
~~~~~~~~~~~~~~~006r~~~~~~~~~~~~~~~

For laying down and setting burnished gold and giving red
or green or blue

Ceruse & lead white is not appropriate for polished
white nor for burnishing because it is fatty, but it is quite good for
or mat that is made with oil by mixing it with yellow
ochre & minepo & by tempering
all of it with oil. And this or mat thus applied keeps
in the rain like gilded leadwork & similar things.
Therefore for burnished gold take good chalk, quite white,
well ground, & soaked with distemper glue, & make
four layers of it, one after the other, on the wood. And once the
last is dry, rub it with prele, which is a
plant otherwise called horsetail, to render it well
polished. Next take fine Armenian bole &
sanguine, as much of one as of the other, lamb
tallow as large as a bean or a
pea depending on the quantity of bole, and a
little of willow charcoal or as much as the
tallow, & half a walnut shell full of
half-burned saffron. Some put in a little candi
sugar. Grind all together with water, & apply it without
gum or glue, & let it dry, & rub the place that
you want to gild with a piece of white cloth to better make
even, & when the rubbed place is a little shiny, it is a sign that
the gold will carry itself well. Having rubbed, wash with a clean
pinceau soaked in clear water the place that
you want to gild & immediately apply the gold, which you will
burnish once dry. And if you want to lay in rouge clair
& glaze with it de, grind Venice
lake platte on marble with
walnut oil or linseed. Once ground, mix
turpentine varnish or spike lavender & apply on the
gold with the pinceau.
Brazilwood & lake ronde die. For
green, temper verdigris with walnut oil or
linseed & grind, next mix in turpentine varnish
and not of spike lavender, which is not suitable for
verdigris. If you want to glaze with azure, it needs to be
set on burnished silver and take azur d’esmail,
&, without grinding, temper it with turpentine varnish &
apply it.



