fire has died down & all is cooled, Ap for its exhalation would be dangerous. And for the occasion when you feed it with pincers, b wash your mouth with good vinegar & take some preservative & plug yourself up well. Once it is dead, put it in a linen cloth or a canvas of silk & fold it & hang it from the ceiling, where the air or & sun dry it. Once it is quite dry, pulverize it in a mortar. And keep this powder carefully, because one ℥ of this thrown on iii lb of molten ♁ reduces it to finer ☉ than the other one. But it does not have as much weight. For this work you also need to choose the oldest ♁ that you can, which has often been melted & finely hammered into sheets or other works, & purify it before by melting & throwing it into honey & vinegar. The term of the work is nine months from the feast of St. John until the 25th of April.

Linseed Whoever wants to have it beautiful & p very delicate needs to pick it before the fd seed is perfectly ripe. For if one waits for the seed to be perfectly ripe, the foot is so dried by the sun that it is brittle & breakable. It is true that in this way the seed is reduced by a third.

Colors If you want to keep them beautiful in gum and such that they do not lose any of their true color, put white wine, the whitest and clearest you can, in a bottle with a little tragacanth gum. And having stoppered the bottle, scramble & shake it very strongly together, & let it rest until the tragacanth is dissolved. Also put in a little fine-grained white salt to brighten the whole. Some mix clear water with white wine, and with this mixture they temper the colors without grinding. And these show very beautifully in illumination work.

Soldering a vise It is good that the jaws of the vise should be high to make a long piece in it, and that the jaws join well to clamp a delicate object. To solder the nut, after you have forged the bolt, you will make will forge a long iron strip quar of such thickness that it can fit into the notch of the bolt when red hot, & you will bend it po all around, striking it with a hammer. Once it is well jo wrapped around, you will insert it the bolt o around which is it is wrapped.

Copper If, in the fire & melt, it touches the iron, this iron will be so brittle afterward that it cannot be forged.

Casting of lead One mixes it, according to some, half tin & half lead, and to l'esch heat it, one mixes in a little sublimate. It casts well in small works in a cuttlefish bone, provided it is good.

Molding with paper Boil over hot ashes some cotton in aquafortis mixed with sal ammoniac, like aqua regia, and the cotton will become very fine, like powder. Temper it next it with gummed water & you will mold very delicately.

Almond trees, apricots They come in quite straight if one grafts them. And all trees with pitted fruit, like pavis, mericotons, alberges, vie apricots &c, come in best shield grafted on an almond tree.

Casting of lead and copper Lead & tin come out well in white chalk but the softer it is the better. The one from Champaigne fetches the price that is set in Lyon. Burnt & calcined horse bones mold very neatly. I believe that the marrow from the horns of oxen or sheep, that is to say, the spongy bone from the inside, molds very neatly and is better than bone. Note that any brittle metal comes out better than the fatty. Also, lean sand receives & drinks it better than the dense one.

Silkworms They are produced from seed, that is to say eggs, that which is sold by the ounce, which is commonly sold in Languedoc iii lb v s. The one from Spain that merchants bring there is considered the best because the worms which come from there are not so subject to illnesses & 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 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 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 black ants, & as soon as there are two or three molted, one needs to give them white mulberry leaves, and then arrange them on the shelves. And three times per day, one needs to exchange fresh leaves. And if during the day there is some thunder or rainy weather, cloud-covered & cool, one needs to keep in the room three or 4 chafing dishes & with glowing charcoal, & put in incense until all the room would be filled with smoke. And when the weather is warm & serain, the silk abounds more & is all the better for it. Some worms make it whiter, others more yellowish. And even if it may be white, it yellows when one draws it with hot water despuys. The worms, from their birth until u the their time when they make their cocoons & their prisons, sleep & rest 4 times, & each time remain 4 or five days resting without eating, as if they were dying to be reborn again, for each time they change skin & begin by molting from the head then consequently, on different days, the s rest of the body, & from white turn grayish, & from grayish to white en fin. And if one of them has some illness who does not have the strength to molt, one needs to help it & be careful not to break it, for at that time rendering a yellow liquor, it is no longer worth anything. And further they scarcely profit after one has handled it with the hand. Around Pentecost, they begin to want to climb on the dry branches of heath or heather that one prepares for them en & attaches See Hieronymus Vida Albensis episcopus, de b Cremonensis, scripsit carmine de bombicum natura. How one moves them

on some of the high shelves, & at that time, one knows when they want to climb up when, on the leaf, they hau lengthen & raise the head & a part of the body. At that time one carries them to the heath branches where they stop & begin to spin their prison, which one calls cocoon, commonly the size of a pigeon egg, although one finds much larger ones because it sometimes happens that two or three & up to xi worms are put in a cocoon, which is hairy & downy all around &, the hair of which is ferret-silk or floret; & from the cocoon, which is a white, solid, continuous & firm skin, silk is made. The cocoon is so hard that one only cuts it with difficulty with a fingernail. And nevertheless, to leave its prison, elle the worm gnaws it at one end, & after having stayed inside living on its own sap il for three weeks, it comes out, diminished by half. For when it begins to spin, it is as long as a ring finger & has eight feet, & coming out it is shorter by half & only has 4 feet. On the other hand, it has become a butterfly & has wings, without, however, flying. And there are male & female. As soon as they come out of the cocoon, the male charges the female & one puts them on a white linen, where they make their eggs, which the female would not make well & profitably if the male was not given to her. And when the male has detached himself from a female, one needs to throw it out, for it would not be good to give it to another. They have completed spinning & making their eggs in three weeks & around St. John’s Day. And at that time one keeps their eggs & seed until Holy Week, as on is said. Some spin among the leaves & make their cocoon there without climbing high. The silk of the cocoons where there are

^{On dry preserves}

To dry preserves take a which are not liquid, take an open tub pierced on both sides with a small, square window, & pass sticks through these on one side and the other, & place on these a sieve made of strings in the form of a net. And on this, you will properly arrange the vessels with your preserves. And having put at the bottom of the tub a chafing-dish or two, cover the tub with a bedsheet folded double.

For making a horse follow +One needs to give it sweet bread & it will know the one who will do him such good. And for maintaining it in a good disposition for walking along, put it, make it take a good gait from the start of the way & continue it.

Dogs For keeping them from biting, it is good to have little resin balls prepared like those of shoemakers & to throw to them as they yap at you, & they will bite on the balls so much that their teeth will be stuck together & they will not be able to hurt you.

For disguising a horse Cut its ears & tail, & with lit hay, singe the hair on its head & elsewhere.

Boots of hay For lack of boots, you can make rope of hay & wrap your legs in it, & the rain will never pass through.

For firing a schioppo senza rumore Warm the pipe well & plug the touch-hole below, & take a piece of porkfat, the freshest that you can, as long as the joint of the little finger & of the caliber, & put it in the pipe & move it up and down until it is completely melted. Next, load the pipe at the top with a socket that is held on the ramrod, as you know, & it will only make a little whistle.

For tempering a ball that will pierce and will make healing difficult Mix fat & strong vinegar & throw your ball very hot into this mixture.

Against wounds 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 holds for certain that it will not die.

Onenev elbirro hcihw sllik fi eno spets no a draob ro a ueirse purrits Take in the month of June & July, a number of the largest snails you can, with their shell, put them in a glass bottle with a sufficient quantity of very hard & thoroughly boiled egg yolks with good vinegar. Stopper the whole well & put it under horsedung for the space of fifteen days. The snails will first live on the egg yolks, then with the heat they will come out of their shells & eat & live on those. Finally, a white ointment is made with it, which, without cutting open the bottle you put, which above all for your safety you b will always keep well stoppered, you will put in the very strong sun & in the serain for the space

of fifteen days. Next you will break it from quite far away & with a long stick without looking at it & having plugged yourself up well, you will put some of it where you want, or rub some of it on a stake in a running river or a tree or a plant that is on the bank.

Another for waters Daot ni a top with quicklime, which will consume all this powder afterward, &c.

Damascus steel Distil earthworms separately & horseradish leaf separately, & mix these two waters, as much of one as of the other, & temper in this.

For knowing the course one takes on the open sea Soak a ferlin in oil, then attach it to the stern of the ship such that it dips in the water, & it will make a trail that will show for ten leagues because the water is parted wherever the oil has passed.

For casting Chalk most recently taken from the quarry is good for lead. One ought neither to wet nor grind it, but render it subtle by pestling or scraping & passing through a sieve. Thus for pumice, 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 of tin for lead for of one of tin or more.

Excellent tempering bath for cuirass bodies Take river water, as clear & running as possible, & heat it to a little more than tepid. Then take a bunch of weld, & take the grain of it & put it into the said water & boil it thoroughly, stirring it with a stick, then pour it into a muid or other vessel, then throw into it two pecks of salt. Next, take a big cauldron of the said river water & heat it to a litte more than 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, & 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 temper is, the better it will be.

Varnish for distemper You can make marble with distemper of lake or rose of Ghent & chalk. Once dry, glaze with lake tempered in wine, for the glue makes it die & blacken. And all will appear red, but the varnish you will put here, which will penetrate, will make appear dark & light that which ought to be thus. The varnish is made thus, mix with clear Venice turpentine some spike lavender oil & until all is clear & liquid enough, & it is done without fire. This one es is for things in distemper, and the turpentine varnish that you know, for panels. Pure spike lavender oil varnish is not good for panels, for spike lavender oil is too penetrating & makes colors sparkle, unless it was made long ago.

Painter The lake & florey rosette of Ghent & others lose their color & die in the air. All marble on which a knife can prick is worth nothing for grinding fine colors. Chalk has no body in oil. Ceruse is appropriate. But lead white more excellent. Ceruse is the whitest, when ground first in water, the lead white grayish. But the white it takes on its perfect whiteness in oil. When you grind your colors, first clean your workshop well, for when walking, if you stir up dust, this will damage your colors, which will never be beautiful if they are not very be clean. Florey must not be mixed with azur d’esmail or another, for it makes it green. For palettes to paint, ivory is excellent, knots of the fir tree, the pear tree, & if it is a walnut tree, make sure the grain of the wood runs lengthwise. L One always needs to apply imprimatura don wood to paint there in oil in order to fill the holes & unevenness, and make imprimatura with some stil de grain yellow & ceruse tempered in oil, then soften with a feather, which flattens better than a paintbrush. Or when the imprimatura is dry, scrape strongly with a knife. To use azur d’esmail in oil, one needs to choose the most delicate. And to render it subtle, one ought not to grind it, for this makes it whiten. But one needs to wash it, & the coarsest going to the bottom, choose the one that is above in the water or, by inclination, pour out the cloudy water, then gather the azure. The one who makes a profession of working in oil will hardly work well in distemper if he has not been trained well from adolescence. For the way of working is different, because when washing the paintbrush for distemper, one always leaves it moist. And on the contrary, when one cleans the paintbrush in oil to soften, one wipes the paintbrush well. Otherwise, the work would run & would soon be all disfigured. The Italians soften by hatching with a large flattened paintbrush which makes serrations. And they do not lay their shadow all at once like the Flemish, but make them hatching lightest toward the light then a little darker next & finally a little blacker to better make project & come out. In distemper do not mix your different colors together But for this makes them die, but use each separately. And in order that they do not dry & that you have time to soften, moisten the back of the canvas.

Lake takes long to dry in oil and for that reason one must grind some glass with it. But one needs to choose cristallin because it is cleaner. And because it would be too difficult to grind by itself, one must redden it on the fire, then when entirely red throw it into cold water, & it will crumble & pulverize easily for grinding it afterward. Being well ground it with a lot of water, it resembles ground lead white, but for all this it has no body. I think it would be good for casting. Lead white is made with plate lead, beaten thin & put under the dung heap. White varnish of turpentine or of spike lavender oil and turpentine is colored with pulverized terra emerita, making it boil together. It gives a gold color on silver and more beautiful if it is burnished. It is dry in a quarter of an hour. Aloe would make brighter color still, but it takes long to dry & the other is dry in a quarter of an hour, in winter as well as summer. Good lake moistened with saliva is promptly rendered dark. That from Florence is too gummed. If you make a layer of printers’ ink on velvet and there apply gold leaf and then stretch the velvet, it will appear grainy as if there were gold powder disseminated on it. Vermilion ground by itself is wan and pale, but ground after lake, it is more beautiful. For ridding marbles of grease, one grinds common ashes on it, which is good afterward to make the first imprimatura of a panel that is prepared in oil in order to seal the cracks & chinks of the wood. It has more body than chalk & it has chalk a certain fattiness. One mixes it with the said chalk or ra with the colors collected from the vessel where one cleans the 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 a painting in oil on canvas, one applies only one imprimatura, and the same ashes can be used there. Also, after one has ground a color, one grinds some pith of coarse bread on it to rid the marble of grease.

Sheath maker Sheath makers use small, very delicate skins of lambs and young goats, almost like parchment and keep them constantly re-moistened in humid places. When they want to imprint some history, they layer them in the hollows of their figure, then put over the top fine fatty earth with which cloths are rid of grease, having pressed & beaten it well & rendered it moderately humid and soft. Then they put on the earth a small even board and put the whole in a press and let it dry there. After the earth, only the leather remains neatly imprinted of the size of a pea. And then you give the leather two or three layers of copperas black and iron scale, one after the other, as even as the tanners do. And this dye, being astringent, makes the leather shrink & strengthens it and makes it imprint better. Once dry, one glues canvas on the back with strong glue. In this manner one can promptly imitate big statues & very subtle medals and paint & decorate them & are light and portable & last a long time. That which is imprinted on a relief is done differently and can be retraced with a hot iron.

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Painter Good crayons are not made with good glue but with women’s milk. Images made of carton, once dry, have to be soaked in thoroughly thinned and clear melted resin. This strengthens it, otherwise they turn limp in wet weather. Venice masks are made with the hollow & the male face of copper. The Flemish do not use any whites for flesh colors in oil other than lead white because the ceruse turns yellow. 4 or 5 year-old walnut oil which is clear is the best color, it keeps off dust. The kind which has recently been drawn with the press in the manner of almond oil is white, especially if the walnuts’ skin is removed.

One needs to make at least three layers of flesh color to accomplish faces in oil. And at the beginning, one puts the black and umber where it is appropriate. Next, the heightening with lead white must not be put on the black. Flesh colors, and where the ceruse enters will yellow in five or six months, but lead white does not change. Florence lake is better than that from Flanders for in Florence the best dyes are made. To make a beautiful flesh color, the reddest & liveliest lake is the best, for the kind that contains purple & violet, by admixture of too much alum, makes flesh color like that of one who is very cold. That is why ladies, wanting to color their cheeks, grind Florence lake very finely, then fill a little cotton with it, which they next wrap in a little fabric of Cambray which is clear. And thus they pounce the lake on their cheeks & then, with another clean cotton, they soften it. Cristallin having been ground with water appears to be have body, but with oil it does not have any. It is ground with lake & with asphaltum, which would not dry for a very long time without this. Spike lavender oil is commonly put with lead white, d not entirely pure but mixed with a little walnut oil. The said spike lavender oil would not be good for lake & colors that do not have body for it would make them glitter, but with those that have body & are somewhat fatty, it is quite appropriate. Verdigris and orpiment must first be ground with urine before thinning them with oil. Thus they are beautiful & do not die.