Lionardo da Vinci

Weather

Weather

Of depicting a tempest

(605. 606).

605.

Describe a wind on land and at sea. Describe a storm of rain.

606.

HOW TO REPRESENT A TEMPEST.

 

If you wish to represent a tempest consider and arrange well its effects as seen, when the wind, blowing over the face of the sea and earth, removes and carries with it such things as are not fixed to the general mass. And to represent the storm accurately you must first show the clouds scattered and torn, and flying with the wind, accompanied by clouds of sand blown up from the sea shore, and boughs and leaves swept along by the strength and fury of the blast and scattered with other light objects through the air. Trees and plants must be bent to the ground, almost as if they would follow the course of the gale, with their branches twisted out of their natural growth and their leaves tossed and turned about [Footnote 11: See Pl. XL, No. 2.]. Of the men who are there some must have fallen to the ground and be entangled in their garments, and hardly to be recognized for the dust, while those who remain standing may be behind some tree, with their arms round it that the wind may not tear them away; others with their hands over their eyes for the dust, bending to the ground with their clothes and hair streaming in the wind. [Footnote 15: See Pl. XXXIV, the right hand lower sketch.] Let the sea be rough and tempestuous and full of foam whirled among the lofty waves, while the wind flings the lighter spray through the stormy air, till it resembles a dense and swathing mist. Of the ships that are therein some should be shown with rent sails and the tatters fluttering through the air, with ropes broken and masts split and fallen. And the ship itself lying in the trough of the sea and wrecked by the fury of the waves with the men shrieking and clinging to the fragments of the vessel. Make the clouds driven by the impetuosity of the wind and flung against the lofty mountain tops, and wreathed and torn like waves beating upon rocks; the air itself terrible from the deep darkness caused by the dust and fog and heavy clouds.

Of representing the deluge (607-609).

607.

TO REPRESENT THE DELUGE.

 

The air was darkened by the heavy rain whose oblique descent driven aslant by the rush of the winds, flew in drifts through the air not otherwise than as we see dust, varied only by the straight lines of the heavy drops of falling water. But it was tinged with the colour of the fire kindled by the thunder-bolts by which the clouds were rent and shattered; and whose flashes revealed the broad waters of the inundated valleys, above which was seen the verdure of the bending tree tops. Neptune will be seen in the midst of the water with his trident, and [15] let AEolus with his winds be shown entangling the trees floating uprooted, and whirling in the huge waves. The horizon and the whole hemisphere were obscure, but lurid from the flashes of the incessant lightning. Men and birds might be seen crowded on the tall trees which remained uncovered by the swelling waters, originators of the mountains which surround the great abysses [Footnote 23: Compare Vol. II. No. 979.].

608.

OF THE DELUGE AND HOW TO REPRESENT IT IN A PICTURE.

 

Let the dark and gloomy air be seen buffeted by the rush of contrary winds and dense from the continued rain mingled with hail and bearing hither and thither an infinite number of branches torn from the trees and mixed with numberless leaves. All round may be seen venerable trees, uprooted and stripped by the fury of the winds; and fragments of mountains, already scoured bare by the torrents, falling into those torrents and choking their valleys till the swollen rivers overflow and submerge the wide lowlands and their inhabitants. Again, you might have seen on many of the hill-tops terrified animals of different kinds, collected together and subdued to tameness, in company with men and women who had fled there with their children. The waters which covered the fields, with their waves were in great part strewn with tables, bedsteads, boats and various other contrivances made from necessity and the fear of death, on which were men and women with their children amid sounds of lamentation and weeping, terrified by the fury of the winds which with their tempestuous violence rolled the waters under and over and about the bodies of the drowned. Nor was there any object lighter than the water which was not covered with a variety of animals which, having come to a truce, stood together in a frightened crowd—among them wolves, foxes, snakes and others—fleing from death. And all the waters dashing on their shores seemed to be battling them with the blows of drowned bodies, blows which killed those in whom any life remained [19]. You might have seen assemblages of men who, with weapons in their hands, defended the small spots that remained to them against lions, wolves and beasts of prey who sought safety there. Ah! what dreadful noises were heard in the air rent by the fury of the thunder and the lightnings it flashed forth, which darted from the clouds dealing ruin and striking all that opposed its course. Ah! how many you might have seen closing their ears with their hands to shut out the tremendous sounds made in the darkened air by the raging of the winds mingling with the rain, the thunders of heaven and the fury of the thunder-bolts. Others were not content with shutting their eyes, but laid their hands one over the other to cover them the closer that they might not see the cruel slaughter of the human race by the wrath of God. Ah! how many laments! and how many in their terror flung themselves from the rocks! Huge branches of great oaks loaded with men were seen borne through the air by the impetuous fury of the winds. How many were the boats upset, some entire, and some broken in pieces, on the top of people labouring to escape with gestures and actions of grief foretelling a fearful death. Others, with desperate act, took their own lives, hopeless of being able to endure such suffering; and of these, some flung themselves from lofty rocks, others strangled themselves with their own hands, other seized their own children and violently slew them at a blow; some wounded and killed themselves with their own weapons; others, falling on their knees recommended themselves to God. Ah! how many mothers wept over their drowned sons, holding them upon their knees, with arms raised spread out towards heaven and with words and various threatening gestures, upbraiding the wrath of the gods. Others with clasped hands and fingers clenched gnawed them and devoured them till they bled, crouching with their breast down on their knees in their intense and unbearable anguish. Herds of animals were to be seen, such as horses, oxen, goats and swine already environed by the waters and left isolated on the high peaks of the mountains, huddled together, those in the middle climbing to the top and treading on the others, and fighting fiercely themselves; and many would die for lack of food. Already had the birds begun to settle on men and on other animals, finding no land uncovered which was not occupied by living beings, and already had famine, the minister of death, taken the lives of the greater number of the animals, when the dead bodies, now fermented, where leaving the depth of the waters and were rising to the top. Among the buffeting waves, where they were beating one against the other, and, like as balls full of air, rebounded from the point of concussion, these found a resting place on the bodies of the dead. And above these judgments, the air was seen covered with dark clouds, riven by the forked flashes of the raging bolts of heaven, lighting up on all sides the depth of the gloom.

The motion of the air is seen by the motion of the dust thrown up by the horse's running and this motion is as swift in again filling up the vacuum left in the air which enclosed the horse, as he is rapid in passing away from the air.

Perhaps it will seem to you that you may reproach me with having represented the currents made through the air by the motion of the wind notwithstanding that the wind itself is not visible in the air. To this I must answer that it is not the motion of the wind but only the motion of the things carried along by it which is seen in the air.

THE DIVISIONS. [Footnote 76: These observations, added at the bottom of the page containing the full description of the deluge seem to indicate that it was Leonardo's intention to elaborate the subject still farther in a separate treatise.]

Darkness, wind, tempest at sea, floods of water, forests on fire, rain, bolts from heaven, earthquakes and ruins of mountains, overthrow of cities [Footnote 81: Spianamenti di citta (overthrow of cities). A considerable number of drawings in black chalk, at Windsor, illustrate this catastrophe. Most of them are much rubbed; one of the least injured is reproduced at Pl. XXXIX. Compare also the pen and ink sketch Pl. XXXVI.].

  • Whirlwinds which carry water [spouts] branches of trees, and men through the air.
  • Boughs stripped off by the winds, mingling by the meeting of the winds, with people upon them.
  • Broken trees loaded with people.
  • Ships broken to pieces, beaten on rocks.
  • Flocks of sheep. Hail stones, thunderbolts, whirlwinds.

People on trees which are unable to to support them; trees and rocks, towers and hills covered with people, boats, tables, troughs, and other means of floating. Hills covered with men, women and animals; and lightning from the clouds illuminating every thing.

[Footnote: This chapter, which, with the next one, is written on a loose sheet, seems to be the passage to which one of the compilers of the Vatican copy alluded when he wrote on the margin of fol. 36: "Qua mi ricordo della mirabile discritione del Diluuio dello autore." It is scarcely necessary to point out that these chapters are among those which have never before been published. The description in No. 607 may be regarded as a preliminary sketch for this one. As the MS. G. (in which it is to be found) must be attributed to the period of about 1515 we may deduce from it the approximate date of the drawings on Pl. XXXIV, XXXV, Nos. 2 and 3, XXXVI and XXXVII, since they obviously belong to this text. The drawings No. 2 on Pl. XXXV are, in the original, side by side with the text of No. 608; lines 57 to 76 are shown in the facsimile. In the drawing in Indian ink given on Pl. XXXIV we see Wind-gods in the sky, corresponding to the allusion to Aeolus in No. 607 1. 15.-Plates XXXVI and XXXVII form one sheet in the original. The texts reproduced on these Plates have however no connection with the sketches, excepting the sketches of clouds on the right hand side. These texts are given as No. 477. The group of small figures on Pl. XXXVII, to the left, seems to be intended for a 'congregatione d'uomini.' See No. 608, 1. 19.]

 

609.

DESCRIPTION OF THE DELUGE.

 

Let there be first represented the summit of a rugged mountain with valleys surrounding its base, and on its sides let the surface of the soil be seen to slide, together with the small roots of the bushes, denuding great portions of the surrounding rocks. And descending ruinous from these precipices in its boisterous course, let it dash along and lay bare the twisted and gnarled roots of large trees overthrowing their roots upwards; and let the mountains, as they are scoured bare, discover the profound fissures made in them by ancient earthquakes. The base of the mountains may be in great part clothed and covered with ruins of shrubs, hurled down from the sides of their lofty peaks, which will be mixed with mud, roots, boughs of trees, with all sorts of leaves thrust in with the mud and earth and stones. And into the depth of some valley may have fallen the fragments of a mountain forming a shore to the swollen waters of its river; which, having already burst its banks, will rush on in monstrous waves; and the greatest will strike upon and destroy the walls of the cities and farmhouses in the valley [14]. Then the ruins of the high buildings in these cities will throw up a great dust, rising up in shape like smoke or wreathed clouds against the falling rain; But the swollen waters will sweep round the pool which contains them striking in eddying whirlpools against the different obstacles, and leaping into the air in muddy foam; then, falling back, the beaten water will again be dashed into the air. And the whirling waves which fly from the place of concussion, and whose impetus moves them across other eddies going in a contrary direction, after their recoil will be tossed up into the air but without dashing off from the surface. Where the water issues from the pool the spent waves will be seen spreading out towards the outlet; and there falling or pouring through the air and gaining weight and impetus they will strike on the water below piercing it and rushing furiously to reach its depth; from which being thrown back it returns to the surface of the lake, carrying up the air that was submerged with it; and this remains at the outlet in foam mingled with logs of wood and other matters lighter than water. Round these again are formed the beginnings of waves which increase the more in circumference as they acquire more movement; and this movement rises less high in proportion as they acquire a broader base and thus they are less conspicuous as they die away. But if these waves rebound from various objects they then return in direct opposition to the others following them, observing the same law of increase in their curve as they have already acquired in the movement they started with. The rain, as it falls from the clouds is of the same colour as those clouds, that is in its shaded side; unless indeed the sun's rays should break through them; in that case the rain will appear less dark than the clouds. And if the heavy masses of ruin of large mountains or of other grand buildings fall into the vast pools of water, a great quantity will be flung into the air and its movement will be in a contrary direction to that of the object which struck the water; that is to say: The angle of reflection will be equal to the angle of incidence. Of the objects carried down by the current, those which are heaviest or rather largest in mass will keep farthest from the two opposite shores. The water in the eddies revolves more swiftly in proportion as it is nearer to their centre. The crests of the waves of the sea tumble to their bases falling with friction on the bubbles of their sides; and this friction grinds the falling water into minute particles and this being converted into a dense mist, mingles with the gale in the manner of curling smoke and wreathing clouds, and at last it, rises into the air and is converted into clouds. But the rain which falls through the atmosphere being driven and tossed by the winds becomes rarer or denser according to the rarity or density of the winds that buffet it, and thus there is generated in the atmosphere a moisture formed of the transparent particles of the rain which is near to the eye of the spectator. The waves of the sea which break on the slope of the mountains which bound it, will foam from the velocity with which they fall against these hills; in rushing back they will meet the next wave as it comes and and after a loud noise return in a great flood to the sea whence they came. Let great numbers of inhabitants—men and animals of all kinds—be seen driven [54] by the rising of the deluge to the peaks of the mountains in the midst of the waters aforesaid.

The wave of the sea at Piombino is all foaming water. [Footnote 55. 56: These two lines are written below the bottom sketch on Pl. XXXV, 3. The MS. Leic. being written about the year 1510 or later, it does not seem to me to follow that the sketches must have been made at Piombino, where Leonardo was in the year 1502 and possibly returned there subsequently (see Vol. II. Topographical notes).]

Of the water which leaps up from the spot where great masses fall on its surface. Of the winds of Piombino at Piombino. Eddies of wind and rain with boughs and shrubs mixed in the air. Emptying the boats of the rain water.

[Footnote: The sketches on Pl. XXXV 3 stand by the side of lines 14 to 54.]

Of depicting natural phenomena

(610. 611).

610.

The tremendous fury of the wind driven by the falling in of the hills on the caves within—by the falling of the hills which served as roofs to these caverns.

A stone flung through the air leaves on the eye which sees it the impression of its motion, and the same effect is produced by the drops of water which fall from the clouds when it [16] rains.

[17] A mountain falling on a town, will fling up dust in the form of clouds; but the colour of this dust will differ from that of the clouds. Where the rain is thickest let the colour of the dust be less conspicuous and where the dust is thickest let the rain be less conspicuous. And where the rain is mingled with the wind and with the dust the clouds created by the rain must be more transparent than those of dust [alone]. And when flames of fire are mingled with clouds of smoke and water very opaque and dark clouds will be formed

[Footnote 26-28: Compare Pl. XL, 1—the drawing in Indian ink on the left hand side, which seems to be a reminiscence of his observations of an eruption (see his remarks on Mount Etna in Vol II).]. And the rest of this subject will be treated in detail in the book on painting.
[Footnote: See the sketches and text on Pl. XXXVIII, No. 1. Lines 1-16 are there given on the left hand side, 17-30 on the right. The four lines at the bottom on the right are given as No. 472. Above these texts, which are written backwards, there are in the original sixteen lines in a larger writing from left to right, but only half of this is here visible. They treat of the physical laws of motion of air and water. It does not seem to me that there is any reason for concluding that this writing from left to right is spurious. Compare with it the facsimile of the rough copy of Leonardo's letter to Ludovico il Moro in Vol. II.]

611.

People were to be seen eagerly embarking victuals on various kinds of hastily made barks. But little of the waves were visible in those places where the dark clouds and rain were reflected.

But where the flashes caused by the bolts of heaven were reflected, there were seen as many bright spots, caused by the image of the flashes, as there were waves to reflect them to the eye of the spectator.

The number of the images produced by the flash of lightning on the waves of the water were multiplied in proportion to the distance of the spectator's eye.

So also the number of the images was diminished in proportion as they were nearer the eye which saw them [Footnote 22. 23: Com'e provato. See Vol. II, Nos. 874-878 and 892-901], as it has been proved in the definition of the luminosity of the moon, and of our marine horizon when the sun's rays are reflected in it and the eye which receives the reflection is remote from the sea.

612-650

THE ARTIST'S MATERIALS

VI.

 

Of chalk and paper

(612—617).

612.

To make points [crayons] for colouring dry. Temper with a little wax and do not dry it; which wax you must dissolve with water: so that when the white lead is thus tempered, the water being distilled, may go off in vapour and the wax may remain; you will thus make good crayons; but you must know that the colours must be ground with a hot stone.

613.

Chalk dissolves in wine and in vinegar or in aqua fortis and can be recombined with gum.

614.

PAPER FOR DRAWING UPON IN BLACK BY THE AID OF YOUR SPITTLE.

 

Take powdered gall nuts and vitriol, powder them and spread them on paper like a varnish, then write on it with a pen wetted with spittle and it will turn as black as ink.

615.

If you want to make foreshortened letters stretch the paper in a drawing frame and then draw your letters and cut them out, and make the sunbeams pass through the holes on to another stretched paper, and then fill up the angles that are wanting.

616.

This paper should be painted over with candle soot tempered with thin glue, then smear the leaf thinly with white lead in oil as is done to the letters in printing, and then print in the ordinary way. Thus the leaf will appear shaded in the hollows and lighted on the parts in relief; which however comes out here just the contrary.

[Footnote: This text, which accompanies a facsimile impression of a leaf of sage, has already been published in the Saggio delle Opere di L. da Vinci, Milano 1872, p. 11. G. GOVI observes on this passage: "_Forse aveva egli pensato ancora a farsi un erbario, od almeno a riprodurre facilmente su carta le forme e i particolari delle foglie di diverse piante; poiche (modificando un metodo che probabilmente gli eia stato insegnato da altri, e che piu tardi si legge ripetuto in molti ricettarii e libri di segreti), accanto a una foglia di Salvia impressa in nero su carta bianca, lascio scritto: Questa carta …

Erano i primi tentativi di quella riproduzione immediata delle parti vegetali, che poi sotto il nome d'Impressione Naturale, fu condotta a tanta perfezione in questi ultimi tempi dal signor de Hauer e da altri_."]

617.

Very excellent will be a stiff white paper, made of the usual mixture and filtered milk of an herb called calves foot; and when this paper is prepared and damped and folded and wrapped up it may be mixed with the mixture and thus left to dry; but if you break it before it is moistened it becomes somewhat like the thin paste called lasagne and you may then damp it and wrap it up and put it in the mixture and leave it to dry; or again this paper may be covered with stiff transparent white and sardonio and then damped so that it may not form angles and then covered up with strong transparent size and as soon as it is firm cut it two fingers, and leave it to dry; again you may make stiff cardboard of sardonio and dry it and then place it between two sheets of papyrus and break it inside with a wooden mallet with a handle and then open it with care holding the lower sheet of paper flat and firm so that the broken pieces be not separated; then have a sheet of paper covered with hot glue and apply it on the top of all these pieces and let them stick fast; then turn it upside down and apply transparent size several times in the spaces between the pieces, each time pouring in first some black and then some stiff white and each time leaving it to dry; then smooth it and polish it.

 

 

On the preparation and use of colours

(618-627).

618.

To make a fine green take green and mix it with bitumen and you will make the shadows darker. Then, for lighter [shades] green with yellow ochre, and for still lighter green with yellow, and for the high lights pure yellow; then mix green and turmeric together and glaze every thing with it. To make a fine red take cinnabar or red chalk or burnt ochre for the dark shadows and for the lighter ones red chalk and vermilion and for the lights pure vermilion and then glaze with fine lake. To make good oil for painting. One part of oil, one of the first refining and one of the second.

619.

Use black in the shadow, and in the lights white, yellow, green, vermilion and lake. Medium shadows; take the shadow as above and mix it with the flesh tints just alluded to, adding to it a little yellow and a little green and occasionally some lake; for the shadows take green and lake for the middle shades.

[Footnote 618 and 619: If we may judge from the flourishes with which the writing is ornamented these passages must have been written in Leonardo's youth.]

620.

You can make a fine ochre by the same method as you use to make white.

621.

A FINE YELLOW.

Dissolve realgar with one part of orpiment, with aqua fortis.

WHITE.

Put the white into an earthen pot, and lay it no thicker than a string, and let it stand in the sun undisturbed for 2 days; and in the morning when the sun has dried off the night dews.

622.

To make reddish black for flesh tints take red rock crystals from Rocca Nova or garnets and mix them a little; again armenian bole is good in part.

623.

The shadow will be burnt ,terra-verte'.

624.

THE PROPORTIONS OF COLOURS.

If one ounce of black mixed with one ounce of white gives a certain shade of darkness, what shade of darkness will be produced by 2 ounces of black to 1 ounce of white?

625.

Remix black, greenish yellow and at the end blue.

626.

Verdigris with aloes, or gall or turmeric makes a fine green and so it does with saffron or burnt orpiment; but I doubt whether in a short time they will not turn black. Ultramarine blue and glass yellow mixed together make a beautiful green for fresco, that is wall-painting. Lac and verdigris make a good shadow for blue in oil painting.

627.

Grind verdigris many times coloured with lemon juice and keep it away from yellow (?).

 

Of preparing the panel.

628.

TO PREPARE A PANEL FOR PAINTING ON.

 

The panel should be cypress or pear or service-tree or walnut. You must coat it over with mastic and turpentine twice distilled and white or, if you like, lime, and put it in a frame so that it may expand and shrink according to its moisture and dryness. Then give it [a coat] of aqua vitae in which you have dissolved arsenic or [corrosive] sublimate, 2 or 3 times. Then apply boiled linseed oil in such a way as that it may penetrate every part, and before it is cold rub it well with a cloth to dry it. Over this apply liquid varnish and white with a stick, then wash it with urine when it is dry, and dry it again. Then pounce and outline your drawing finely and over it lay a priming of 30 parts of verdigris with one of verdigris with two of yellow.

[Footnote: M. RAVAISSON'S reading varies from mine in the following passages:

  • 1.opero allor [?] bo [alloro?] = "ou bien de [laurier]."
  • 6. fregalo bene con un panno. He reads pane for panno and renders it. "Frotte le bien avec un pain de facon [jusqu'a ce] qu'il" etc.
  • 7. colla stecca po laua. He reads "polacca" = "avec le couteau de bois [?] polonais [?]."]

The preparation of oils

(629—634).

629.

OIL.

Make some oil of mustard seed; and if you wish to make it with greater ease mix the ground seeds with linseed oil and put it all under the press.

630.

TO REMOVE THE SMELL OF OIL.

 

Take the rank oil and put ten pints into a jar and make a mark on the jar at the height of the oil; then add to it a pint of vinegar and make it boil till the oil has sunk to the level of the mark and thus you will be certain that the oil is returned to its original quantity and the vinegar will have gone off in vapour, carrying with it the evil smell; and I believe you may do the same with nut oil or any other oil that smells badly.

631.

Since walnuts are enveloped in a thin rind, which partakes of the nature of …, if you do not remove it when you make the oil from them, this skin tinges the oil, and when you work with it this skin separates from the oil and rises to the surface of the painting, and this is what makes it change.

632.

TO RESTORE OIL COLOURS THAT HAVE BECOME DRY.

If you want to restore oil colours that have become dry keep them soaking in soft soap for a night and, with your finger, mix them up with the soft soap; then pour them into a cup and wash them with water, and in this way you can restore colours that have got dry. But take care that each colour has its own vessel to itself adding the colour by degrees as you restore it and mind that they are thoroughly softened, and when you wish to use them for tempera wash them five and six times with spring water, and leave them to settle; if the soft soap should be thick with any of the colours pass it through a filter. [Footnote: The same remark applies to these sections as to No. 618 and 619.]

633.

OIL.

Mustard seed pounded with linseed oil.

634.

… outside the bowl 2 fingers lower than the level of the oil, and pass it into the neck of a bottle and let it stand and thus all the oil will separate from this milky liquid; it will enter the bottle and be as clear as crystal; and grind your colours with this, and every coarse or viscid part will remain in the liquid. You must know that all the oils that have been created in seads or fruits are quite clear by nature, and the yellow colour you see in them only comes of your not knowing how to draw it out. Fire or heat by its nature has the power to make them acquire colour. See for example the exudation or gums of trees which partake of the nature of rosin; in a short time they harden because there is more heat in them than in oil; and after some time they acquire a certain yellow hue tending to black. But oil, not having so much heat does not do so; although it hardens to some extent into sediment it becomes finer. The change in oil which occurs in painting proceeds from a certain fungus of the nature of a husk which exists in the skin which covers the nut, and this being crushed along with the nuts and being of a nature much resembling oil mixes with it; it is of so subtle a nature that it combines with all colours and then comes to the surface, and this it is which makes them change. And if you want the oil to be good and not to thicken, put into it a little camphor melted over a slow fire and mix it well with the oil and it will never harden.

[Footnote: The same remark applies to these sections as to No. 618 and 619.]

 

On varnishes [or powders]

(635-637).

635.

VARNISH [OR POWDER].

 

Take cypress [oil] and distil it and have a large pitcher, and put in the extract with so much water as may make it appear like amber, and cover it tightly so that none may evaporate. And when it is dissolved you may add in your pitcher as much of the said solution, as shall make it liquid to your taste. And you must know that amber is the gum of the cypress-tree.

VARNISH [OR POWDER].

 

And since varnish [powder] is the resin of juniper, if you distil juniper you can dissolve the said varnish [powder] in the essence, as explained above.

636.

VARNISH [OR POWDER].

 

Notch a juniper tree and give it water at the roots, mix the liquor which exudes with nut-oil and you will have a perfect varnish [powder], made like amber varnish [powder], fine and of the best quality make it in May or April.

637.

VARNISH [OR POWDER].

 

Mercury with Jupiter and Venus,—a paste made of these must be corrected by the mould (?) continuously, until Mercury separates itself entirely from Jupiter and Venus. [Footnote: Here, and in No. 641 Mercurio seems to mean quicksilver, Giovestands for iron, Venere for copper and Saturno for lead.]

 

On chemical materials

(638-650).

638.

Note how aqua vitae absorbs into itself all the colours and smells of flowers. If you want to make blue put iris flowers into it and for red solanum berries (?)

639.

Salt may be made from human excrement burnt and calcined and made into lees, and dried by a slow fire, and all dung in like manner yields salt, and these salts when distilled are very pungent.

640.

Sea water filtered through mud or clay, leaves all its saltness in it. Woollen stuffs placed on board ship absorb fresh water. If sea water is distilled under a retort it becomes of the first excellence and any one who has a little stove in his kitchen can, with the same wood as he cooks with, distil a great quantity of water if the retort is a large one.

641.

MOULD(?)

 

The mould (?) may be of Venus, or of Jupiter and Saturn and placed frequently in the fire. And it should be worked with fine emery and the mould (?) should be of Venus and Jupiter impasted over (?) Venus. But first you will test Venus and Mercury mixed with Jove, and take means to cause Mercury to disperse; and then fold them well together so that Venus or Jupiter be connected as thinly as possible.

[Footnote: See the note to 637.]

642.

Nitre, vitriol, cinnabar, alum, salt ammoniac, sublimated mercury, rock salt, alcali salt, common salt, rock alum, alum schist (?), arsenic, sublimate, realgar, tartar, orpiment, verdegris.

643.

Pitch four ounces virgin wax, four ounces incense, two ounces oil of roses one ounce.

644.

Four ounces virgin wax, four ounces Greek pitch, two ounces incense, one ounce oil of roses, first melt the wax and oil then the Greek pitch then the other things in powder.

645.

Very thin glass may be cut with scissors and when placed over inlaid work of bone, gilt, or stained of other colours you can saw it through together with the bone and then put it together and it will retain a lustre that will not be scratched nor worn away by rubbing with the hand.

646.

TO DILUTE WHITE WINE AND MAKE IT PURPLE.

Powder gall nuts and let this stand 8 days in the white wine; and in the same way dissolve vitriol in water, and let the water stand and settle very clear, and the wine likewise, each by itself, and strain them well; and when you dilute the white wine with the water the wine will become red.

647.

Put marcasite into aqua fortis and if it turns green, know that it has copper in it. Take it out with saltpetre and soft soap.

648.

A white horse may have the spots removed with the Spanish haematite or with aqua fortis or with … Removes the black hair on a white horse with the singeing iron. Force him to the ground.

649.

FIRE.

 

If you want to make a fire which will set a hall in a blaze without injury do this: first perfume the hall with a dense smoke of incense or some other odoriferous substance: It is a good trick to play. Or boil ten pounds of brandy to evaporate, but see that the hall is completely closed and throw up some powdered varnish among the fumes and this powder will be supported by the smoke; then go into the room suddenly with a lighted torch and at once it will be in a blaze.

650.

FIRE.

 

Take away that yellow surface which covers oranges and distill them in an alembic, until the distillation may be said to be perfect.

FIRE.

 

Close a room tightly and have a brasier of brass or iron with fire in it and sprinkle on it two pints of aqua vitae, a little at a time, so that it may be converted into smoke. Then make some one come in with a light and suddenly you will see the room in a blaze like a flash of lightning, and it will do no harm to any one.