Dictionarium polygraphicum. Of dying Red-rose, or carnation colours.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
1. To dye a Red rose a blood-red, or carnation-colour.
Take liquor of wheat-bran a sufficient quantity, alum three pounds, tartar two ounces, boil and enter twenty yards of broad cloih three hours, cool and wash it; take fresh clear bran-liquor a sufficient quantity, madder four pounds, boil and sadden according to art.

2. Another Red-rose or carnation colour.
Take wheat-bran liquor a sufficient quantity, alum two pounds, tartar two ounces, boil and enter twenty yards of camblet, and boil it three hours, after which take it out, and waffiit very well; then add madder a pound, enter and boil it aagain, cool and wash it; after which take clear liquor a sufficient quantity, cochineal in fine powder two ounces, tartar two ounces, enter your camblet, boil and finish it.

3. To dye crimson in grain.
First boil the yarn, stuff, &c. in the red, (in the following article) then finish it in a strong tincture of cochineal, made in part water, part wine, or in wheat-bran liquor; where note, that the vessels, in which the materials are to be boiled, must be lined with tin, otherwise the colour will be desective; the lame observe in dying of silks, in each colour, with this caution, that you give them a much milder hear, and a longer time.

4. An excellent observation
The Bow-dyers know that the resolution of Jupiter (which is dissolved tin) being put into a kettle with alum and tartar, makes the cloth, &c. attract the colour into it, so that none ot the cochineal is left, but all drawn out of the water into the cloth.

5. Another observation.
The spirit of nitre, being us'd with alum anil tartar in the first boiling, makes a firm ground, so that they shall not spot, nor RED nor lose their colour by the sun, fire, air, vinegar, wine, urine, or salt-water, &c.

Dictionarium polygraphicum. Of dying a Red blush-colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
1. To dye a Red blush-colour.
Take stale clear wheat-bran liquor fix days old, a sufficient quantity, alum three pounds and an half, red tartar half a pound, melt these, and enter twenty yards of broadcloth; handle and let it boil three hours, take it out and wash it well, (but some wash it not.) Take fresh liquor a sufficient quantity, of the best madder three pounds, enter your cloth, and handle it to a boiling hear, cool and wash it again: lastly, take fresh bran-water a sufficient quantity, let it boil, enter your cloth, let it boil a quarter of an hour, cool and wash it well again.

2. A Red blush-colour in grain.
Take stale sour clear bran-liquor a sufficient quantity, alum three pounds and a half, red tartar half a pound, enter twenty yards of broadcloth, boil it three hours, cool and wash it, rake fresh clear bran-liquor a sufficient quantity, best madder three pound, enter and boil again. Take fresh bran-liquor a sufficient quantity, grains in fine powder four ounces, red tartar three ounces, enter your cloth, boil an hour or more, keeping your cloth well under the liquor, then cool and wash.

3. Another blush-colour in grain.
Take clear stale, or lour wheat- bran liquor, a sufficient quantity, alum three pounds and a half, red tartar eight ounces; melt them, and enter twenty yards of broadcloth, boil it three hours, handie it well, take it out, cool and wash it; take fresh bran-liquor a sufficient quantity, enter your cloth, and handle it, letting it boil a quarter of an hour, cool and wash it; take more fresh bran-liquor a sufficient quantity, make it boil, and add (hereto grains in powder two ounces, red tartar one ounce and half, let them boil, enter your cloth, handle and boil it three quarters of an hour, then cool and wash it well.

4. To make a Spanish carnation colour.
Take bastard saffron, or saffower, wash it well, dry it and beat it; and to a pound of it, being beaten, add calcined tartar four ounces; grind all together, and put it into a double coarse linnen bag, and aftuse upon it a quarter of a pint of le mon juice blood-warm; put into this a sufficient quantity of fair water, and then put in the thing you would dye: but the stuff or cloth you would dye is first to be boiled in alum water.

Dictionarium polygraphicum. Of dying red colours.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
1. To dye the best Red colour.
Take clear stale wheat-bran liquor, or soar tapwort, a sufficient quantity, alum bruised three pounds, put all into your copper, enter your twenty yards of broadcloth: and handle it, boil it three hours, cool and wash it well; take fresh wheat-bran liquor a sufficient quantity, madder five pounds, enter your cloth at a good heat, handle it to a boiling heat, cool it and wash it well; rake fresh wheat-bran liquor a sufficient quantity, let it boil, and put in urine a gallon, enter your cloth, boil half an hour, cool it and wash it, and it is done.
Note, Urine it not much used now, and some do not wash tht cloth out of the alum.

2. Another Red dye.
Take clear fair water a sufficient quantity, alum three pounds; boil and enter twenty yards of broadcloth, boil it two hours and an half; take it out, and range it, and hang it up a little while to let the water drop from it. Take clear stale bran-liquor a sufficient quantity, madder four pounds, steeped first an hour in small beer, bring it almost to a scalding heat, and enter your cloth, and handle it swiftly for the space of half an hour; take your cloth into urine, after which wash it well, and it is done.

3. Another very good Red dye.
Take water a sufficient quantity, alum three ounces to every pound of wool, yarn, or cloth; boil the wool, put it not in 'till the alum is melted, boil three hours, take it out, wash it well in cold water, and cast away the liquor; take fresh clear branliquor, or small-beer unboiled, add to it five ounces of madder to every pound of wool, yarn, or cloth, &c. put in the madder when the liquor begins to be warm; break the madder well with your hands when in the liquor, and when it is near boiling, enter your cloth, &c. and handle it well, boiling it half an hour, or 'till it is well-coloured; then put in three quarts of urine, give two or three boils, and so take out your cloth, &c.

4. Another Red colour.
Take liquor a sufficient quantity, alum three pound, tartar one pound, boil and enter twenty pounds of wool, yarn, or cloth; boil two hours, rake it out, wash it clean, castaway the liquor, and put in clear fair water, and madder four pounds: when it boils, enter your cloth, &c. again, and handle it 'till it is enough.

5. Another Red colour or dye.
Take water thirty quarts, alum two ounces and an half, and therein boil thirty pounds of wool, yarn, or cloth, &c. and take it out; take fair water ten gallons, madder five millings worth, REP let it stand twelve hours, boil and enter yqur wool, yarn, cloths &c. boil it quickly, and then take it out, and put it into strong urine for one hour, then take it out and wash it.

6. Another Red colour or dye.
Take four bran-liquor, alum two pounds and an half, tartar two ounces; enter twenty yards of broadcloth, and boil them three hours, and take them out; take fresh bran-liquor a sufficient quantity, madder four pounds, boil, handle, and finish it.

7. Another Red dye.
Take stale wheat-bran liquor six days old, or four tapwort a sufficient quantity, alum three pounds, enter twenty yards of broadcloth, boil three hours, cool and wash them; take fresh and clear bran liquor a sufficient quantity, madder four pounds steeped in the same liquor, enter your cloth at a good heat, and handle it to a boiling, take it out cool, and wash it well.

8. A good Red dye.
Take rain-water a sufficient quantity, Brasil in powder, fine vermilion, of each one ounce, alum one drachm, boil them 'till half is consumed.

9. Another excellent Red dye.
Take lixivium of unflacked lime five gallons, Brasil ground two pound and a half; boil to the half, then put to it alum twenty ounces; keep it warm, but not to boil: then what you would dye in this liquor, dip into a lye made of ashes of tartar, letting it dry, then dip it into the lye.

10. Another good Red colour or dye.
What you would dye, first boil in alum water, then dip it into, the following liquor; take water a sufficient quantity, Rosset one pound, gum Arabic a little, boil a quarter of an hour, and then strain it for use.

11. To make a pure clear Red dye.
Take wheat-bran liquor thirty quarts, or a sufficient quantity, Brasil in powder four pounds, alum in powder two pounds, tartar one pound; mix and dissolve, and make a tincture; enter your stuff or cloth, boil it for two hours, take it out, and boil it again in fresh bran-liquor thirty quarts, adding madder three pounds, and perfect the colour with a moderate heat without boiling.

12. Another good Red dye.
Boil the things you. would dye first in alum water, then take them out, and boil them in water with Brasil in fine powder; let it boil 'till the scum arises, then put in the things to be dyed, and let them boil 'till the water looks of an orange tawney; casting in then also a handful of bay salt.

13. To colour barley-straw, &c. Red.
Boil ground Brasil in a lixivium of pot-ashes, and in that boil your straw.

14. A Red pigments which shall not grow black.
Take fine vermilion, grind it with water of gum ammoniacum, with the addition of a little saffron.

15. To dye a good Red.
Take stale clear wheat-bran liquor a sufficient quantity, alum three pounds, enter twenty yards of broadcloth, handle and boil it three hours, take it out, cool and wash it well; take fresh bran-liquor a sufficient quantity, madder six pound, enter your cloth at a boiling heat, and handle it 'till it is as deep as you would have it; and if you please, finish it with Brasil.

16. To make Red paper.
Take bastard saffron, or safflower, eight ounces, put it into a linnen bag, and wash it by a river side, 'till it scarcely gives any colour; then put the remainder intoabsson, sprinkling it with powder of glass-wort (or rather with soda) one ounce; so put it into a little pail of blood-warm water, stirring it, after which strain it, and add a little juice of lemons to make it give a red colour, the paper ought to be fine, and dipt into the bason.

Dictionarium polygraphicum. Observations on Red colours.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
Red-lead is the nearest to an orange-colour, and mix'd with yellow berries, it makes a perfect orange. It is us'd for build ings and highways in landskips, being'mix'd with a little white. it is the only bright colour to shadow yellow garments with, to make them appear like changeable taffety; and to colour any light ground in a picture, and several other uses.

Cinnabar lake; this is good for shadowing yellow garments with in the darkest places; as also vermilion mix'd with white, only it makes a sky-colour, with white and red-lead a flesh-colour; end is an excellent colour of itself to colour garments with.

This colour being dear, you may therefore, for ordinary uses, instead of it use red-ink, thickened upon the fire; which will serve very well, and better than lake, unless it be very good.

Red ink is made by boiling brasil rasp'd in vinegar, mix'd with beer, adding a little alum to heighten the colour; boil it 'till it tastes strong on the tongue, then strain it out, and keep it close stopp'd for use.

But if it be made a flesh-colour, or a sky-colour, then it must not he thickened.

Vermilion is a most perfect scarlet-colour; it is so fine, that it needs no grinding, but may be tempered with your finger, with glair or gum-witer, and so us'd, mixt with a little yellow-berries, it makes it the lighter and brighter colour, and is then principally us'd for garments.


A glorious colour of East-India cakes.
In using these cakes, you may take one, or a part of one of them, and put it into a horse-muscle shell, adding a little fair water, just enough to wet it all over, letting it lie so about a quarter of an hour; then squeeze it bard against the shell, or wring it out between your fingers, and there will come forth an admirable transparent colour, which will serve instead of lake, if the red-cake be good.
These cakes are commonly counterfeit; and good for little; but you will find by cutting a little way into them, if they be good, they are as red within, as they are without; if naught, they look pale and whitish within.

Dictionarium polygraphicum. Red.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
RED is one of the simple or primary colours of natural bodies, or rather of the rays of light.

The red rays are those of all others the least refrangible.

Hence, as sir Isaac Newton supposes the different degrees of refrangibility to arise from the different magnitudes of the lu minous particles, of which the rays consist; the red rays, or red light, is concluded to be that which consists of the larger particles.

Red is distinguished into three kinds; one bordering on the Blue, as columbine or dove-colour, purple or crimson; another bordering one yellow or flame-colour, and orange.

Between these extremes is a medium, partaking neither of the one nor the other, which is what we properly call red.

Acids turn black, blue, and violet into red; and red into yellow; and yellow into a very pale yellow.

Alkali's change red into violet or purple, and yellow into feuillemort or dead-leaf colour.

Terrestrial and sulphureous matters become red by extreme heat; and some at length black, as may be seen in brick, red-bole, red-chalk, slate, pumice, which, when vitrified by a burning glass, become black; lobsters become red by boiling by a moderate fire, and by a violent fire, black.

Mercury and sulphur mix'd and heated over a moderate fire, make a beautiful red, call'd artificial cinnabar.

An acid spirit, as lemon juice, being pour'd on a blue solution of turnsole, turns it into a beautiful red: alkali restores it to its original blue.

Filtrating the reddest wine takes from it all its red colour.

M. de la Hire observes, that a very luminous body, view'd through a black one, always appears red; as when the sun is seen shining through a black cloud.

He adds, that many persons, who see all the other colours perfectly well, yet have no idea of red, and only see it is black.

Some reckon seven kinds or casts of red; viz. scarlet red, crimson red, madder red, half-grain red, lively orange red, and scarlet of cochineal; but they may all be reduc'd to these three, according to the three principal drugs which produce the colours, which are vermilion, cochineal, and madder.

The fine scarlet, call'd scarlet of the Gobelins, is made of agaric water prepar'd with bran, and turn'd a little sourish, woad; and scarlet-green or vermilion; some dyers add cochineal, and others fœnugreek, brightening it with sour water, agaric, tartar, and turmeric.

Crimson red is made with four water, tartar, cochineal, mestique.

Madder red is made with madder, to which some add realgal and arsenic; others common salt, or other salts, with wheat flower; or agaric with spirit of wine with galls or turmerick.

The half grain is made with agaric or sour water, half scarlet grain, half madder, and sometimes turmeric.

As to the lively orange red, the stuff must be first lald in yellow, then in a liquor made of goats-hair, (which has been boiled several times with madder,) and now diffolv'd over the fire with certain acids, as urine, tartar, &c.

The half crimson is made of half madder, half cochineal.

The scarlet of cochineal, ot Dutch scarlet, is made with starch, tartar, and cochineal; after it has been first boil'd with alum; tartar, sal gemma, and aqua-fortis, in which tin has been dissolved.

Besides these seven reds, which are good and allowed colours, there is also a Brasil red, which is discouraged, as fading easily.

Of the seven good reds, only four have particular casts or shades; the madder red, the crimson red, the lively orange red; and the scarlet os cochineal.

The casts or shades of crimson are flesh-colour, peach-colour, carnation-rose-colour, an apple-tree flower-colour.

Those of madder are flesh-colour, onion-peel-colour, and flame-colour.

Those of the orange are the same with those of the crimson.

Scarlet, besides the shades of all the rest, has some peculiar to itself, as cherry-colour, fire-colour, &c.



RED; in painting in oil-colours, they use a red call'd a cinnabar, or vermilion; and another call'd lacca.

In limning and fresco, for a violet-red, instead of lacca, they use a natural earth found in England; for a brown-red they use oker.

Dictionarium polygraphicum. To colour the barrels of quills red.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
Take a pint of vinegar, put into it half an ounce of alum powdered, vermilion, and the fine scrapings of Brasil wood, of each one ounce; boil them 'till the liquor begins to thicken; then strain it, and put the liquor into a narrow deep skillet, and when it boils, hold the barrels of the quills in the liquor, until they change their colour, and this will harden them also.
To tinge them yellow, you may use a pennyworth of saffron, and an ounce of turmerick also in powder.

Dictionarium polygraphicum. To dye stuffs, &c. a purple.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye stuffs, &c. a purple.
Allow a sufficient quantity of fair water to every pound of stuff, one pound of tartar, and two ounces of alum; in which boil the cloth for an hour; then take it out, cool and rinse it; after this warm some clean water, into which put in three ounces of Brasil wood; boil it half an hour, and then work the stuffs in it, till it becomes as red as desired: upon which, take them out, and put into the dye two ounces of pot-ashes; stir it well about, and put in the red stuff once more; roll it off and on the roller, that it do not spot; then cool, and rinse it out.

Another Purple.
First blue the ware in the suds, which has been wrought 'till it turn to a sort of a half green, and then boil'd for three quarters of an hour with twelve ounces of aqua fortis, half a pound of sal-armoniac, two pound of white-wine tartar, two pound of roach alum, and afterwards rinsed out.
To finish it; proportion your suds to thirteen pound of goods, and take ten ounces of cochineal; and if you think that quantity will make it too red, you may correct it with an ounce of pot-ashes, and an ounce and half of lac.
If the aqua fortis be tempered, or the work perform'd in a tin kettle, or less sal-armoniac us'd, the colour will incline more to a blue.

To dye stuffs of a lasting purple dye.
The stuff, when white, ought to be very clean and free from all spots and stains, that the stuff may have the better lustre when dyed.
The blue. The stuff must first be dyed to the depth of a sky-colour with woad or indigo, and then dried.
The browning or deepening.
Boil half a pound of Brasil, and divide it into four parts, as is done in the violet brown dye, and is to be dyed time after time in the same manner: to the first part of the Brasil, add one drachm of salt-petre, and one drachm of sal-armoniac powder; to the second, add a quarter of an ounce of powdered galls, and half an ounce of Paris red, which is a sort of bastard sandarach; to the third a quarter of an ounce of galls, and a quarter of an ounce of calcin'd tartar, and of alum and salt-petre, each a drachm.
The fourth time, a quarter of an ounce of galls powdered, as much turmerick, and a quart of sharp lye, and you will have a beautiful colour.

To dye silk a slight sort of purple.
Clap the silk into the slighter red dye; but increase the quantity ot pot-ashes, to turn it to purple, then rinse and dry it.

To dye thread of a purple colour.
First alum the thread with three pound of alum, half a pound of tartar, and two ounces of Brasil, dry it, and draw it through the woad or indigo dye, then rinse it clean, and dry it again; then to brown or deepen it, take twelve ounces of Brasil, being first boiled, which liquor divide into three parts, to be us'd at three times.
To the first add half an ounce of Paris red (a sort of sandarach) one drachm of mastich, and a quarter of an ounce of calcin'd tartar; always drying the thread, after you have us'd every one of the parts of the liquor. The second time add half an ounce of turmerick, two drachms of cinnabar, and half an ounce of gum Arabick. The third time, when the thread becomes reddish, add a quart of sharp lye, and by this means the thread will be dyed of a lasting colour.

Dictionarium polygraphicum. A transparent purple.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
This may be made either redder or nearer the blue, as you would have it, by boiling four ounces of rasp'd Brasil wood in a pint of pale stale beer, and half an ounce of logwood or Campeachy wood, 'till the liquor is heightened to the colour you desire, which may be known by dipping a piece of paper in it.

If you find it too red, add a quarter of an ounce of logwood to the Brasil wood, and it will be much nearer to the purple than the former; and by this method you may humour it to any degree of purple, by putting in either more or less logwood to the former composition, and fixing the colour with alum.

This will produce such clear purple, as no mixture of solid reds and blues will produce, and the receipt has been for a long time kept secret.

Madam Mariana of Amsterdam, famous for painting in miniature, and her excellent manner of illuminating prints, says that the best purple that can be made, may be compos'd between the carmine and indigo; to strengthen which on the red side, you may add lake, between the lighter and darker part: and so lake, when it is us'd in the same way, on the foregoing purple, or tie liquid crimson, produces a very fine effect.

The colour of the purple may be varied, and made either redder by putting more carmine, or bluer by using more indigo; which being mix'd on a white Dutch tile, will shew itself.

Dictionarium polygraphicum. Purple.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
PURPLE is a red colour bordering on violet, made principally with cochineal or scarlet grain.

Purple was in high esteem among the ancients, especially the Tyrian purple, which pass'd through more dyes than the rest; and which colour was in a manner almost peculiar to kings and emperors.

Yet this purple did not exceed that now in use; the chief reasons wny the former has been difus'd, are, that our modern purple is not only cheaper, but finer.

The ancient or Tyrian purple was tinged or dyed with the blood of a testaceous shell-fish, which the Latins call purpura.

There is now found about Nicoya in the Spanish West-Indies a shell-fish, which perfectly resembles the ancient purpura, and is in all probability the very same.

Gage relates of this fish, that it usually lives seven years; that it hides itself upon the approach of the dog-days, and continues hid for 300 days running.

These fishes are gather'd plentifully in the spring, and by rubbing one against another, yield a kind of saliva or thick glair, resembling soft wax; but the purple dye is said to be in the throat of the fish, and the finest part in a little white vein; the rest of the body is of no use. He adds, that the chief riches of Nicoja consists in this fish.

Cloth of Segovia, dyed with this purple liquor, is sold for 20 crowns the ell, and is worn by none but the greatest Spanish Lords.

Besides the West-Indian purple fishes, we have others much nearer home; and Mr. W. Cole did in the year 1686, discover purple fishes on the coasts of Somersetshire, South-Wales, &c. where they were found in great abundance, as we find in the Philosophical Transactions.

Mr. Reaumer observes, that this fish is a kind of buccinium, by which name the ancients call'd all those shell fishes, that bear any resemblance to a hunting-horn; and, as Pliny relates, the ancient purple was taken from this kind of shell-fish.

The author describes the method of obtaining the colour as follows; they break the shell, which is very hard, holding the mouth of the fish downwards, so as not to crush the body; and pick off the broken pieces, and then there appears a white vein, lying transversly in a little furrow or cleft, next the head of the fish.

In this vein is the purple liquor lodg'd; some of which being laid on linnen, appears at first of a light green colour; but if expos'd to the sun, soon changes into a deep green, and in a few minutes more into a sea-green, and in a sew more into a blue; thence it soon becomes of a purplish red, and in an hour more of a deep purple red.

And here the action of the fun ends; but it becomes of a most bright, beautiful crimson, by being wash'd in scalding water and soap, which will bear washing admirably without any styptick.

Mr. Reaumer has discovered another very different kind of purple. This, he fays, is produc'd in oval grains about a quarter of an inch long, and one inch thick, full or a white liquor, bordering on yellow, which cover certain stones or sands, abouc which the fish call'd buccina of Poictou in France usually assemble.

These he supposes to be the eggs of some unknown fish.

These grains being bruis'd on a white linnen cloth, at the first only tinge it yellow, and that insensibly, but in three or four minutes turn to a very beautiful purple red; provided the linnen be expos'd to the open air; for the air of a room, altho' the windovs be open, will not produce this effect.

This colour will fade a little by repeated washings.

There is likewise a purple fish about the Caribbee Islands; this fish is call'd Burgan, being much about the size of the end of a finger, and in shape like our periwinkles: the shell of it is of a brownish azure, the flesh white, the inwards of a very bright red, the colour of which appears through the body; and it is this that dyes the froth, which it casts forth when taken, and which at first is of a violet hue, bordering on blue.

To cause these fish to yield the greater quantity of froth, they lay them on a plate, shake and beat them one against another; upon which the plate is immediately cover'd with the froth, which they receive on a linnen cloth, and as it dries becomes purple.

P. Labat observes, that this colour is found to dwindle and dissipate in proportion as the linnen that is dyed with it is wash'd.

The same author gives us also the description of another purple dye, produc'd by a plant that grows in the Antilles islands: the juice of this tree, when cut, he fays, is of a blood-red colour, and communicates the same colour to cloths; tho' like the former it loses much in washing.

Dictionarium polygraphicum. A Red-Ink for making an Impression of a Print.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
Mix some vermilion finely ground, with linseed-oil, but so liquid that it will run or flow in a pen, and with this trace the lines of a print; arid as soon as you have done all, with a spunge and water wet the back side of the print, and turn the printed side downwards upon a piece of white paper, so that it may lie smooth; then lay over that a piece of dry paper, and press it hard on every part, and the lower white paper will receive the im pression: but if you have a press, such as is used for pressing linnen, it will be better to put the paper between two of the wooden leaves, and then to screw the press as tight as may be, for then you will have a fine impression.

Dictionarium polygraphicum. To make French Pink.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
This is usually made with the white of Troye, which is otherwise call'd Spanish white or French and Avignon berries; but it is apt to change colour; so that it will be better to make it of white-lead or cerussi, ground very fine on a marble. When it is ground, take it up with a wooden spatula, and set it to dry in the shady part of a room; then bruise French berries in a marble mortar with a wooden pestle, and boil them in a lidded earthen pot, till the third part or more be evaporated.

Strain this decoction through a linnen cloth, and put into it the quantity of two or three small nuts of alum, to hinder it from changing colour; when it is dissolv'd, dilute the white with this decoction, to the consistence of a pretty thick pap, or rather paste, which you are to work well between your hands, and make up into trochisks, and lay them to dry in an airy room: when they are dry, dilute them again two or three times with the same decoction, according as you would have your pink bright or deep, and set it to dry each time.

Take notice that the liquor or decoction must be warm, when the paste is diluted with it, and that you must make it a-fresh, when the first is tainted; taking care never to touch it with iron or steel; but always using a wooden spatula.

Dictionarium polygraphicum. To dye woollen a pearl colour. To dye silk a pearl-colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye woollen a pearl colour.
For one pound of stuff, take one ounce of blue lac, half an ounce of blue wood, and half an ounce of burnt alum.
First boil the blue wood for a quarter of an hour in a bag, then take it out, and having powdered and sifted the lac through a hair sieve, skim the liquor, and stir it very well for a quarter of an hour, and help it with a quarter of an ounce of pot-ashes.

To dye silk a pearl-colour.
To every pound of silk, take one ounce of Orleans, dissolve it in water, and wave the dry silk in it till it lathers; but it must not boil; then rinse and beat the silk clean, and take for every pound of silk four pound of wild saffron very well press'd, and four ounces of pot-ashes, with half a pint ot lime-juice. The Italian carnation or flesh-colour is prepared the same way.

Another.
Take a clean vessel, put fair water into it, and for every pound of silk, take a quarter of a pound of soap, and boil the silk in it for two hours, then pour some rain-water in a vessel, to which add a bowl-full of the blue lye; or if that be too much, you may use half the quantity only at pleasure, then rinse out the silk and dry it.

Dictionarium polygraphicum. Dying paper and parchment.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To make marble paper.
Take divers oiled colours, put them severally in drops upon water, and stir the water lightly: then wet the paper (being of some thickness) with it, audit will be waved like marble.

To write golden letters on paper or parchment.
You may do this with vermilion ground with gum-armoniack, ground with glair of eggs, and it will be like gold.

To take out blots, or make black letters vanish in paper or parchment.
This may be done with alum-uater or aqua-fortis, mixed with common water.

To make silver letters on paper or parchment.
Take tin one ounce, quicksilver two ounces, mix and melt them, and grind them with gum-water.

To write with green ink.
Take verdegrease, litharge, quicksilver, of each a sufficient quantity, grind and mingle them with urine, and it will be a glorious green like emerald, to write or paint with:
Or thus; grind juice of rue and verdegrease, and a little saffron together, and when you would write with it, mix it with gum-water.
Or thus; dissolve verdegrease in vinegar, strain it and then grind it in common water, add a little honey, dry it, and grind it again with gum-water, and it is done.

To write on paper or parchment with blue ink.
Grind blue with honey, then temper it with glair of eggs or gum-water made of ising-glass.

Dictionarium polygraphicum. To dye silk an orange colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
First, lay the white silk in alom-water, in the same manner is the yellow, then take the eighth part of a pound of Orleans, dissolve it in water for the space of one night, add to it one ounce of pot-ashes, boil it for half an hour, then add an ounce of beaten turmerick; stir it very well, let it stand a little while, and then put in the alomed silk, and let it remain there, one, two or three hours, according as you would have the colour, light or dark; rinse it in fine soap-suds, till 'tis perfectly clean, then beat and dry it.

Dictionarium polygraphicum. Orange colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
An orange-colour for washing prints is made by laying on a teint of Gamboge, and over that some minium or red-lead wash'd and rendred fine and fit for use; it not being fine enough to paint with, as it is bought at the shops; and besides, it will change or turn black, after a few weeks, if it be not refin'd; but if it be well prepar'd, will be very lasting and beautiful.

But this you may take notice of, that an ounce will not produce above 20 grains os a good colour, to stand the test of painters.

This colour may be mix'd with gamboge, upon a white Dutch tile, to render it of the teint you would have it, either softer or stronger; or the gamboge may be glaid over and strengthened with the tincture of saffron, which, will make it glare into a strong orange. See MINIUM.

Some may think it strange, that as for orange colours I mention those deep sorts tending to purples: but I mention them as shades; and without which, the orange or red could not appear with any brightness.

Dictionarium polygraphicum. To die cloth or stuff a Nutmeg colour. Another of the same. A Nutmeg or cinnamon colour. Another.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To die cloth or stuff a Nutmeg colour.
Boil three pound of alum and half a pound of tartar for two hours, then take out the stuff and let it cool, and then add one pound and a half of visel-wood, or yellow flowers, three pounds of madder, and one pound of galls; put them all together into the kettle, and boil them for an hour and a half, and wind the stuff very close upon the roller; and if it be red enough, take it out and cool it;then put in two pounds of copperas, and if you can dissolve it with warm water, you may add a little more, then put in the cloth, letting it continue till it is enough, then rinse it out as usual.

Another of the same.
Put two or three quarts of walnut. Shells, or walnut-roots into a copper, make it boil, and then put in the stuffs and rollers; and after a convenient time take them out and cool them, and make the ingredients boil again; then put in the cloth again, and let it boil for half an hour; then take it out and cool it, and add to the liquor, three pounds of madder, and one pound of galls, putting them in together with the stuffs, let them boil for an hour, then take out the cloth and cool it; then put into the kettle two pounds of copperas, stir it well about, and put the cloth into the copper again, look well after the fire, and keep stirring the stuff about, till the colour is deep enough, then rinse it out, &c.

A nutmeg or cinnamon colour.
Boil the stuff, with two pound of alum, and half a pound of tartar, and some sharp lye, for an hour; then pour offthe water and put fresh into the kettle, and make the flota of three pounds of madder, a sufficient quantity of tartar-ashes, three pound of of alder-bark; boil them together, and dye the cloth for an hour.
Some dye it pale; but if you would have it deeper, add two or three pounds of copperas, and the cloth will be of a very good nutmeg colour.

Another.
First boil alum and tartar, as for the red-dye, then half madder it, and add to the madder a quarter of a pound of galls to every fifteen yards of stuffs.
You must take care it be not at most above half dyed red; and after that pass it through the copperas till it is dark enough, then rinse it, and after that pass it through the yellow dye, and it will be of a beautiful nutmeg colour.

Dictionarium polygraphicum. To dye stuff a musk colour. Another for a piece of rasb.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye stuff a musk colour.
For every pound of wool allow two ounces of alum, two ounces of copperas, and two ounces of tartar, two ounces of brown wood, and two ounces of madder, to finish it.
Take again of brown wood, madder, and copperas, of each two ounces.

Another for a piece of rasb.
Take one pound of yellow wood, one pound of vitriol, and half a pound of galls, and stir the stuff in it as usual.

Dictionarium polygraphicum. Minium, or Red-Lead.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
MINIUM, or RED-LEAD, is as heavy and strong a colourr as most we have; but when prepared, is the most delightful one; that is, when it is well washed and cleansed of its more weighty parts, which cause it to turn black.

Mr. Boyle directs the preparing or cleanfing it as follows; Put four ounces of it in a quart of rain-water; then stir it, tod pour off the water immediately, and let it settle to the bottom of every cup or glass you pour it into; then pour off that water, and in a day's time you will have the colour dry, and as fine as you can desire; then put a little gum-arabick into each glass or cup, and as much water as will moisten each of them.

Any of these may be afterwards used with gum-water, but if the gum you put in at first make it strong enough to glaze it, then you need add to it only common water; and according as your colour is less or more gummed, use left or more gumwater; for of it self it is a dead colour.

When you use this colour, touch it gently on the yellow mentioned, made of yellow berries, into the light side, and if it wants a shade, you may put a little vermillion upon it; but vermillion is too heavy to paint with, when you would illuminate prints, because it hides the shades of the engraving; though sometimes they had better be hidden than appear.

Some generally shade this minium or red-lead with carmine, which gives it a fine effect, and renders it' equal to the brightest red flower that is to be seen, leaving still the lights uncoloured, only dashing a little way into the lights with the minium.

When the carmine has shaded the minium or red-lead, it may be shaded again with lake in the strongest part, to bring it to a deeper red.

Dictionarium polygraphicum. To marble books or paper.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
Dissolve 4 ounces of gum arabick, in 2 quarts of fair water; then provide several colours mix'd with water in pors or lhells, and with pencils peculiar to every colour, sprinkle them by way of intermixture upon the gum-water, which must be put into a trough, or some broad vessel; then with a stick curl them, or draw them out in streaks, to as much variety as may be done. Having done this, hold your book or books close together, and only dip the edges in on the top of the water, and colours, very lightly; which done, take them off, and the plain impression os the colours in mixture, will be upon the leaves; doing as well the ends, as the front of the book in the like manner.
And after the same manner you may make marbled paper, by dipping it on the flat, as also linnen cloth, &c. -

MARBLING of books is perform'd by book-binders, by sprinkling over the covers of books with black, by means of a black pencil, struck gently against the finger, or on a stick held for that purpose.

Marbling is not us'd, except to such books as are bound in calves-leather; and after the marbling is finish'd, the covers are glair'd over with the whites of eggs well-beaten, and afterwards glax'd over with a polishing iron.

Books are also marbled on the edges; but in this marbling there is no black us'd, but instead of it, red, blue, yellow, &c.

Dictionarium Polygraphicum. Containing. Polygraphick Dictionary. L. (Litharge.) How to make Spanish White. To give stuffs a beautisul Lustre.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
How to make Spanish White.
Grind white chalk with a tenth part of alum with fair water, 'till it is very soft, and afterwards bring them to a thickness, and make them into balls, lay them so that they may dry leisurely; then when you use them, heat them well in the fire.

To give stuffs a beautisul Lustre.
For every 8 pound of stuff allow a quarter of a pound of linseed; boil it half an hour, and then strain it through a cloth, and let it stand till it is turned almost to a jelly; then put an ounce and half of gum to dissolve 24 hours; then mix the liquors, and put the cloth into this glutinous mixture; take it out, dry it in the shade, and press; and if you find that once doing this is not sufficient, repeat the operation, and it will give the stuffs a very beautiful lustre.

Dictionarium polygraphicum. Madder.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
Madder, a root of a plant, much used by dyers, to make the most solid and rich red-colour.

It is common enough; but generally comes from Holland, and if it is good it is red; 'tis finer than Brazil, and before you use it, it must be finely powdered, to give the better colour.

To extract a tincture of Madder for lake.
This is done by the same method as is done for extracting a lake from Brasl, and will produce a fine colour, which make into troches, drying them, and it will be a perfect lake, and very fine for use. See BRAZILE and LAKE.

Dictionarium polygraphicum. To dye linnen with crampenade. To dye linnen thread or cloth, a good red.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye linnen with crampenade.
To every 3 ells of linnen use 1 pound of crampenade, and 6 quarts of water; let it over a fire 'till it begins to seeth, then put in 2 ounces of galls, and afterwards your linnen; then take it out often, and wring it, and put it into alum water: but if you would have the colour darker, you ought to have a lye of unflak'd lime or chalk-stones.

To dye linnen thread or cloth, a good red.
Soak a pound of samfleur 24 hours in 2 gallons of water, heating it over a gentle fire; then add half a pound of rasp'd Brazils a ounces of vermilion, and an ounce of alum dissolv'd in fair water, dip the linnen, and order it as other things.

Dictionarium polygraphicum. To dye stuff a limon, or lemon colour. To dye silk a Limon-colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye stuff a limon, or lemon colour.
Boil the stuff an hour and a half with 3 pound of alum, 3 ounces of cerusse, and 3 ounces of arsenick; pour off the water, then put in fresh, and in the same kettle make a liquor of 16 pounds of green dyer's-wood, 3 ounces of pot-ashes, 2 ounces of turmerick; let them settle and boil; then pass the stuff quick through it, and it will be of a good lemon-colour.

To dye silk a Limon-colour.
This dye must first of all be tenderly handled, and done in weak suds, and may be regulated by comparing the colour with a lemon; which when done, rinse and dry it.

Dictionarium polygraphicum. To Gild Leather. To make Leather shine without Gold. To dress or cover Leather with Silver or Gold.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To Gild Leather.
Take glair of the whites of egg?, or gum-water, arid with a brush rub over the Leather with either of them, and then lay on the gold or silver; let them be dry, and burnish them.

To make Leather shine without Gold.
Take whites of eggs, gum-water, and powder of antimony; mix them well together by beating, and having the skin well dried, lay the mixture on them, and do it often, till the leather be quite hid; when you have done this, let the mixture dry, and then burnish them over; and if you have not antimony, you may use black-lead.

To dress or cover Leather with Silver or Gold.
Take that which is called brown-red, and grind or move it on a stone with a muller, adding water and chalk; and when the latter is dissolved, rub, or lightly dawb the skins over with it, till they look a little whitish; and then lay on the leaf-silver or gold, before they are quite dry; laying the leaves a little over each other, that there may not be the least part omitted; and when they have well closed with the leather, and are sufficiently dried on and hardened, rub them over with a polisher made of smooth ivory, or of the fore-tooth of a horse, and it will appear very lustrous and bright.

Dictionarium polygraphicum. Dying Leather.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To dye skins of a reddish colour.
First wash the skins in water, and wring them well out, and afterwards wet them with a solution of tartar and bay-salt in fair water, and wring them out again: then to. the former dissolution add ashes of crab-shells, and rub the skins very well with this: after this, wash them in common water, and wring them out; then wash them with tincture of madder in the solution of tartar and alum and the crab-shell ashes; and if they prove not red enough after all, wash them with the tincture of Brazil.

Another way.
First wash the skins, and then lay them in galls for 2 hours, wring them out, and dip them in a tincture made of ligustrum, alum, and verdegrease in water; and in the last place, dye them twice in Brazil boiled in lye.

To dye skins of a pure yellow.
Take of fine aloes two ounces, of linseed-oil 4 pounds; dissolve or melt them, then strain the liquor, and besmear the skins with it, and being dry, varnish them over.

Another.
Infuse woad in vinegar, in which boil a little alum: or thus; having dyed them green, as directed, then dye them in a decoction of privet berries, saffron and alum-water.

To dye skins of an orange.
Boil fusick-berries in alumwater: but for a deep orange, use turmerick-root.

To dye them blue.
Boil elder-berries, or dwarf-elder in water, then smear or wash the skins with it; wring them out; then boil the berries as before in a dissolution of alum-water, and wet the skins in the same water once or twice, dry them, and they will be very blue.

Another blue.
Take the best indigo, and steep it in urine a day; then toil it with alum, and it will be good. Or temper the indigo with red-wine, and wash the skins with it.

To dye skins of a pure sky-colour.
For each skin take indigo one ounce, put it into boiling water, let it stand one night, then warm it a little, and with a brush pencil besmear the skin twice over.

To dye them purple.
Dissolve roch-alum 'm warm water, wet the skins with it, dry them; then boil rasped Brazil well in water; let it stand to cool: do this 3 times, and afterwards rub the dye over the skins with your hand, and when they are dry, polish them.

To dye skins green.
Take sap-green and alum-water, of each a sufficient quantity; mix and boil them a little: if you would have the colour darker, add a little indigo.

Another sad green.
Take filings of iron and sal Armoniack, of each a like quantity, steep them in urine till they be soft; stretch out the skin, and besmear it with this; dry it in the shade, and the colour will penetrate, and be green on both sides.

Dictionarium polygraphicum. To Colour Leather...

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To colour white leather the best way.
Hang the skins in chalk or lime-water, till they are grown supple, that the hair or wool may be stripped off, stretch them on tenters, or by the means of lines, and smooth them over: then brush them over with alum-water, very warm, and colour them with the colour you would have them, and dry them in the sun, or in some warm house, and they will be useful on sundry occasions, without any farther trouble.

To colour black leather the German way.
Take of the bark of elder 2 pounds, of the filings or rust of iron the same quantity; put them into 2 gallons of rain-water, and stop them up close in a cask or vessel, and let them stand for the space of a months: then put to the liquid part a pound of nut-galls, beaten to powder, and a quarter of a pound of copperas, heating them over the fire, and suffering them to stand 24 hours after, and then use the liquor with a brush till the skin has taken a fine black.

To colour leather a fair red.
First rub the Leather well in alum-water, or alum it; boil stale urine, scum it, till half of it is wasted: then put in an ounce of the finest lake, the like quantity of Brazil in powder, one ounce of alum, and half an ounce of sal-armoniack; mix them well, and keep them stirring over a gentle fire about 2 hours, and so use the liquid part to colour or tinge the skin.

To colour leather of a curious French Yellow.
Take one part of Chalk, and another of wood-ashes, and make of them a good lye; then strain out the fine liquor, and set it in a vessel over the fire: and put into it turmerick in powder, and a little saffron; and let it simmer till it becomes pretty thick; then set it a cooling, to be used as occasion requires.

To make white leather blue.
Take a quart of elder berries, strain out the juice, and boil it with an ounce of powder of alum, and half an ounce of indigo, or smalt-blue, and brush over the leather with a fine brush dipped in it 3 times, suffering it to dry between whiles, and the business will be effected.

To colour Spanish leather, &c.
Take that which the Dutch call Pomplemelch, warm it, and rub the leather with it; then take of Venice tot appelen, and having pounded it small, put a quantity of water to it, and let it soften over a gentle fire; then press out the water, and rub or wash out the skin in it; repeating the same several times, and after that, take the finest shoe-makers black, and rub the skin over with it, having in the melting added a little vitriol or copperas, and letting it dry, take goose or hog's grease, and with a woollen cloth rub the skin over for a good while, where there is a good fire to supple it, and afterwards rub it over with your hands, till it disappear; or instead of grease, you may use Unseed or train-oil, and so in case of any other colour, according to the colours you design.

Dictionarium polygraphicum. (Glass of Lead.)

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
The way of making Glass of Lead, commonly called Vitrum Saturni: to calcine Lead, and extract from it the colours of emerald, topaz, sea-green, or azure granate, sapphire, gold, and other colours.

Glass of Lead known to few artists in this way, because they make no use of it by reason of its brittleness, is beyond doubt the fairest anf noblest glass of any other.

In this glass you may imitate all the colours of oriental precious stones; and if this glass was as tough as crystal, it would far surpass it in beauty.

It is true, if you don't work it with great care, no pots or crucibles will hold it, for it will crack them and run out. I will here give all the methods of preparing it; and that so distinctly, that the unexperienced may succeed in it.

The business principally consists in knowing well how to calcine the lead, and re-calcine it again, which is commonly known, notwithstanding it shall be shewn how to do it, for the sake or those that do not know it.

The better the lead is calcined, the less apt it is to turn into lead again, end break the pots in its operation.

We will also shew, that you must alway drop the glass into water, when it is melted, for the least lead remaining in it, breaks out the bottom of the vessels, and so use your matter, which may be avoided, by carefully minding what we have, and which we shall note again in the following articles.

It is highly probable, that that subtilty, whereby the lead so easily in this case pierces the pots, when it is not wholly calcined, comes from a certain unctuous yellow nutter like oil, that is seen to swim on the top sometimes in a violent fusion.

For it has often been observed, that if that unctuous matter be not taken off, as soon as it appears on the top, it will pierce the pot, and so all run out among the coals.



The way to make glass of LEAD.
The beauty of this glass is, that it may be ringed of several colours, as black, white, gieen, and red, which are natural to it, the degrees of the fire only making it take those different colours.

This glass being well made, communicates its beauty to glass, and to tinctures of precious stones, wherein it is employed.

To make vitrum saturni, take 15 pound of calcined lead, and 12 pound of crystal or rochetta frit, according to what colour you would have; mix them well together, put them in a pot in the furnace, where 10 hours afterwards it will be in good fu fion; then cast the whole into water, and take out speedily the remaining lead at bottom of the vessel, for fear it should break; then take it out of the water, and dry and put it into the same pot to melt again: Take care pot to put in the grains of lead (if there be any) which were in the water, and which will be loosened from the matter.

After your matter has been again in fusion 6 hours, you may work it.

You may also make a glass of lead, by taking 3 parts of lead, and one of fine sand, and change them into glass in the furnace, as also of 3 parts of calcined litharge, and one part of calcines flint, melted and vitrified in the furnace together.


The way how to work Glass of Lead.
It is not enough to shew how to make glass of had, if we don't shew how to work it too.

If any one would make a vessel for use, of any figure, he must take a glass-worker's iron they use to take metal out of the pots with, and take what quantity of glass of lead with it he pleases, when it is in fusion: let it a little cool, then work it after the manner used by glass-workers.

You must clean well the marble you make use of, and while the glass is cooling, you must wet the marble with cold water, for otherwise the glass would scale it, and part of the marble would stick to it.

If the marble be hard, you have fb much the less to sear, for it will not break so easily, nor stick to the glass.


To make glass of Lead a fair emerald colour.

The easiness of tinging glass of lead of any colours is the reason you may be sure of giving it an excellent emerald-green, especially because green is natural to it.

Take 20 pound of crystal frit, powdered and searced, and 16 pound of calx of lead also sifted, mix them well together, then put them little by little into a pot heated in the furnace, and 8 or 10 hours afterwards it will be melted, then cast the melted matter into water, and carefully take the remaining lead from it, then putting the matter after it is dried in the same pot again, 7 or 8 hours after it will be again melted.

Reiterate this process, casting the melted matter into water, and separating the lead that sticks to the pot, as before; then this glass will be cleansed and purified from all the foulness and unctuosity the calx and powder would leave in it, and be very re-splendent.

You must put it again in the pot, where it will melt and putrify in little time.

When it is melted, put to it 6 ounces of scales of copper thrice calcined to powder, with 24 grains of crocus martis, made with vinegar also in powder, and mix them together.

This powder must be cast in at 6 times, always mixing well the glass, and taking at each time the interval of saying the creed. Let it rest one hour, and then stir it again, and see if the colour pleases you; if it be as you would have it, let it stand 8 hours, that the whole may well incorporate.

Then stir it well, and let it rest a little, that the fæces may precipitate to the bottom of the pot, tho' it may be wroughr, and the colour can scarce be distinguished from a true emerald.



Another way of making Glass of Lead of a fairer emerald than the former.
For this colour which will be fairer than the precedent, you must change your ingredients, and instead of scales of copper thrice calcined, put the same dose of caput mortuum, of vitriolum veneris prepared, then proceed exactly as in the former article, and you will have a very exquisite green.


To make a Glass of Lead the colour of Topaz.
Topaz is a lighter colour than emerald, and casts rays the colour of gold; wherefore the colour cannot be well imitated except this way.
Take 15 pound of crystal frit in powder, and 10 pound of calx of lead also in powder, mix them well, and searce them very fine; then put them in a pot heated at the furnace, where leave it 8 hours, that it may be melted.
Then cast the matter into water, and take out of the pot all the lead (if there be any) that remains.
Put the matter again in the pot to be melted, and cast it by intervals into the water; and to tiiat matter half its weight of glass tinged of a golden colour, incorporate well, and purify the whole together, and you'll have a glass of the colour of oriental Topaz fit to be wrought.


To make a sky or sea-green in glass of Lead;
As is shewn in several places elsewhere, to tinge glass of a sky-colour or sea-green, this would be needless to repeat here.

That we now shew, which is made in glass of lead, has no less beauty.

Take 16 pound of crystal frit, 10 pound calx of lead, mix them together, and put them gently into a pot heated in the furnace, where they will be in good fusion in 12 hours time, then cast the matter into water, as has been shewn before, take the remaining lead out of the pot, and put your matter to melt again 8 hours, after call it into water again, taking the remaining lead out of the pot, then it will be well purified.

Put it again in, to melt in the same pot, and when it is in good fusion, cast in at different times 4 ounces of small copper-leaves prepared (see article Copper, &c.) and a quarter of an ounce of zaffer prepared, (see the article Zaffer, &c.)

After having mixt these powders well together, and the matter at each casting of it in; 2 hours after stir the matter well in the pot with an iron rod, and make an aflay to see if the colour be full enough; then let it stand 10 hours to purify, and to give the colour time to incorporate with the glass, then it may be wrought to the uses you design it, stirring it well, and letting it rest a little to settle before you work it.


To make a sapphire colour in Glass of Lead.

The beauty of sapphire is no less imitable in of than the colours of other precious stones; and its clear blue transparent colour will have as much splendour.

To make it, mix together 15 pound of crystal frit in powder, and 12 pound of calx of lead, then, searce it, pounding again what does not pass through the sieve; add to that 2 grains ot prepared zaffer, 24 grains of manganese of Piedmont also well prepared, mix the whole well together, put it in a pot heated in a furnace- and let it stand to melt during the space of 12 hours; then cast the vitrified matter into water, and carefully take away the lead that remains in the pot; then put the matter again into the same pot, and let it stand to be re-purified 12 hours.

Then see if the colour pleases you, and you may work it; you'll have a colour like the true oriental sapphire.



The way to make a golden colour in Glass of Lead.

This colour is as fine in glass of lead as crystal, it takes that colour both from the lead and the ingredients mixt with it.

Take 16 ounces of good crystal, frit in powder, to which add the same weight of calx of lead also in powder, and well searced; then add 6 ounces of copper scales thrice calcined, and 48 grains of crocus mar tit made with vinegar, the whole mixed well together, put it into a pot heated in the furnace, 12 hours after cast the glass in water, and take the remaining lead out of the pot, and then put the matter again into the same pot to be well purified during 12 other hours.

After that stir it well, and sec if the colour pleases you; if it chance to be greeniih, add to it some crocus martis, and the greenness will vanish, then you'll have a golden colour very fine, which may be wrought.

These be all the colours that are given to glass of lead alone; we shal' augment the number in a paste of lead, (whereof you will find the preparation in the articles Paste in letter P) because it is useful for imitating precious stones.

Dictionarium polygraphicum. To tinge LEAD of a gold Colour. To make LEAD of a golden colour.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
To tinge LEAD of a gold Colour.
Take of purg'd Lead one pound, sal-armoxiac in powder 1 ounce, salt-pctre half an ounce, Jal-ellebrot z drachms, put all into a crucible, secit in a furnace for 2 days, then add to it sulphur of sol, and it will be thoroughly ting'd.

To make LEAD of a golden colour.
Put an ounce of quicksilver into a crucible, set it over the fire 'till it is hot, then add to it of the best leaf-gold 1 ounce, and take it from the fire, and mingle it with purified Lead melted one pound; mingle all well together with an iron rod, to which put of the filtrated solution of vitriol in fair water 1 ounce, then let it cool, and it will be of a gold colour; dissolve the vitriol in its equal weight of water.

Dictionarium polygraphicum. (Lead.) There are various preparations of Lead...

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
There are various preparations of Lead, serving for various uses; as

Lead-dust is a preparation us'd by potters, made by throwing charcoal-dust on melted Lead, and stirring them a long time together; to separate the coal again, they only wash it in water, and dry it afresh; the use of it is to give a varnish and gloss to their works.

White Lead us'd by painters is only thin plates of Lead, dissolv'd by the fumes of boiling vinegar.

Masticotes of several colours, and the sandix are also preparations of Lead.

Red Lead is a preparation of mineral Lead calcin'd, us;d by painters, posters, &c.

Litharge of gold or silver is only the Lead that has been us'd in purifying copper.

Black-Lead is a kind of mineral stone, of a black colour, but silvered and shining, found in Lead mines, and appears to be nothing else but Lead, not yet arrived at maturity, much us'd as crayons or pencils for designing.
This is melted like the common Lead.

Dictionarium polygraphicum. Lapis lazuli.

Dictionarium Polygraphicum:
Or, The Whole Body of Arts Regularly Digested.
Vol II.
London: Printed for C. Hitch and C. Davis in Pater-noster Row, and S. Austen in St. Paul's Church Yard. MDCCXXXV.
1735
LAPIS LAZULI, a mineral stone of a blue colour. Pliny and Ditseorides reckon it a sand; Agricola, a mineral found in the veins of the earth; but in reality it is a mere stone, called by way of excellence Lapis, or Lapis Lazuli.

When this stone is perfect, it is studded with little specks, or stars of gold; and to be good, it should be able to resist the fire and smoak, and to come out of them with new lustre.

It is found in mines of gold, silver, and copper, and also in pits of marble; which last is that now generally in use.

Lapis Lazuli is distinguished into 3 kinds: the first is called old rock, which is pure, smooth, a fine blue, with beautiful yellow streaks, like veins of gold, which yet are frequently no more than veins of pyrites.

The second, which is called the new rock, and is stuffed with common stones; its colour is weaker, and its price lower: These two kinds come to us from Persia and Siam.

The third kind is brought from the mountains of Auvergne in France. This kind is mixed with the common rock whence it is dug, is of a pale blue, and sprinkled with greenish spots, with veins of pyrites.

This, when sufficiently charged with spots of green, is sold for the Armenian stone.