COLLECTION OF ANCIENT GREEK ALCHEMISTS

Technical treatises

Marcellin Berthelot

VI — ON THE VERY PRECIOUS AND FAMOUS SILVERSMITH
This treatise is a practical artisan's notebook, analogous to Papyrus X of Leide (Introd., p. 19), to the technical recipes of Pseudo-Democritus (p. 46), to the procedures of Iamblichus (p. 274), and to those of the Chemistry of Moses (see footnote on page 288). According to the language, this text belongs to the popular Greek of the Middle Ages. Manuscript A which contains it is a copy written in 1478; but the language is almost the same as that of two analogous articles, contained in the Ms. M. written in the eleventh century, one concerning moldings in hollow and in relief (φούρμας καὶ τύλους); the other, lead and gold leaf; these pieces will be given later in Part V.These are specific indications to fix the date of our treaty, or more exactly a limit of the date of the texts relating to this kind of practices. Indeed the date of original drafting is certainly not the same for the various articles that the treaty contains: some being older and sometimes going back to Greco-Egyptian antiquity; while the others reproduce later recipes and perhaps contemporary additions by the last copyist. In any case, this treatise continues the old tradition of alchemical goldsmithing, which goes back to the ancient Egyptians. The name of asem sometimes figures there as distinct from that of money, and with the meaning it originally had (Introd., p. 62);although there is often confusion, this word having ended up designating the silver with variable title of the goldsmiths. Likewise the word of διάργθρος; y sometimes designates an alloy analogous to silver and comparable to asèm (vp 26); but it applies in other passages to mercury itself, as in the neo-Greek: this is again a word whose meaning has been modified in the course of the ages. The work ends with the reproduction of various texts of Zosimus: which clearly shows the traditional connection of old Greek alchemy with the technical processes of the goldsmiths of the Middle Ages. All this, I repeat, is in conformity with the facts and the ideas developed in my Introduction, on the occasion of the recipes of Papyrus X of Leide.

1. TO REFINE GOLD. — Take sea salt, put it with solid lees; close the vase (pot?) at the top, and place it in the hearth, until incandescent. Add, for a pound of this metal, 2 parts of sifted salt, and a third of pounded and sifted brick. Put in two pots, alternately, a layer of salt, and a layer of gold, thinned with a hammer as much as possible. Coated all around with the art lut. Then put the (vessel) in the stove, so that (the flame) licks it. Now the stove is arranged as follows. Taking a pot, pierce it from the center towards the sides, with holes in the shape of a cross; add two fittings.Place the pots that contain the gold, in the middle of the cross, and in the lower layer of the pot make a hole, so that the slag can escape. SO, fill (the furnace) with coal and set about melting gold. If the gold (is not) collected in the center, start again the next day: soften the crushed brick with salt and repeat the operation, until you see the molten metal.[1]

2. TO REFINE MONEY. —Prepare a crucible with ashes and sifted brick; put 1 pound of asem in the crucible; cut into pieces 1 pound of lead; put part of it in the crucible, and heat it. Leave to cool spontaneously. So, prepare another new crucible with earth; place the asem again in the middle; glows and cools spontaneously. Remove the metal and place it in a crucible; melt it in the fire, and flow as you wish.

3. EXPLANATION OF GILDING. — Take gold, 1 hexing; beat him on an anvil, so as to make him thin; cut it into pieces and put it in a crucible on the fire, until incandescent. Then, at the hour of the paternoster, in the middle of the gold put the mercury in the crucible; mix and remove (the crucible) from the fire.

Put water in a water; take the object and wash it well in your hand.

Taking mercury on the other hand, put it in the water contained in the shell[2] and mix the asem, until it takes on an orange color. Then gild with the mixture intended for gilding.[3]

After putting (the object) in the fire, remove it and rub it with a hog bristle brush. Then put it on the fire again, five or six times; when you see that the color appears on the outside, heat it more strongly, and put in the water. Then, rub again, heat again and put in water.

4. OTHER GILDING FOR FINE GOLD. — Casts silver in an ingot mould, so that the casting is brought to a sevenfold length. Then expose the bar to the fire, heating it along its entire length two or three times. Then file the surface with a small Damascus steel file, and beat (on the other hand) the very thin gold, so that the union is intimate. Then arrange the gold leaf on the silver; wrap it around, so as to be able to operate the welding; put on the fire and let it blush. Then remove from the fire and rub with olive ashes: where the gold is missing, put some with the whetstone place the object again in the middle of the fire, then remove and rub; repeat this three times. So, put the cast bar in the die.

5. COOKING EXPLANATION.[4] — Take two parts of refined silver; put them in a crucible, in the middle of the fire; garnish the crucible with the (ash of the bones) of sheep's feet. Add the sulfur inside, in small quantities, so that the steam escapes. Project thus into the crucible. Grinds another portion (of metal with) sulfur; put it in a crucible, until it is half full and covers well. Melt this half, and then beat on the anvil. Put (then) in the shell (ewer) and wash well. Then put a little vitreous matter in a lead vase, and boil it. Then place in another vase; arrange the object in chased silver or gold, with soap and soda salt.[5]Put (the object) in the fire.[6] After removing it from the fire, polished with pumice stone; then rub with a feather and heat again, with charcoal, in an earthen vessel.

6. EXPLANATION OF EYE.[7] — Grind the enamel finely on the anvil and place it in the shell; then wash well. Then place it on the chiseled object. Put it on the fire on an iron stove, the preparation for enameling being placed inside the stove. In this furnace, there must be a curved sheet of iron pierced with holes. Squeeze and rub until you see the silver dripping with the lead onto the wood (of the hearth). Place the object again on the stove, so that the enamel is fixed the second time.

7. EXPLANATION OR CLEANUP. — Grind salt, and mix soap[8] with vinegar. Delay well, and put on the fire, so as to cook the product with solid lees. Put the lees on the fire again, until cooked through. Then weigh the product and add 2 parts burnt lees and 1 part sea salt. Throw in the shell, dilute with water, and clean the asem with it.

8. EXPLANATION OF OTHER CLEANING. — Taking soap, stir well with plenty of salt. Then, put on the fire with solid lees, and moisten. Then, calcine; not completely, but so that the interior of the vase begins to redden. So take it off. After grinding, wash with water and use this soap. Put the vitreous fondant[9] on top.

Others limit themselves to cleaning with the vitreous flux the surface of the work they want to gild.

9. EXPLANATION OF THE ROYAL WELD. — Taking: three parts gold, and one part silver, coming from an old coin;[10] flows into the mold. If the metal to be worked is thin, reduce (the solder) to a fine powder; but if the work is thick, make a sheet of it.[11] Solder the heated wire with 2 parts of this solder and one third of vitreous flux.

10. ON THE ROYAL SOLDER OF SILVER. —Taking silver, from an old mint, 3 hexes; redcopper 1 hex; mix them in a crucible and put on the fire. For into the ingot mould. If the work is thin, use powder and solder; if it is thick, make a sheet, weld and clean,

Others put 3 parts of asem and 1 of copper.

11. FURTHER EXPLANATION OF SILVER SOLDER. — Take silver, 3 hexes, any silver you like, and copper, 2 hexes. Put them on the fire in a crucible, so as to melt them. Then add tin, 1 hex; put it in the middle of the crucible; leave to soak and pour onto the thread placed below; flattened on a marble slab. Then beat on the evil; clean and weld.

12. OTHER VERY PROMPT WELD OR ALAMARSA. — Taking red copper, red lead, about 2 (parts), and wine lees, not (quite) so much; take all these species; spreads the pontic minium and the dregs on the copper; grinds on the marble. Lute the crucible, making a rectangular cavity in it; or make a hole in the middle. The copper should be very thin. The hole will be the size of a needle's eye; it is intended to allow smoke to escape from above. Then remove; pour into the ingot mold, and when you weld, put with the copper a quarter of the species above. For the money, you take a third; then place in a crucible, in order to melt; for into the ingot mould.Prepare (solder) powder. When you want to solder, clean, and put this powder.

13. EXPLANATION FOR GIVING AN OBJECT THE COLOR OF GOLD. — Taking (the earth) called ochre, put it on the fire, until it blushes; then, remove, and stir in water with sal ammonia. Coat the object to be gilded with it; put it on the fire, and turn it over, until smoke forms and the color appears; then put in water.

14. TO GIVE THE COLOR OF GOLD TO A GOLD SILVER OBJECT. — Grind sulphur, garlic and lees, in equal parts; add to it dry lees, with urine and salt; heat it on the fire, and put the worked object in the middle, until it's time for the paternoster. Then take it off and put it in cold water. Repeat this 5 to 6 times, so that the color penetrates the thickness of the object being gilded.

For cooking,[12] grinds together 3 parts of old coin metal and a quarter of lead; put in a crucible; melts in an excess of sulphur, covering (the crucible).

15. TO (TAKE AWAY FROM) SILVER ITS SHINE. — Taking sal ammonia and verdigris, diluted in vinegar; smear the asem in the sun: immediately it blackens. If these things are not available to you, smoke the asem with a torch.

16. COMPLIANCE. — The copper is whitened by the astriopsiaké, and by the juice of the plantain, I mean the broad-leaved plantain. The silver is whitened and softened by the saltpetre. Put the silver in the crucible with this liquor, adding the soap drawn from the solid dregs; the sal ammonia softens the silver in the crucible.

17. MYSTERIOUS RECIPE. — Take silver and a little ios, until there is as much silver as you need, and grind them together; projects into the crucible, either on tin or on copper, and real gold is produced.

18. ON ​​(THE MANNER OF) MAKING IMPRINTS. — Make a fusion or a casting with metals; melt them where the mold is. Equalize the place, that is to say the head of the molding, either with a file, or by means of the lathe. Coat her head, where you want to make the imprint, with a light coat of wax, and make a little crown with the wax around it, so she keeps the liquid in the middle. So take a fine needle, and mark the marks of the imprint on this wax, the letters for example, taking care that the needle penetrates well into the mould. Then grind silver and verdigris in lemon juice, and pour on the molding, on the letters traced around the edge of the coin, operating in such a way that nothing escapes outside. If you want to get a deep impression,leave overnight. But if you don't want it to be deep, leave half a day. After removing, you will find the print marked appropriately; because this process suitably attacks the molten metal.

19. OTHER (RECIPE) FOR WRITING IN GOLD LETTERS. — Grind the bowl (intended for the operation), for example the cinnabar; then add egg white and put in a vase. Place water in it, mix well; lather and wait until all the foam has fallen. Then, taking from this water which comes from the egg, mix it with the bowl. Put where you want, and, as soon as everything has been dried, place again, above the bowl, the rest of the egg. Expose (the letters of) gold to the air, and as soon as (the writing) is dried, clean and polish with the stone.

20. ON (THE MANNER OF) MAKING CAPITAL LETTERS IN BOOKS. — Take pure and fine gold, and mix it with silver; set on fire in a crucible. Then take sulfur and mix on a porphyry; grind as much as you can, so that everything becomes (fine) like fine flour. Arrange everything on a polished clay tablet; and put on a low fire, covering with a clean pot; ensures that the material is heated to red. Then let it cool and dilute on a porphyry, with plenty of water and a sponge. Gathered, put in a clean vase; and give up a little (time), until the purified product settles. Adding water, lye until purified (by leaving) of foreign matter.

When you want to write, put, from the evening, gum with water and cook with this gold. Next, draw the capitals first; then, uses another product, obtained by mixing with ocher, gum, alkanet (?) and cinnabar. Standing above the capital letters, write with a painter's brush, as is customary, and make the (letters) of gold.

21. ON (THE MANNER OF) TRACING GOLDEN ANIMALS ON A CUP, OR ON A Twig, OR ON ANY OTHER THING NOT GOLDEN. 'Taking sheep's bones, calcine them, until they are cremated. Then, mix a little plaster with white lead and grind well, until everything is well incorporated, add fish glue. Apply where you (don't) want to brown and until dry. Then brown the rest.

22. ON FIRE COLORING. — 2 parts of silver, from old coins, and 3 parts of copper.

23. TO GOLD ANIMALS ON A CUP AND KEEP THE BACKGROUND WHITE. — Take egg white and crushed and sifted brick, without moistening; coat the bottom, and put in the sun, to dry. Then gild the animals.

24. FOR GOLD SOLDERING. — Put alamarsa, 1 part, and gold, 2 parts. For the silver (soldering), put 1 part of alamarsa and 2 parts of asem.

25. ON THE MANNER OF GOLDING COPPER WITH SILVER. — Crush fine silver and cut it into small pieces. Then, do as (for) gold, when mercury is added, amalgamates and gilds. Adds solid lees; place in oil and boil. Then put the cup in the middle, and let it stay there a little while. Then add cotton (?) and delay; then, put in the oil and delay, until the mercury is united in the middle of the oil.[13]

26. ON THE GILDING OF AMALGAMATED BRONZE (?). — To amalgamate, take beautiful and pure asem, with (the color of) lemon or orange; put it in dregs to make it shiny. Then add the amalgamated bronze (?) and place it on the asem. Almost immediately the gold dissolves in the mercury. Then put on a large, clean iron plate, and polished over the fire. Rub with a hare's paw. Then when you see that the color is adherent, employs the tooth of wolf to rub;[14] polished over the fire, and gilds.

27. SOLDER ……— At the beginning, make a solder, by putting 2 parts of tin and 1 of lead in the crucible. When everything is melted together, add a little sal ammonia, then small pieces of filings, so as to make the weld. Put it all on the marble; quickly bring the pieces (which are to be welded) and place them (also) on the marble, in order to weld them together.

28. When you gild silver and the gilding does not take, take a feather before heating, and spread with a little pure wax on the silver; then, gild.

29. TO GOLD THE ANIMALS ON THE BOTTOM OF THE CUP (WITHOUT THE BOTTOM BEING GOLD). —Take some hide glue and a little lime; melt on the fire. Then coat the field with a feather. When the metal (bottom) is covered, rub the animals with the mercury.

30. ON (THE MANNER OF) GIVING A VERY BEAUTIFUL COLOR TO GOLDEN SILVER. — Take: sulphur, 3 parts; Malmsey wine lees 2 parts; salt, 1 part; grinds well; boil well with water. Then put the money in the middle, (and leave it) until Paternoster time. Then remove, put in cold water and brush.

31. WHEN THE ASEM IS DEFECTIVE. — Put coarsely crushed brick in a crucible; heat it, until the metal bubbles. Blow from above on the crucible with a torch: the lead is absorbed. If the metal is not purified, repeat the operation. Then strike with the hammer, and if (the metal) is defective, place mercury and brick on its surface, and put it back in the crucible.

32. ON ENAMEL SOLDERING. — Take: fine silver, 10 parts and 1 part of copper. Put a little vitreous solder and operate as you wish: grind finely, clean and solder.

33. ON (THE MANNER OF) MAKING THIN (SILVER) THREAD. —Take some money; beat it, cut it into pieces and put it in an iron vessel with a rounded bottom. Then put it in the die and stretch it once. File cut; …………………. put white vitreous solder (?) and soda.

34. ON (THE MANNER OF) COOKING. — (Enamelling operation.)[15]

Take fine silver, 1 hex; copper, 1 hex, and lead, 1 hex; melt in a crucible; add a large amount of crushed sulfur and put in a new pot; leaves in a molten state as long as the steam escapes. After cooling, for the bar into the ingot mold with sulphur. Then grind and wash, and put where you want.

35. ON HOW TO GIVE A VERY NICE COLOR TO GOLDEN SILVER. — Take some yellow turmeric. Grind well and put with the dry lees in water, on the fire: I mean the lees of (wine of) Malmsey and a little salt; boil. Leave the object in the liquor until Paternoster time. Then take it and put it in cold water: repeat this 2 and 3 times.

36. ON THE MANNER OF COLLECTING THE SMALL POTS; BATH FOR ASSEMBLING POTTERY PIPES). — Sprinkle sifted lime and moisten it well for several days. Then add (on the object) the flower of this lime; also boil sheep's feet and heads; throw the juice on the lime. Boil again an extract made with elm bark (?); add egg white and assemble what you want.

37. TO MAKE A FINE PEARL SHINE. — Take a watermelon, or a cucumber; open it in the middle; place the fine pearl there and put the cucumber on the stove, until it disintegrates: by this the pearls resume their brilliance.

38. OTHER (RECIPE). — Macerate the fine pearl in a bird or in a pigeon, and keep it there (until) the hour of the Paternoster; then press, in order to make it come out.

39. ON THE METALLIC WIRES OF GOLDSMITHS. — Taking pure silver, soften it with seven times its weight of lead, (until) it becomes soft as gold. Then clean it and pour it into a bar; bring it to double length by threshing. Then, make threads, leaves, branches, stars, roses, twisted and intertwined networks, animals, birds, and any other object you want. Features a thin iron blade of uniform thickness. Taking some gum tragacanth, put it in a vase with water, and let it soak overnight; the (next) morning for out the water: to use it, put it on the fire, and bring it to the consistency of glue. Then take a hair clip, grab the wires or leaves one by one and place them in the glue.Then take them back, to lay them on the iron blade, and do what you want. As soon as you have executed it, expose to the fire, until the glue is a little burnt.

So, add fine silver, 1 hex; put it in the crucible, and melt it.

To solder, flatten with a hammer as thin as you can; cut into fine pieces, with small scissors; and places this solder on the wires, by means of a wet feather. Then you will make coarse filings; put it (on the wires), and above put vitreous soda, finely ground; subjected to the action of fire. Then bleached and polished what has not been worked. So refine, (adding) about 2 carats of washed copper ore, or misy...

Where there is no enamel, this solder may be employed; it can be executed with old coins, or wherever alamarsa is involved.

40. ANOTHER MYSTERIOUS METHOD. — Taking quicklime, mix some oil with the lime and water well, once or twice. Then put in the still. Also add lye, pouring it all around and over, up to (a thickness of) two fingers. Put this divine water in another bottle. Then taking a linen cloth, wet it in this water; exposed to fire, and if the fabric ignites, know that it is not well prepared. Add the lime liniment again with more lime; operate as before, until success, that is to say until the fabric does not ignite in the fire.[16] Then, taking the oil, put tin in the crucible; and it forms gold.

41. OTHER DIVINE WATER. —Take rosacea, 1 pound; nitre salt, 1 pound; and cinnabar,[17] 4 ounces; grind well in a stone mortar, and throwing into the still, put on the stove: lute with sourdough and egg white. Set aside the first water. As for the second water, that which then flows from the still, after having been condensed in the capital, this is what is called eau forte.[18]

Then take 2 ounces of these waters, and 2 ounces of mercury; put everything in a matrass (placed) on hot ashes; and mercury water is formed.[19]

Then taking the remaining water, 1 ounce, and pure silver, 1 ounce; place everything in another matrass on hot ashes; and silver water is formed.[20]

Then mile, the two waters together, the water of mercury and the water of silver, in another matrass, uncovered; and place on hot ashes: a white product like crystal is formed. Then, taking from this crystal what you will, of calcareous oil an equal quantity, and of mercury another equal quantity; place in another matrass, and moisten well, until the mercury is dissolved. So throw it all in a still; make a light fire, reject 3 times the water that comes out of the still and always add oil, watering with it. When you have done this 3 times, you will see that a kind of stone has formed inside the still. Take then of this kind, 1 ounce, and of mercury 1 ounce; what you want happens.[21]

42. WATER TO EXTRACT GOLD FROM ASEM. — Taking 2 parts of sal ammonia, and 3 parts of salt of nitre; grind well in a mortar. Then, putting in the still, lute with ashes, crushed brick and eggs; place on a stove, boil for three hours. Then open to remove the preparation; and again put back on the fire and boil until dawn, for the duration of a good vigil. The lapse is sixty-five hours, and the fire must be added little by little. (By operating) thus, the divine water[22] will have been made completely.

When you want to remove the gold from the asem, cut the asem into pieces and throw it into the matrass, mouth well. Then exhaust the action of the divine water and set aside the gold: one thus obtains a powdered metal. Agglomerate it with the gilding tool.[23]

43. ANOTHER (RECIPE) SAME. — Taking aluminum, 2 liters; nitre salt, 1 pound; Roman vitriol, a pound and a half; grind, put in a still and, placing on a stove, close well. Add a vial at the bottom, to receive the strong water. The divine water is thus made in 24 hours.

When you want to remove the gold from the asèm, place the strong water inside (a vase) of glass, placed on hot ashes: the silver dissolves, and the (strong) water attack by foaming. Then, taking the water which contains the silver and putting it on the stove in the still, make a light fire and receive the water which distills through the spouts: the silver[24] remains at the bottom.

44. GOLD REFINING. — Taking marcasite, 8 ounces; sulfur, 4 ounces; melt together in the crucible: antimony (sulphide) is formed.[25]

When you want to refine the gold into grains, put the gold in a crucible in the middle of the fire. Then project antimony (sulphide), in the middle of the crucible, at your will, until boiling. To (obtain) (regular) cooling, place the crucible on a Greek brick, in the middle of the fire, until it cools.[26]

45. OTHER SIMILAR (RECIPE) FOR ASEM. — Extract the powdered gold from the asem, and place the dust in the crucible. Then dilute with antimony, in the middle of the crucible, and heat it. After that, place on a brick of Greece, in order to refine and let cool: thus we obtain fine gold.

46. ​​WHEN THE SILVER OR GOLD IS DEFECTIVE. — Put new mercury and crushed brick in the crucible, heat it and the metal softeners. The more you put in, the more beautiful the product becomes.

47. FIXATION OF MERCURY. — Add mercury, the quantity you want, and lead, an equal quantity; place them in a pot shard on the stove. Add a little gunmetal, and a choice asem is formed.[27]

48. OTHER (RECIPE). — Put mercury in a pot, with onion juice and gunmetal; place on the stove. Take some axonge and heat it, so as to obtain a lye. Throw this lye on the asem, in the crucible, and gold is formed.

49. ON HOW TO MAKE GOLD LETTERS.[28] —Take gold-colored bronze; grinds on a porphyry; add a little honey and grind a lot. Then place in the shell and wash well with water, so as to get rid of the honey. Then prepare with egg white and write. When (the letters) are dried, polished with a small pumice stone, or a wolf's tooth, and (the product) becomes beautiful. Press the white of the egg with a sponge several times, so as to make the mass very fluid, that it does not thicken. Also add white, crushed litharge. When the gold has become adherent, wash the egg white, so as to remove it.

50. ON (THE MANNER OF) MAKING COPPER SHINING LIKE GOLD.[29] — Taking volatilized tutie, 1 ounce; excrement-like, 1 ounce; dried, black figs, 1 ounce; grind everything in a mortar and mix. Prepare 1 ounce of pewter, and after flattening it, cut it into pieces. Mixture (copper) with this species; place in a cross; fight from above with clay, blow and heat. When you think the metal has fused, cover and complete the fusion. Mix the species again, and work as before, so as to employ the whole of this species, and it becomes like gold.

51. ON THE SOAP. — First take soap, mix, and grind with salt. Then shake.

52. OTHER (RECIPE). — Taking sal ammonia, salt and water, grind well. Then use it to make the copper shiny.

53. THE GLASS. — It is vitreous solder, which acts with sal ammonia, alum and salt.

54. ON (THE MANNER OF) BLEACHING TIN. “Taking lemon-colored red minium, as much as you like, and salt of nitre, an equal quantity, grind well. Then mix. Then put with the previous fondant, on a coal fire, and heat until there is no smoke. The product becomes white as snow. Then remove and grind well; and throwing tin into the crucible, (the weight of) 4 ounces, add thereto the opsiastiké,[30] 1 ounce. Set aside 6 parts. When the pewter appears in the middle of the crucible, project a first part (of the previous preparation) into it: cover with coals, and heat until the steam comes out. Then again, put another part, operating as the first time, and projecting.Then pour into a small iron cup, and the treatment will be carried out.

When you want to gild silver, dispose according to the use, and at your will; projects. And when you have mixed the product with the silver, also add a little dregs to the crucible, I mean a quarter.

55. ON HOW TO MAKE COPPER LIKE GOLD. — Taking tutie, 3 parts; turmeric, 1 part; raisins and red figs, honey, beans of …….. (?),[31] 1 part, the inner shell of the almonds, liquorice, egg yolk and saffron, 1 part, desiccated red ox bile, 1 part. Grind the tutie, as one grinds cinnabar with oil and make it into a paste; then crush the other species and unify. Taking 3 ounces of copper, slivered on the anvil; moistens with previous species; put in the crucible; close with the fight of the art, put on the fire; blow well with the device (to blow). When the product is strongly heated, you project these species and the copper becomes beautiful like gold.

56. WATER OF ASSURED TREATMENT - Taking the offspring of living birds,[32] clean and spotless, dividing (in half), as for stews: the art of cooking is profitable to us in many circumstances. Then put in two pots, apart from each liquid; do a big extraction, with the nipple appliances. When you see the product dripping down the middle of the bottle and congealing to the surface like wax, then remove it and let it cool. Break the vase: you will find in the middle a very precious product, for your use.

This plant[33] purifies lead by means of mercury; it refines the gold, making it pure and foolproof. First sinks the lead, taken under the weight of 8 pounds; when the lead is melted, add to it mercury treated according to the art, another 8 pounds, and allow to heat, until the product smokes. So, add a pound of this herb and heat it to full boil. Stir with a flaming stick for hours. Then take it outside and let the plaster cool; then the metal turns black. Other times it turns madder red.[34]

Here is the preparation: base of the lead treated according to the art, 8 pounds, and when it is well melted, add mercury, another 8 pounds. Add second, of the second plant, 1 pound; heat well for 1 1/2 hours, and let cool. Also, fund 8 pounds of lead, and, after smelting, treat it properly, five times, as we have said before; the last time, attach a piece of gold to the end (of the stick).[35] With this single piece of gold, the 8 pounds of lead and the 8 pounds of mercury, joined with this plant, are changed into beautiful gold.

57. Another says: …………………………………………………

Then comes a piece borrowed from Zosimus[36] and which is printed III, viii, p. 143-144.

V.ii. — WORK OF THE FOUR ELEMENTS[37]

1. HERE BEGINS THE DETAILED EXPLANATION OF THE WORK. — Take the white and the yolk of the eggs, and knead them together with your hand, so as to form a paste-like mixture; put it in a new pot; close, and immerse (the pot) in manure, or in hot ashes, or in straw (rotten), for 7 or 14 days. Then remove, place in the still over a very low heat. Take the white water that comes from it. However, when you see that the product turns cloudy or black, stop and put this product aside. Take the oil; increases the strength of the fire, and after collecting the product, set it aside. As for the matter which remains in the matrass, cover it up: that is burnt copper and Asiatic magnesia.[38]

2. FIRST ELEMENT: WATER. FIRST WORK, THAT OF THE DIVINE VINEGAR. — Immediately after having distilled, by means of the apparatus, the divine water, up to three times; put each time, for a pound, an ounce of divine lime.

Then distill again with myrtle leaves, 7 times. Work in this way, until the water becomes transparent and shiny. This is what is called the divine vinegar.

3. Following the first step, in accordance with what we have said, take care, at each distillation, to carry out the reaction in the still, for one day, either in the droppings, or in the straw (rotten), or in hot ashes. The still containing the water is digested there with an ounce of new lime. Then distill; each time adds new lime: removes the previous one. Also, each time you distill, each time you will produce a useful result.

4. NOMENCLATURE OF DIVINE VINEGAR AND DIVINE WATER.[39] — Here is what the philosophers say: Divine water, divine vinegar, white magnesia, lime water, immature urine, mercury, sea water, virginal milk, donkey's milk, bitch's milk, black cow's milk, water of alum, of cabbage ash, of natron, Western matter, vapour. This is what whitens the body of magnesia, that is, burnt copper; this is what carries the hidden nature within outward. This is nature that triumphs over nature, that which transmutes natures, that which delays, that which enchains, that which causes conception and which gives birth, that by which the All is accomplished.

5. (SECOND ELEMENT: AIR). HERE BEGINS THE WORK OF AIR. — Take some oil; put for a pound of oil, 1 ounce of lime; let it react, by digesting it in manure for a day.

Then distill and operate in the same way once each day. Repeat up to 20 or 30 times; distills with myrtle leaves, until (the preparation) becomes very pure, whitish, yellow.

6. As for the fire, I do not have to tell you what must be (that of) the stove:

Operate as you please, over a lamp, or over a fire of straw, or else over a very gentle fire of (dried) manure, and so to speak without fire. Whether the still is surrounded with tow, or immersed in boiling water, or in manure, or in lye. It is best in water: what is called a wet furnace.[40] A few grind up to 50 times; and every tenth time, (the preparation) appears brighter in color.

Here is the sign (we recognize) that the operation is completed. After reddening rolled horseshoe leaves in the fire, dip (them) up to times in the divine oil, and see if the leaf whitens, softens, changes its essence, becomes perfect and more beautiful. than gold.[41] If not, work it again; that is to say, start the treatment with the divine oil again.

7. HERE BEGINS THE NOMENCLATURE (OF THE AIR).[42] — Its saffron is called egg yolk, golden sphere, cinnabar,[43] Cilicia saffron, Attic ocher, Sinope earth, red nitre, natron from Egypt, (blue) from Armenia, couperose, oil. The oil which comes from it, when it has been decomposed and has passed through the distilling apparatus, is called divine oil, wine of Amina, cinnabar of the philosophers, comaris, native sulphur, (oil) of horseradish, oil castor oil, gold liqueur, Melos stone, linseed oil, apyre sulfur, sandarac, arsenic, gum, aristolochia oil, mandrake, rhubarb, celandine oil; purple water, copper flower water, water shining like gold, incombustible water, decomposed alum, mercury, oriental matter.

8. (SUBSTANCES) OF ANOTHER NATURE. — The same spirits and (the same) waters have been called by the philosophers pearls[44] and precious stones; they are endowed with great power. In fact, if you work on them in such a way as to transport the hidden nature within outside, you will reach the mystery of the philosophers. This is the summary of the mystery. In this way, the preparation is whitened, then yellowed; the copper of Cyprus becomes burnt copper, or the body of magnesia, that of which they say: Magnesia, treated according to art, takes away from (metallic) bodies their fragility; it whitens copper, it softens iron, it removes its softness from tin, it converts mercury into gold.[45]

9. THIRD ELEMENT, FIRE. HERE BEGINS THE WORK OF FIRE. - Then take the fire, that is to say the burnt copper,[46] what remains in the dish. After the burnt egg operation, grind finely, continuously and in the sun, for a whole day. The product gets wet gradually and emits smoke.

So water it, grind it, and dry it in the sun, or on hot ashes, or on a stove, (watering it with divine vinegar, three times a day. You will do this until you observe the following sign: the silver takes on a shiny surface in the crucible. Throw it out of it. If it is colored gold, it is good; if not, repeat your work.

10. FOURTH ELEMENT, THE EARTH, HERE BEGINS THE WORK OF THE EARTH, THAT IS TO SAY THE ALL-POWERFUL LIME. — Pulverize the shells of the eggs, and grind them with natron and water, for a day.

Then, sprinkle them several times with a sweetening liquid. Then dry and reduce to a fine powder.

Then throw in a dose of water equal to the weight of the eggs, and leave in a baker's oven, or on a hot ash bath, until dry, for 7 days.

Then remove; pulverize again, and, mixing with a quantity of water equal to the weight of the eggs, close again (the vase). Leave in the oven for 7 days; and operates thus up to three times.

Then spray, after drying several times in the sun, and after watering for 3 days, etc. Grind thus; put in a vase; close it and submit it to the action of a glass furnace for 2 days and 2 nights. After removing (the vase), you will find green Cimolian (soil).

After having sprayed it again and watered it several times a day, cook it over a fire of (dried) manure. After repeating this 3 or 5 times, you will find it converted into) very white lead. The product will be completed, if you find the whitened copper in the crucible. Otherwise, start your work again.

11. NOMENCLATURE OF THE LAND.[47] — The wise called these things: divine lime, earth of Chios, asterite earth, lamellar alum, white litharge, (earth) cimolian, (earth) stibian, aphroselinon, gum, rosacea, non-fluid urine, ceruse, androdamas, alabastron, suc fig and tithymal.

12. THE UNION OF THE FOUR ELEMENTS. — Be careful, my friend: if you have not properly treated the four elements, according to the process which has been explained to you, you must not undertake their union. There would be no reason to be proud and you would be for your trouble.

BE CAREFUL. — Take (from the product prepared above under the name of) fire, 1 part, and (from the product designated under the name of) earth, 4 parts. After having pulverized, put in a vase and place above (the product designated under the name of) the air, the double (of the matter called) fire. Suspend the vase in the middle of another large vase, containing spicy vinegar; close the vessel, and leave for a few days, until (the Contents) become like fermented dough.

13. Know[48] that some put 2 parts of the (product called) earth and 1 part of the (product called) fire; others, 3 parts earth and 1 part fire; still others, 4 parts and more (of earth) and 1 part of fire. All these (proportions) are suitable; but the best is that which has been exposed above.

14. This is what we have written for you, my friend, without any feeling of envy, so that you do not go astray. After the composition has become similar to a fermented dough, remove and cook on a light fire, so that it dries. Then spray it again on a Roman marble, then put it in the vase; also put there (of the product called) air, a double quantity (of the product called) fire, and suspend, as before, the vase in the middle of the vinegar. Operate according to the above procedure up to 7 times; and each time, put the air in double quantity of the fire. After the 7th time, remove, dry and pulverize, with air employed in double quantity of the ground, and leave the vase in the manure, during one day and one night. Then withdraw;observe the color of the product if it is changed, it is that he has begun to follow the prescribed path; if not, submit it again to the same work, until it changes its appearance. So remove it the same way; sprays apart and separately from the air; make a mixture with the air and the sulphur, that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. .Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. submit it again to the same work, until it changes its appearance. So remove it the same way; sprays apart and separately from the air; make a mixture with the air and the sulphur, that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. .Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. submit it again to the same work, until it changes its appearance. So remove it the same way; sprays apart and separately from the air; make a mixture with the air and the sulphur, that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. .Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. So remove it the same way; sprays apart and separately from the air; make a mixture with the air and the sulphur, that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. .Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. So remove it the same way; sprays apart and separately from the air; make a mixture with the air and the sulphur, that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. .Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. that is to say, stir the divine vinegar[49] with the air, several times a day. Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. . Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. that is to say, stir the divine vinegar[49] with the air, several times a day.Then carry out the reaction again in a vase, as we have said above, with spicy vinegar for two days. The product thus becomes liquid like water. After working it in this way, take it out of the vinegar, and set it over a low and suitable fire, until it solidifies into a stone (presenting the appearance of a) very consistent wax. . Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty. and fix it over a low and suitable fire, until it solidifies into a stone (having the appearance of a) very consistent wax. Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty.and fix it over a low and suitable fire, until it solidifies into a stone (having the appearance of a) very consistent wax. Keep the product obtained by the generous grace of God, for his honor and for your (own) deliverance from the state of poverty.

V.iii. — ON IRON TEMPERING

1. Iron quenching, for almost everyone, is useful to know; it is multiple, as far as practice is concerned.

Take goat horn; burn it and grind it (the ashes) so as to unite it with double the salt, not in weight, but in volume. Add with the water you know,[50] and knead to form a liquid paste. With this it is easy for you to get a sword of such quality as you want. You clean the cutting edge; you put it on coals, and you make it redden to the desired point. After that, by throwing it into the water you know, you will have a sword made sharp by the tempering (which it received). This temper is, as has been said, common and almost universally known. The projection in the water should not be arbitrary, but regulated according to the shape and the destination of the sword.

For the instruments intended to cut the stone and generally for all those which do not have a very sharp edge, one is limited to simply plunging them in water after the heating. But tools which are in the opposite case, such as cutlasses and swords, for example, should not be worked in any way; it is used against the rain. We operate in the direction of the grain, covering the cutting edge which must be tempered. Such is this temper.

2. SECOND TEMP. “There is also another kind of hardening; it is intended not only for irons in general and capable of making them even more polished and shinier than the above-mentioned hardening; but it is also what makes the so-called Indian iron even sharper. Some scour the top of the sword with white earth, others with bird eggs, or else with other (materials), either simple and drawn from nature, or composed and obtained by 'art. Among the scourings carried out with artificial materials, we can cite the kind of hardening which is obtained by means of wood, with the ashes of any (kind of wood) and oil[51] and some other materials. What I say there is free from obscurity for the most part.

So take this matter; heat it, as is customary in the practice of the gold smelter; unite it with a third of its weight of salt; or, if the iron is quite good, with half; after having stripped the cutting edge of the iron, make it redden in the fire. Then, following the path that was indicated to you previously, and taking into account the diversity of the shape and use of the instruments, project into the water. But do not ignore that if the tempered iron happens to be made brittle because of its hardness, it will have to be projected in oil, or in a grease which has not been cooked, nor mixed with something else. By operating and working thus, you will fully obtain the desired result.

3. THIRD TEMPER. — I am going to speak of a temper guaranteed by mystical philosophy. It is a strange thing to know, surprising to understand, a difficult thing to find, and (yet) known to all; it is sought after with ardor, because of its nature and although it is easy to know for the majority of men.[52] The earth does not generate this product for all; it is not the fruit of a bad destiny, but that of a favorable destiny, manifest and turned towards the sky.[53] (This is how the earth) cooperates in the making of the most serious of beings, gold; in engendering it, it does not push it out; but she keeps him in her bosom, she nourishes him.

A mystical and unintelligible passage follows.

Such is the very mystical temper, the temper of Indian iron.[54] Now observe: if the iron which is to be sharpened was too hard, do not use it in this state. Indeed, as we have said, speaking of the mystery, it is destroyed and shattered by all that is presented to it. But, by resuming it suitably, with oil or with rainwater, you can then use it, after having operated according to the measure that practice and experience easily teach.

4. FOURTH TEMPER. — As for the fourth temper, compared to the preceding ones, it is even better, less known and more admirable than that one. Also, it is simpler. Man being an animal superior to all, see what glory has fallen to him among mortal (beings); one could enumerate many things coming from him which are filled with wonders. Among them, we must cite this thing that has received (in sharing) the power to temper and sharpen.

The following passage is pure rigmarole.[55]

The liquid secretion, among other properties, has that of tempering iron and making it sharp; it is by (it) alone that iron becomes excellent. Now tempering takes place, as we said in what precedes, according to the diversity of use and form (of the instruments) of iron; but for all, as we said at the beginning, what occupies the first rank in quenching is the liquid secretion.[56]

V.iv. — DYEING OF COPPER FOUND AMONG THE PERSIANS
DESCRIBED DURING THE REIGN OF PHILIP[57]

1. Taking from the highest tutia,[58] what you will; grind and pass through a very fine sieve; put in a terracotta vase, Add on it oil of such quality as you want, either common oil, or sesame oil. Repeat with the hands, mixing and grinding the oil with the united in the earthen vessel, until the tutie is impregnated with oil and it absorbs no more. When you see that it has absorbed enough, add again and mix a new dose of the same oil, until it forms a paste. Then taking the color of palm, I say red called natef among the Arabs,[59] a weight equal to the fifth of the tutie; add it above the tutie, in the mixture made beforehand in the terracotta vase, and after cutting it into pieces that are neither too small nor too big.Then, after heating an oven with a very strong fire, put the vase in the oven, fighting the opening of the oven until the next day. Thus the tutie will be burned and made black. Remove it the next day, grind and pass through a fine sieve.

2. When you want to dye the above-mentioned copper, as they do not dye better in Persia, take 2 parts of fine copper from Cyprus, and 1 part of the dry powder prepared in advance by means of plain. Break the copper into as many lying pieces as you can; mix in the powder, and placing the a substances in a crucible, blow hard until the copper bubbles with the powder. When it bubbles, add more coal, blowing vigorously until the two bodies are unified. If you want to know the beauty of color, take an iron rod with a curved end, remove (the material) that adheres to the end, and look: if you like the color, stop blowing; but if you still don't like it, keep blowing and add coal. Indeed, the more the coal fire is blown,

Vv — INDIAN IRON TEMPERING, DESCRIBED AT THE SAME PERIOD
1. Taking soft iron, pounds, cut it into small pieces; then taking from the bark of the fruits of the palm,[61] called elileg among the Arabs, 15 parts by weight, and 4 parts by weight of belileg,[62] similarly cleaned inside, that is to say the bark alone; as well as 4 parts of ambileg, similarly cleaned, and of the glassmakers' magnesia above mentioned (female chalk) 2 parts.[63] Grind everything together, not too finely, and mix with the 4 pounds of iron. Then put in a crucible and level the place of the crucible well, before heating; for if you do not take this care, so as to prevent it (the crucible) from being moved, you will find difficulties in the operation of the melting.Then put the coals and push the fire until the iron is melted, and the (aforesaid) species are united with it.

2. Observe that if the iron is not very soft, it does not need magnesia, but only all the other species; for magnesia makes it dry to the highest degree and it becomes brittle. But if he is gentle, he only needs her, as was said above; because it accomplishes everything.

3. Such is the first and royal operation, that which one studies today, and by means of which one manufactures marvelous swords.[64] It was discovered by the Indians and exhibited by the Persians, and it is from these that it came to us.

V.vi. — GLASS MANUFACTURING

1. Taking eggs,[65] the number you want; wash (them) in brackish water, then wipe them) Wash (them) again in natron water; then after breaking them, separate the shells from their (inner) membranes, deposit the yolks separately and the white separately. After having cut the throat of small black birds, collected their blood and put it in the device, withdraw the water, either by means of a soft fire, or of an immaterial fire which does not burn.[66] ]

Keep residue and water. If oil is also obtained, put it in the shade. As for the egg white, subject it to extraction by means of fire; draw out the water and the oil separately, as well as the residue, and keep together in the shade.

Crushing the shells with the membranes, put them in two crucibles, lute with crushed earth and felt with hair. Heat strongly using two bellows of skin, until effervescence and until you no longer hear the bubbling; because when (the material) is ready inside, the bubbling ceases as soon as you recognize by this sign that the product is cooked, leave to cool, by depositing (the crucible) on the furnace; then, breaking (the crucible), you will find green glass,

2. Similarly, also taking the residue of the white, and putting it in two well-sealed crucibles, heat the whole together and you will find lemon-colored glass, says de Bérénice.

3. (Taking) the yolks, putting their residues in two crucibles and heating, you will find white glass.

4. Similarly, by heating the residues of the blood, you will find bluish glass, which is called blue.

5. When[67] you have thus heated these four bodies separately, and you have made these glasses separately; then take these (materials) in equal proportion, mix them and grind them all together. Put the whole thing in two crucibles, one above, the other below; melt. All these (materials) must have been strongly heated before. When they have boiled and are ready, let the product digest, then cool. Remove everything from the vases and grind finely.

Then, take back the oils drawn from all the bodies, [68] mix them together and use them to sprinkle (the powder); so as to give the composition the consistency of a thick fermented paste, by diluting the oil with the glasses, which represent its bodies. Then leave in the mortar and expose to the sun in the mortar itself, for 3 days. When this ferment has been exposed to the sun, it should be lightly cooked, and it will produce cinnabar (or gold?).[69]

V. vii. — COLORING STONES, EMERALDS, CARBUCKS AND AMETHYSTS
ACCORDING TO THE BOOK FROM THE SANCTUARY OF THE TEMPLES[70]

1. Take comaris,[71] hard to find, which the Persians and Egyptians call talac, and other talc, half an ounce; sulfur, half an ounce; and native sulfur water, 18 oz. Mix the comaris and incorporate it with the mercury. Then put in a curved glass (phial?), and preserve.

2. When you want to color an emerald, take copper rust and first quality vinegar; grind in a glass mortar; after having mixed bull's bile or desiccated vulture and after having united (these products) in a homogeneous mixture, form them into balls, leave to cool in the shade, and preserve.

3. When you want to color a stone, put these pellets in a glass mortar, and after grinding, form a homogeneous mixture with the product removed from the curved-shaped vase.

After mixing everything together, make a liquor and put in a glass basin, coated with a fire-resistant lut. Take the glass objects, in whatever shape you want; introduce them into the lutee basin which contains the liquor; place coals, so as to heat from below to a gentle heat; let take a single broth, then removing fire, put in a place (cool), and let soak for 3 days. After having removed (the objects), you will obtain by the grace of God the desired result.[72]

4. Following the same step, if it is the carbuncle,[73] put in balls the blood of snake (blood dragon)[74] and the juice of alkanet; diluting with the water mentioned above in (the article on) the emerald, place the glass object there and you will color it.

5. Similarly also for the amethyst, dilute the azure with the juice of isatis and make balls, as it has been explained above; because there is nothing better.

6. WHICH SPECIES PRODUCE THE COLORING OF (GEM) STONES AND BY WHAT TREATMENT.[75] — We know that the common agent in the works of this art is the comaris, and we propose to speak of the coloring of the stones. Let's first see which species are likely to color the stones; how, united to comaris, they color glasses, or increase the tint of natural (stones); what (are) the vases and means of treatment.

As regards the manufacture of emeralds, according to the opinion of Ostanes, that universal compiler of the ancients, (the species employed are) the rust of copper, the bile of all kinds of animals and similar materials.

For hyacinths (amethysts), we use the plant of the same name (hyacinth) and the root of isatis, put in decoction with it.

For the carbuncle, it's the alkanet and the dragon's blood.

For the carbuncle which shines at night, and which is called marine (purple) color, it is the bile of marine animals, fish or cetaceans; because of their property of shining at night, and especially of their more or less glaucous color. This is what their innards, their scales and their phosphorescent bones manifest. Indeed, Marie expresses herself thus “If you want to (dye) in green, mix copper rust with turtle bile; if you want (to obtain a color) more beautiful, it is with the bile of the tortoise of India. Put the items in it, and (the dye) will be quite first class. If you don't have turtle bile, use blue sea lung,[76] and you'll make a better dye. When fully developed, dyed objects emit a glow. »

Thus Ostanes, for emeralds, took the bile of animals and the rust of copper, without adding the marine color. For hyacinth, he took the plant of the same name, Indian black and isatis root. For the ruby, the alkanet and the dragon's blood, Marie took, for her part, the rust of copper and the bile of marine animals. As for the stone which shines at night, it is what scholars of stones call hyacinth. This is why he continues in these terms: “When the dye is completely developed, the objects project a gleam similar to the rays of the sun. »

7. Where do the stones get that flamboyant shine? for neither bile nor the rust of copper can give it to them, being green by nature. What shall we say (about this)? Has such a useful operation escaped Marie? This one, (speaks) of the manufacture of rubies, which she explained in detail above. Ostanes takes alkanet, dragon's blood, and coloring agents for other stones. He spoke first of the dyeing of the stone red, the color of fire, but which does not shine at night. In this passage, the operator explains that the most precious stone to be prepared and dyed is that which emits luminous rays at night: so that those who possess it can read and write almost as in broad daylight. .Indeed, each carbuncle (hue) can be seen separately at night, due to its own size and purity, whether the stone is natural or artificial. We can navigate with the help of light, thus emitted by virtue of the property (of these stones) of shining at night. For the word used here applies not only to the stone which shines by day, but to that which shines by night.

8. The bile of animals, losing its aqueous matter, is dried up in the shade. In this state, we incorporate them into the rust of our copper, as well as into the comaris; we cook everything together, according to the rules of the art. Colored by water (divine), they take on a stable tint. This water being removed, the stones are heated, and still hot, dipped in the dye, according to the precepts of the Hebrews.

If, however, the color drawn from the bile does not give the stone a sufficiently intense green, we put it in our rust, adding common lead rust, a little rosacea and all the materials likely to be used for the stones that we want to overdye, or which contain figures: this is done mainly for emeralds.

It should be known that the biles of marine animals add phosphorescence to the specific coloring of each stone, when they are introduced in suitable proportion into the (materials) specific to each color, or with certain other species. All dyeing must be carried out in clear glass vases, and all things done according to the universal rule. You understand that it must be so, and that these things must not be neglected.[77]

10. PROCESS FOR GIVING BRILLIANCE TO COLORS AND FOR MANUFACTURING DYED STONES.[78] — The Philosopher, teaching us what is the process for giving luster to the colors of dyed stones, in the (book) which deals with stones dyed by copper, expresses himself in these terms As I have learned in the traditional book, we take ichneumon bile, vulture bile. In these biles, the rust of the copper is macerated for 40 days, so that the decomposed matter furnishes the substance which colors the stones and that the rust renders this species unalterable, according to Agathodemon. This is what Moses the divine prophet speaks of, in his Chemistry:[79] “Placing all things in a small glass balloon, cook until the product becomes cinnabar in color and accomplishes the divine mystery.He makes it clear that the heat must be harmless and proportionate to the composition, speaking of exposure to the sun. He makes this clear also by his letter in iambic verse addressed to Sanis, where he said with clarity:

And thou shalt treat all things as (by exposure) to a strong sun.

11. ON THE CHEMICAL ART. — Taking from the rubric, 3 pounds; pure glass, 1 pound; tin, 2 hexes; dilute with sulfur water to a pasty consistency. Put these materials in a new pot and cook them over charcoal, until green glass is formed. If the fire is of long duration, the matter takes on the appearance of gold; and if one pursues still further, it whitens like crystal.

12. ANOTHER CHAPTER ON THE STONES.[80] — Among the stones, some are dyed (simply); the others are with the use of a fixer. Among the dyed stones, some are colored after attack, and the others are dyed on their surface in their state of integrity. In the same way also, among the (stones) colors, those which are attacked, are not all it in their total extent, the ones being heterogeneous and the others homogeneous. We will speak first of the (stones) tints on the surface, in a uniform way, and then of the (stones) tints in a heterogeneous way; finally, the manufacture of pearls.[81]

13. It is necessary to know the preparation and the complete manufacture of the stones, by means of a single liquor. Let us seek first of all if a single liquor is used for the complete work; or whether it takes two, or three. Indeed, every stone needs to be softened, [82] tinted and fixed.

Here's how the binding works. The stone must first be softened, in accordance with the opinion of the good Philosopher; softening is necessary, so that it can receive color. Then comes tinting, with a view to beauty and the desired end; finally one operates the fixation, in order to bring (the stone) to its (last) form. In the same way in the preparations concerning gold and silver, we need to operate the imbibition, the dyeing and the fixing; for without the accomplishment of these operations the metal cannot experience the action of the projection powder, which must dye it. The same necessity exists for the dyeing of stones.

14. Some worked by means of (two or) three liquors: what they expounded, not speaking of fixation, but of the class of liquors, they soften in a liquor; then they fix (in a second liquor (?); finally they dye and fix everything together, by operating the dye in another liquor. Others have executed the whole thing by means of a single liquor, softening, fixing and dyeing same blow. This is what they explained first; then they explained that one operates the fixation as for pearls. Among a thousand authors who have given this teaching, I will cite Democritus, Mary and Zosimus, this is the complete treatment with a single liquor This is the process of cold dyeing, followed for purple:[83] because the same (purple) can be fixed and dyed beforehand with cochineal, then, overdyed in blue.It is possible to dye and fix at the same time, by resorting to a mordant for dyeing, and by operating in such a way that a single liquor acts as a mordant, because it soaks, dyes and fixes at the same time, as the Philosopher says, liquids proper to the first two compositions. In this way, not only will the craftsman succeed, thanks to the help of this liquor; but he will be sure of success in everything. thanks to the assistance of this liqueur; but he will be sure of success in everything. thanks to the assistance of this liqueur; but he will be sure of success in everything.

15. There is softening, mordant,[84] and tinting. Even if all the other authors pass over it, it must be considered in various cases with the Philosopher that if we leave the crevices of the stones without filling them beforehand, the work remains imperfect. It exposes coloring and all that concerns stones and pearls, in three chapters.

16. How the treatment is carried out to dye purple by means of the preceding materials; what is the purple type; what is gold solder; and, thirdly, what is the tincture of consecrated objects; how one achieves the perfection of works of art; according to the treatise on stones, and the principles borrowed from the ancients, this is what we are going to develop for you. I want you to know that the stones and the pearls were named by them the native divine water,[85] that is to say the purple water, because of its price and its fixity; for their teaching does not apply to stones taken from the earth. The Philosopher shows it in his presentation of work relating to ios.Indeed, he clearly says that it is not the fixing stone, nor the dry or wet part of the stone; but in a practical way, in which the quality of the parts, the mixing of the liquids and the proper action of the tinctorial grass contribute. Now, what is called grass[86] among (the ancients), Petasius (the) shows in his Democratic Memoirs,[87] by writing these words: "He calls grass the yolks of eggs".

17. It is permissible for studious people to take assurance on this question, from a thousand places of the ancients, and to learn that, in every liquid or dry species, the art of nature recognizes two (kinds of) sulfurs, [88] namely: not only that which is solid and yellow, but also liquid and white matters.[89] Thousands of skilful authors designate each of them by numerous denominations,[90] such as celandine and aristolochia, rhubarb from Pontus, saffron from Cnidus, thapsia, minerals of all kinds, water, wine, milk of all kinds, oil; they mention at the same time all kinds of herbs, all materials employed for the composition of the two kinds [91] of (divine) waters, according to their color, their appearance, their quality and their power or energy, natural or artificial ;taking into account (moreover) synonymy. Thus Democritus says: "The comaris, look at it like stone". And Marie, speaking of all things according to the writers who preceded her, in her presentation on pearls: "It is not by thinking thus, in the fabrications of gold, lead and silver, by means of the comaris and in view of its treatment , let them say: Do not be too proud and do not bring yourself bad luck”.

18. It has been clearly shown that the ancients, in mentioning the purple, the stones, the pearls, mean the comaris; because it is used in a large number of operations. Use it, in your turn, in your works; because it is used to make Cytherean stone.[92] It is she who gives the sublimated steam its effectiveness; it is the stone par excellence: it fixes mixed colors.

See how the Philosopher exposes the many (attributes) of the unique species:[93] “The pearl of Cythera designates the stone par excellence; it gives to sublimated steam its efficacy; it determines the unity in the mixtures of all species, (which takes place) by the competition of this stone; and it produces fixation”. To sum up, it is through it that the practitioner performs all the operations he wishes.[94]

19. But what is this unique species, O Democritus? He says (that it is) the dregs and the white of the egg. Now Zosimus said that the dregs are aphroselinon, and that aphroselinon is comaris; he expresses himself thus, in conformity with Democritus, on comaris and aphroselinon: “I say that aphroselinon is a unique species; however aphroselinon is composed”. Some have always expounded this doctrine: that the dregs derive either from the ore of Coptos,[95] or from the lunar effluvium.[96] If he introduces aphroselinon and comaris, it is because the action of these things is one and their particular essence; aphroselinon and comaris have a unique action anyway and must be something unique.

20. Democritus, coming to speak of the comaris, makes a statement in these terms: "Coat the stone as much as you want, by rubbing it, and it will be a pearl." By this he indicates the universal stone. In his books on suitable species, he combined these things, saying: Dissolve aphroselinon and comaris together, mix, fix, dye and soften. He thereby indicates the universal stone. The same author also says: "Taking the envelope of the shells in the form of ships, and dissolving the small pearls." It exposes everywhere that is fixed by means of aphroselinon and comaris. Fixed, he says, water with aphroselinon, &c. And Mary too:

“A single species is used for all operations. In her teaching on the stones, she said that heliotrope was the same thing as chard (?). Wanting to designate rust, she writes the following: “Produce the softening of any stone, and its hardening,[97] by means of the mandrake which bears small tubercles; because without this plant nothing is done”.

21. They hid this mystery, because neither earth, nor stone (?), nor glass can be softened without the matter we seek; this matter dominates all things. (Parelle) tinting, together with hardening, determines a lasting fixation. Whereas if this (product) is not used, the dye passes away; it is weak and fleeting. When subjected to the test by hot water, or by oil, it disappears. This is why the Panopolitan said: "Delay with intelligence", in his writings on tinctorial stones and made fixatives. Wanting to talk about the work of the liquid, he says: “This is how the fixing stones allow the color to resist the fire; because the liquids made the dye stable.

As the assertion advanced above was devoid of testimony, it was useful not to overlook this explanation. It is also necessary to listen to the presentation of the oldest (authors), who speak of analogous species. Indeed, in the book of Sophe the Egyptian, Democritus does not only speak of this; but he adds that: “a single composition produces several colors; a single mixture acts[98] on all bodies; a single species serves to operate on many things”.

22. ON THE COLORING OF EMERALD. —Have two crucibles under your hand; and taking part of the rubric, dilute it in vinegar and coat the two small crucibles with this composition. Then, taking burnt copper, one part, divide it into very small pieces and make into two portions; project the powder of one into one of the crucibles and introduce the glass there; then fill over this crucible with the surplus of crushed copper. Then cover with the other crucible and assemble the joints of the two crucibles with a fire-resistant lut; lest the powder of projection evaporate, or shift, and part of the stone be exposed and weather, while the crucibles are stirred. After having coated suitably, from top to bottom, leave to dry;then heat over a low heat for 9 hours.

23. It is this thing[100] that philosophers have enigmatically called aphroselinon and comaris; for aphroselinon and cornons belong to a single science. Under these names it is a difficult thing to hear. But the scholars among the Ishmaelites (Arabs) spoke of it clearly and they interpreted it, some by the name talc or kalk, others by the name chalk; it is also called fear and dread. That's why they said:

“Unite aphroselinon with comaris, diluting, mixing, fixing and coloring this (body).[101] Melt the silver when you remove it from the composition, you will see the silver transformed into gold and you will be amazed. Nature enjoys nature, and nature triumphs over nature”. They also said: “Leave the chrysocolla in the urine (of a) prepubescent, for 7 hours, and mix yellow sulfur with it. Project on the body copper, or silver, and you will have gold”.

24. TREATMENT OF IRON FOR COLORING STONES AND OTHER PREPARATIONS.[102] —Taking misy, 1 pound; chalcite, 1 pound; rosacea, 1 pound; sal ammonia, natron of Alexandria, lamellar alum, 1 pound each; very pungent vinegar, 10 sets; mixing everything carefully, put in a glass vase and leave for 3 days in the sun, shaking every day. On the 4th day, let it settle; then, after having dried, purifies and preserves.

Taking a glass pot, put vinegar in it; then, taking 1 pound of iron, put it in vinegar; place the vase, tightly capped, in the sun, and leave it for 40 days; then, on the appointed day, put (the product) aside, for the uses which are indicated to you.

25. TREATMENT OF LEAD. — Taking litharge, 1 pound; antimony (sulphide), ½ pound; natron from Alexandria, 9 ounces; delay together; drop on these materials oil drop by drop; put in a crucible and you will find the lead sought. When you see smoke coming out from below the furnace and the crucible, while the composition produces a little hiss, understand that it is good to remove.[103]

26. ON THE SOFTENING OF GLASS. — (Taking) lime, 1 part, diluted with urine or vinegar, and alum, 1 part; then, taking the resulting liquor, set it aside. Take a lamp, widen its upper hole; drop in the small crystals. Cover the lamp with a shard, place it over a moderate coal fire, and heat it. When you see the incandescent lamp, open it and throw the Glass into water of lime and alum. The glass is thus softened.[104] When (materials) are cool, wipe with a cloth.

27.OTHER SOFTDOWN. — (Taking) sulphur, lime and alum, digest for 3 days. After heating in a charcoal oven, dye for a day, preferably one day after (heating?).

28.OTHER. — Taking leek juice and vinegar, let it digest for 3 days; also absorb (in liquor) round alum.[105] Then putting the stone (in the liquor), give two broths and leave overnight; next day, wash and use.

29.OTHER. — Putting the stones in a pot, seal it at the top and cook lightly. Then uncork the pot, for into it vinegar and alum; and, while the stone is still hot, put it in any color you like.

30. MANUFACTURING OF AERITE STONE. — Taking the aerite stone, soften it in the following way. Taking garlic, grind and dip-(y) the stone for 7 days; then in human excrement, for 3 days. Then, having made a small horsehair net, put (in) the stone, and, taking (purple) shell, put (it) in a new pot, filling it with this shell; soften (with this liquor the surface of) the stone suspended in the liquid. Mouth well from above; put (the pot) on a fire of hot ashes for 3 days without stopping. After removing, you will find the stone, once cooled, similar to real amethyst.

31. MANUFACTURING OF EMERALD. — Taking burnt copper rust, pine oil and a little indigo, together with 3 parts chrysocolla and celandine, put (the glass) inside the vase where the oil is, and make a decoction over a gentle fire of coals. Then the celandine having acted, changes, filtering through tow, and places in the automotarion, then leaves to melt for 6 hours. After turning over (?) (the device), you will find (the emerald) baked.

32. MAKING THE LITTLE SCORIA AFTER MARY.[106] — Take burnt copper, 1 part; cupolith, 1 part; delay together; then, taking lead from litharge and antimony, roast the lead and dilute the two bodies with oil of natron. Then, melt until they flow together.[107] Then let the lead solidify and, after removing it, keep it. This will give you scarlet.[108] Then: take silver shell, 4 parts; gold shell, 1 part; melt together, let cook and you will find what you want.

33. THE CRYSTAL IS SOFT AND DOES NOT BREAK, BY FOLLOWING THE PROCEDURE here. — Taking the white of an egg with cupholite, thinned into a viscous consistency; coat the stones, and put in a small net; leave in suspension (in the liquid) for 3 days.

34. (RECIPE) TO SOFTEN CRYSTAL. — Taking brine of tunas, cyrenaica juice and vinegar, put (in) the stone and leave for 5 days. Or else, put white vinegar in the ranunculus; then introduce the stones into a glass vase.

35. MANUFACTURE OF BERYL.[109] — Taking the crystal, support it with horsehair and suspend it in a vase containing donkey's urine; the vase must not be in contact with the crystal. Let it be held in suspension for 3 days. That the jug is clogged. Then, later, put on a low heat boil and you will find an excellent beryl.

Uses sulfur and lime as a mordant; cock, putting in a half-filled crucible; then, add above the crystal, in the crucible, such quantity as you wish, without however the lid being in contact with the crystal or the matter. Cover with another vase and, after battling hard, cook for a night and a day.

36. If you want with an amethyst to make a ruby, prepare as follows a projection powder: chalcite, 3 parts; misy, 3 parts; cochineal, 1 part. After having mixed, implement in the way indicated previously, by extending on the walls of the crucible; cook for 3 hours.

37. PURIFICATION OF THE CRYSTAL STONE. — Taking the stones, put in a net and place in a copper bath; boil for 7 days. When the product is purified, taking limestone (lime), kneaded with urine and covers the stone: then let it set for 3 hours; according to others, for 7 days. If the product is not purified, cover again and after letting it settle, dye the color you want.

38. SOFTENING OF STONES. — Taking fig ash, oak ash, dried pork dung, in equal parts; and kneading with egg white, put in a small crucible. After fighting the joints, put the stone in the fire in a suitable quantity. Then, removing the hot product, throw it into the tincture.

39. SOFTENING OF CRYSTAL.[110] — Taking 1 part lime, dissolve it with the water of the egg, and, taking pure lime water, keep one part. Then, taking lamellar alum, 1 part, mix with lime water, and, after mixing, keep part of this water. Then, taking a lamp, widen the upper opening, in order to be able to place the crystals there. After having arranged everything, cover the lamp with a shard and install it in the middle of lighted coals. When you see the incandescent lamp, open it and pour the small sculpted objects into the water that comes from limestone and alum, taking care to heat the terracotta vase beforehand. Then, add rust to it, after having pulverized it well, and stir, so that the whole forms a homogeneous assembly.Then add a little indigo; Then,

40. OTHER PROCEDURES. — Taking: alum, 1 part; burnt copper, 5 parts, diluted in vinegar, in the consistency of honey. Introduce the small stones, let it digest for 7 days, and you will get (what you want).

41. MANUFACTURING OF EMERALD. — Wet with liquid alum for 3 days; after taking a small vase containing vinegar, cook over a low fire of pine wood, then leave to cool. After removing, put in oil, with ios of Cyprus copper, and leave for 6 days.

42. OTHER PROCEDURE. — (Taking) chrysocolla from Armenia, treated with the urine of a prepubescent child, for 2 days, (the value of an acetabulum is taken); adds: bull's bile, 2 parts. Put in a small pot and after struggling, cook over a light pine wood fire for 6 hours. But the stones will have to come from the crystal.

43. MANUFACTURING OF AMETHYST. — Taking hyacinth flower, wet with cow's milk for 1 day; and, grinds with water extracted from pomegranate seeds, sprinkled with rainwater; then, mix with chrysocolla.

44. Now, if you want to dye purple, use some copper filings from Cyprus. If (you want) (dye) in brilliant gold color, mix with lead ore, or else with leek juice and chrysocolla.

45. HOW ONE GIVES THE LITTLE WHITE STONES THE RED TINT. — Boil the stone in water with alum, cochineal and vinegar; then heat in a new pot. After allowing the stone to cool, to soften it, introduce it (into the liquor) next.

46. ​​SOFTENING OF CRYSTAL. — Employs sulphur, lime and one-third lamellar alum; leave for 9 days, heat over coals, and dye a day later.

47. ALTERNATE PROCEDURE—Sprinkle lime with vinegar for 7 days; then, taking the juice of the chickweed which bears a blue flower, of the chrysocolla and of the tithymale, cook over a gentle fire; then introduce the stone.

48. MANUFACTURE OF SELENITE. — (Take) sea turtle bile, 4 ounces; goat's bile, 2 Ounces; pure ios, 6 ounces, or 3 ounces; introduce the stones separated from each other and fight the pot. Cook on a stove. Then remove, let cool; put in a vase with private oil (?), for 15 days. Generally uses oil sparingly.

49. PREPARATION FOR DYEING THE STONE RED. — Taking filings of pure gold, 1 parcel; beautiful magnesia, 1 part; red arsenic, 1 part; gold colored sory, 1 part; grind each (matter) separately and shake together in a silk cloth. Then, kneaded in cow's urine concentrated to the point; coat the gemstone with it, and let it harden. Then put the stone in a small crucible and, above the stone, another crucible; fights joints well. Then, place the crucible on a small stove, and heat for 2 days without stopping. Let the fire burn gently. Then let it cool until the next day. However, you must find (dyed in) red what you want.

V.viii. — METHOD FOR MAKING THE ROUND PEARL
PREPARED BY THE FAMOUS ARAB TECHNURGIST SALMANAS[111]

1. Taking very fine granules, put them in a glass vase, and add lemon juice to them, so as to cover them. Above this liquor, spread a small quantity of cistern moss (?) burnt and well crushed. Next, mouth (the vessel); carefully coat the stopper that closes it with the prepared lut; hang this glass, to heat it in the sun in the heat of the heat wave, for a day. Every hour, take this glass and stir continuously, so as to stir at the same time the granules placed in its interior. The next day, after removing the cap from the vase, gently filter the liquid, taking care not to spill the composition resulting from these granules. Put in this vase another liquor of the same nature and operate again as before.Repeat the operation a third time. When you see that the material of the granules has swelled and absorbed the liquor, pour over another liquor of the same nature. After these granules have completely dissolved and a single composition has formed, take this composition, put it in a colander, fill it with sweetened water, stir the composition with this water and let the water in it sit for an hour. Gently filter again, and repeat these operations several times, until the pungent taste of the lemon juice in it has completely disappeared. fill it with sweetened water, stir the composition with this water and leave the water in it to settle for an hour.Gently filter again, and repeat these operations several times, until the pungent taste of the lemon juice in it has completely disappeared. fill it with sweetened water, stir the composition with this water and leave the water in it to settle for an hour. Gently filter again, and repeat these operations several times, until the pungent taste of the lemon juice in it has completely disappeared.

2. Then take this composition and pour it into a small glass basin; cover this pelvis with another with a wider opening, so that the opening of the second envelopes that of the lower pelvis. Let the upper basin have a hole in the top, so that the moisture in the composition evaporates through it. This hole must be covered with a loose cloth, made with a fabric of hair. Exposed to the sun, in the heat of the heat wave; and after drying the composition, keep it.

3. Next, take 1 pound of mercury; take sal ammonia (? treated with lime; leave it for 2, 3, 5 or 7 days, and after having dried, sublimates and purifies. Once this product is dried, take half a pound of it and incorporate it with the pound of mercury , grinding gently until all the mercury disappears and so to speak is absorbed; then, operate the extraction[112] in glass vases, on a weak fire, until you see (the mercurial product) white as snow. Then take 4 parts of the dry composition obtained with the granules, as well as 6 parts of the aforesaid mercury; combine the whole in a basin of thick glass. Grind and mix well with a glass pestle, and by sprinkling with the white juice of the plant called zocar. Let the fermented mass be thick as tall; stir well and with care; then,take what you want of this ferment, put it in a white silk cloth, and shape it into granules of the size you want. As for the tools for making the granules, you need a silver pestle, silver tongs, silver fingers. By means of these instruments, operates the manufacture of granules; but be very careful that your hand does not touch the product, and even spare your breathing, lest the dust raised[113] does not reach you; for it poisons; it blackens, moreover, and can no longer be used. Then, after boiling the silk cloth, wrap the dumplings in white pieces of silk, suitably coated. Operating in this way, put each of these granules in a glass, stir, rolling them relentlessly and gently.

4. After that, taking zocares, put (them) in a clean dish; grinds a little astringent matter (with water); drop (the liquid) on the fleshy parts (of these plants). These parts, being contracted by the astringent agent, let their viscous matter escape. Taking a small amount of this viscous material and pouring it into a glass, roll each of the spheroid granules in it. Let each (of them) be provided with a silver thread; use it to remove it skillfully. Taking a sieve, otherwise called sieve, make fine holes in it, and fix to these holes, on the inner side, the threads which carry the spheroid granules.

Then also take another frying pan, adjust it to the first one, fill it with cotton wool, pressing lightly and pressing all around. Taking the vase that contains the pearls, lay them out and let them dry inside this colander, for 10 days.

Then put each granule in a matrass-shaped glass vase, rolling (the granules) in this vase, until you recognize that they sound like stones. Then, give shine to this product, operating like the lapidaries to make the stones shine.

5. Then, taking pond or river fish, having the length of the pelamys,[114] or less, split them on the left side and discard their viscera. Wash well The cavity where the viscera were, so as to leave nothing bloody there. Then, taking the large intestine, pierce it, introduce into it crushed natron which has undergone the action of water; let sit for 1 hour. Then wash these intestines well with this natron, pressing them with your hand. Then clean them with water; and after cleaning them, take the aforementioned spheroid granules, introduce them one by one into the intestine and tie them with a silken thread boiled in water, fixing each granule with a special thread.

Then introduce the intestines, with the granules they contain, into the interior of the cavity of the viscera of these fish; sew up the split skin with silk, and lay the whole thing on a dish of earth.

Have ready a small furnace and kindle it well, until it is whitened by interior combustion. Introducing then into this small furnace the fish placed on the earthen platter, securing this furnace well; lute in the opening, and let cook for 3 hours. After removing the fish from the oven, leave to cool; then, withdraw the intestines, with the granules which are contained therein; split them, remove the granules, put them in a cloth, and clean them with soap, hot water and fish fat. You will find perfect round granules, no different from the best natural pearls.

V.ix. — PEARL PROCESSING

I. CLEANING THE PEARLS AND PROCESS FOR MAKING THEM SHINY, WHICH THE AUTHOR SAYS HAS USED OFTEN. — First putting oil in a mussel shell, heat it over a fire of papyrus or straw; when the product is warm, place the pearl in it. Then, remove it from the oil, and cover it with a liniment of pyrite and white lead. Then, wash well in water, coat again, and let dry. After washing again, coated; (repeat this) up to 7 times. After treating and rewashing, throw in orange juice. If this juice is mixed with the liniment, any coated object experiences a whitening. If (the pearl) is soaked in wine, it becomes rough.In general, if you draw letters on it with an awl and add encaustic prepared with black and green, the letters absorb it.

2. DISSOLUTION OF PEARLS. —— Grinding very small pearls, put (the powder) in a glass vase, with acid lemon juice, and place on a sawdust fire for 3 days and 3 nights: they will be well dissolved.[115 ]

3. OTHER (PROCESS). — After having ground good wheat flour, kneaded with acid lemon juice and wild cabbage juice. Add willow sap and onion juice, put the pearl in it and let it dissolve: continue as you know.

4. PEARL WHITENING. — Taking scammony, grind very finely and stir; take a decoction of pure barley; mix with the scammony, so as to make the mixture more fluid; then, put in a glass cup. Hang the bead on it, and cover with another cup. After struggling, leave for 9 hours: (the pearl) turns white.

Without further operation, expose for 7 or 13 days to the sun, or to the heat of horse dung. Dissolve the aphroselinon in very strong vinegar.

5. PEARL PREPARATION. — Taking siderite stone and powder of arsenic, magnesia and aphroselinon, mixed in equal quantities; cook, following the same treatment as for the cinnabar. Taking the aphroselinon and dipping it in honey, feed it to a bird, without giving it anything else to eat, and don't let it fuss, but put it in a cage, or in a basket. Place a kerbion underneath and give the bird the diluted (composition). Cleanse his intestines, feeding him grasshoppers for 3 days, and then aphroselinon: you will find secreted in the kerbion a divine mystery.[116]

6. OTHER PEARL MAKING. — Taking small pearls, put them in a glass vase, with strong vinegar and white cyrenaic juice, collected after having deposited for 16 days.[117] Plug the vase, leave everything in a warm place, for a night and a day. Then add sour lemon juice and, after stirring, give up some time. When (the pearls) are attacked, then fix the imprint as you see fit: fixing is obtained by means of aphroselinon.

7. WHITENING DARK AND SOILED (PEARLS). — Put the (pearls) in an onion, or in a similar bulb; cover all around with bread dough, and cook on a stove, or in an oven the (pearls) will be whitened.

8. OTHER (PROCESS). — Taking small pearls, put them in lemon juice; let the sour lemon liquor soak in; and, after having decanted several times, until the liquor is transparent, then put the pearls in a cloth, so as to clean them. When cleaning has been obtained, wash for a day, and introduce the pasty mass into the heart of an onion. Put the onion on a stove, until the dough is cooked. After removing and letting cool, you will find (the pearls) bleached. Cleanse and shine at your will, like the specialist craftsman.

Some after that make a bird drink, from evening until 1 o'clock (6 o'clock in the morning); then they let the little bird die of thirst, depriving it of drink. By sacrificing it then, they find (cleansed) the soiled species.[118]

9. WHITENING OF YELLOW PEARLS. — Taking pearls, drop them in white bitch milk and give up for 7 days, after clogging. Remove the beads, attached (each) with a hair, and see if they have turned white. If not, drop them again (in the milk), until you've succeeded.

If you coat a man like this, he becomes a leper.[119] Such is the power of this composition sprinkled with the weight of a mine of wet Samos earth.

10. ATTACHING THE BEADS. — Place them in black bitch's milk, and when they become of a waxy consistency, put them in the moulds.[120]

11. WHITENING OF PEARLS. — Taking two spoonfuls of each decoction of barley, grind together and soften the pearl for 6 hours.

12. ON PEARLS. - Deposit them, to harden them, in milk of fig tree, or tithymal, or calpasos, and let pass the night. When they have been hardened, molding each one with the viscous material prepared above,[121] let it dry for a month. Then put in quicklime; let water drop by drop, and lightly, until the lime is dissolved; then leave until cool. On removing, you will find (the beads) hardened.

That the material intended to be modeled is kneaded with white liquid gum. Let it dry like this.

So that they harden easily, when you introduce them into the slaked lime mixture, and after they have acquired the suitable consistency, wash them well for one hour with pure white oil, carefully pressing . Then, if you find that they have not become shiny, put them in a ball of barley dough. Model as for bread dough; then bake in the oven. This way cleans and shines you will be amazed with the result. Attach with hair (each bead)[122] before curing.

13. WHITENING OF YELLOW PEARLS. — Take the extremities and the white part of the squill, in the middle of the leaves, as well as the soap plant; delay in equal parts. After making the preparation, put the pearls in it and cover them with it; if they are too hard, add virgin urine and a little white honey.

14. PEARL CLEANING. — Taking garlic, diluted with water, put in a small flask, and, supporting the pearl by means of a hair, put it to soak for a day and a night; then wait for your idea. If the effect is not produced, then dilute with a little very fine ash; wrapped in a piece of linen cloth, and walk (the vase) circularly over the fire, until the ashes have disappeared and the pearl is brought to a point. You will find it white and clean; it must be sound on all sides.

15. CLEANING THE PEARL OF BRITTANY. — Taking Cyrenaic juice, dilute with water, and put in a small flask. The juice does not dissolve, but forms a separate layer at the bottom of the water. Taking the pearl, support it with horsehair. That the pearl has no breaks. Put it in the juice and immediately the juice combines with it. Let stand a day and a night; take it out, rub it and you will find it cleansed and turned white. If it needs further cleaning, leave it for a night and a day; repeat the operation if necessary and work carefully until successful.

16. CLEANING, ACCORDING TO A MONK, OF LEAD COLOR (BEADS).[123] — Taking garlic, diluted with prepubescent urine, and putting in a small flask, introduce the pearl at the bottom; let it soak for 3 nights and 3 days. Then, taking Cyrenaic juice and a little oil, heat it; suspend the bead with a hair; walk (it) around (in the liquid), until you see it turned white. So first put garlic; then, put in the oil, and resuming the boiling garlic, use the juice. If the result is not good, use balm instead of oil, and you will succeed.

Vx — MANUFACTURE OF BEERS
Take white barley, clean, of good quality, macerate for 1 day, exhaust; or else let it rest in a place sheltered from the wind, until the next morning; then macerate for another 5 hours. Put in a vase with handles, in the form of a sieve, and sprinkle; dry first until the mass becomes like cake. Arrived at this point, finish drying in the sun, until the mass collapses; the dough is bitter.

Thou shalt grind and make bread, adding leaven, like that of bread; cook more strongly; and when (these loaves) are swollen, treat them with sugar water. Pass through a filter, or a fine sieve. Others, after cooking the loaves, throw them in a basket (?) with water, and make a light decoction, avoiding boiling or overheating. Then they withdraw and filter; they cover all around, heat and set apart.

V. xi. — MANUFACTURE OF DETERGENT[124]

1. Four boxes of ashes are distributed between two vats, pierced with holes at the bottom. Around the smaller hole, on the inner side, put a small amount of hay, so that the ash does not clog the hole. Fill the first of the vats with water; collects filtered liquid flowing from it overnight and puts it in second chest; keep what filters from this second room. Add more ashes (in a third vat). Strain it and a liquor like nard is formed, the color of gold. For it into a fourth vat. The liquor becomes pungent and strong: such is the special lye.

2. Some have made a universal (lye), by adding sulphurous lime, dregs, alum, etc. This is how the operators of the divine waters made the white water. They dissolved in the muids (?) a large quantity of decoction of barley and of tree juices, (such as those) of the mulberry, the fig tree, the calpasos, and of plants, such as the tithymal, as well as blood of goat and the ferment which comes from these liquids.

3. For the coloring of the crystals, one project as soon as the matter is colored; for later she would retain honey, oil and balsam.[125]

4. In order to better exhaust the ashes for the laundry, some added vinegar; others from urine. Some, after having filtered the water, mixed all things one by one. They obtained a better effect than by operating with urine and vinegar: and they called the whole lye. Some, putting suitable plants in this water and calling (it) fermenting, added saffron, celandine, apple leaves, and similar materials, which they diluted with natron vinegar. Still others employed alum, cooked misy, blue, and divine water. They made a cake out of it. After bringing together and fermenting, they soaked in yellow water and cooked the composition. They later mixed honey, balsam and vinegar in it. By delaying in this way,(they added) to the vinegar a little stronger sourdough and calf's bile. Some also added garlic and onions. At this point, (our author) teaches that the fleeting (matters), mixed with the non-fleeting (matters), operate the cold coloring.

V.xii. — WHAT IS THE ADVANTAGEOUS PROPORTION OF DYED WOOLS
WHICH IS THAT OF THE COMARIS, AND THAT OF THE TINCTORIAL WATERS

The proportion of water must be double that of wool. However, the mine (weight) of tinctoriales waters admits the 32nd part of comaris, so that the dyed matter is in suitable ratio, without excess, nor lack compared to the coloring matter. It is so generally; because the colored material does not support an excess of color; Thereby, it would not take on an (excess of) true, that is to say non-fleeting, coloring.

V.xiii. — WHAT IS THE PREPARATION OF THE BLACK POWDER

For the color of ebony, do not wash the ash, but combine it with white water, in a good proportion, and make a coating of it, (which is heated) by means of manure, for the duration of a week, (or alternatively) two or three days. On this subject, Zosimus expressed himself thus: “Don't worry about anything; for this composition develops the black dye, without possessing it itself; and it colors in a less stable black”.

V.xiv. — WHAT IS THE COMPOSITION OF COMARIS

The mixture of the preparation is composed with a solid body and a liquid; one ounce of solid comaris being mixed with water.

V. xv. — SUBSEQUENT TREATMENT TO IOSIS

Expose the preparation to the air after the iosis, for 5 days, following the advice of Isis. If you want to prepare the dry powder (for projection), mix the various parts of the composition together: I mean the macerated part and the non-macerated part, the liquid and the dry. Then delay in the sun or in the shade; place in (horse dung), if you want to make a liquid preparation, after having mixed the two waters and having deposited them carefully in the vases, submit (them) to a manure fire, for 3 or 5 days only . After pulverizing finely, you have the perfect powder.

V. xvi. - WHETHER. YOU WANT TO MAKE HOLLOW AND RELIEF SHAPES WITH BRONZE,
OPERATE AS FOLLOWS

The language of this article is contemporaneous with that of the goldsmith's treatise (V, i): it is related to § 18 of the latter (p. 312). As the present piece is found in the Venice manuscript M, this tends to push back the date of the last treatise, at least for a certain number of its paragraphs, until the eleventh century of our era (see the note which precedes it, p .306).

Note the name of the bronze, βροντήσιον, which is found in this title. The meaning of this word gives rise to no doubt, because the composition of the metal is defined in § 3. It is the oldest known text where this word appears, which has since replaced part of the meanings of the ancient χαλκὸς: we see that it dates back at least to the eleventh century. As for its origin, it seems difficult to link it to its apparent etymology, that is to say to the word βροντὴ = thunder: one would hardly understand such a meaning in the eleventh century, before the invention of carions. Is it a place name, as the ending ήσιος would lead one to believe?Or is it the application to metal, according to its color, of the old word bruntus, already employed in the tenth century, in the Glossary of Aelfricus, after du Cange? we know that from this word derives the French brown.

At any rate, we find here the true meaning of a statement understood in the old title of the work inserted at the top of page 213 of the translation, and in line 11 of page 220 of the text; indeed the words φούρμουσαι ἀπὸ βροτισίων had remained unintelligible there. Based on the foregoing, this title should be corrected as follows.

This volume is titled; Metallic and chemical book on Chrysopée, Argyropée, fixation of mercury. This book treats of vapors, dyes (metallic), and castings with bronze, as well as (dyes) of green stones, garnets and other stones of all colors, and pearls; and madder colorings of skins intended for the Emperor. All these things are produced with salt waters and eggs, by means of metallic art. We see that it is a Byzantine textbook of Chemistry. The very composition of the work goes back to an ancient period, such as the eighth or tenth century. He had to understand both:

1° The art of making gold and silver;

2° Distillation, on which we have only preserved a few fragments in the works of Zosimus (III, xlvii, xlix, § 14, l, lvi, etc.).

3° The casting and working of metals in goldsmithery, represented by the present article, by article V, xvii, as well as by the treaty of goldsmithery (V, i.), which moreover contains more modern portions;

4° The quenching of metals for the manufacture of weapons and tools, represented in the state of debris by our articles V, iii, iv, v

5° The manufacture of artificial precious stones, represented in extenso by our articles V, vi, vii;

6° The work of pearls, represented by our articles V, viii, ix;

7° The dyeing of fabrics, work lost, with the exception of articles V, xii, xiii and the beginning of Pseudo-Democritus.

8° There must also have been various technical applications there, such as the manufacture of beer (V, x.), washing powder (V, xii, glue, soap, etc.).

From this great work, unfortunately lost, are drawn most of the articles of our fifth part. These articles are generally lacking in the manuscript of St Mark and in its derivatives; but they exist in manuscripts 2325 (thirteenth century), 2327 and in their derivatives. They correspond to a tradition older than the Latin alchemical texts, translated from the Arabs, and than the treatise of Theoctonicos; the latter, moreover, are quite distinct from it.

1. Taking such coin as you want, take the imprint of it with melted common sulphur, taking care to coat the coin with oil; then you take the counterpart of it you will melt the sulfur with a soft fire, in order to avoid burning it. For if the fire is light, the sulfur reproduces the engraving well; but if the sulfur burns, it reproduces nothing. When you want to reproduce the imprint obtained by means of sulphur, that of the image it has received, use the double matrix of sulphur; with it you can reproduce the coin completely.[126]

2. Castings are cast as follows. When you want to melt them, take a small circle of iron and put (the mold) in the middle of this circle; then applies the thumb of the left hand to the mold of the coin; for sifted ashes[127] and distribute it with your right hand all around the matrix. While you are pouring it in, always hold your left thumb on the matrix, so that it is not covered by the ash. Then, when the ash has reached the level of the matrix, look, wipe the matrix well and carefully remove the hairs. Then, with black wax, take an imprint or two.

When you see that the matrix of the sulfur is clean in all its parts, take a very dry dry bone, press it on the matrix of the coin and clean with a small knife the surface of the dry bone, without occupying the reverse; take a marble and sharpen (on it) the dry bone carefully. Place it above the matrix, arranging to cover the matrix and the ashes well. Putting your thumb, press gently to print the dry bone on the matrix. So put ashes carefully on the los de sec. Then, with the palms of your two hands, exert 4 or 5 weights on the ashes. Finish filling, weigh again. When the small circle of iron is well filled and well-luted with the ashes, carefully lift the circle with the matrix, and with a small knife scrape the location of the die;you pull it towards you with your fingers and you make it come out of the little iron circle. You for the bronze into the impression (thus prepared). The mold should be transported after cooling, not when hot; because if the matrix is ​​hot, the rust comes out bubbling and (the metal) does not fill the matrix.

3. As for the bronze alloy, it is thus obtained copper rust from Cyprus, 1 pound; pure pewter, 2 oz.

4. To color the engraving, use: couperose, 2 ounces; chalcite, 1 ounce; aluminum, 2 ounces; ocher and salt, ounces. After crushing and sieving, heaps up, layer by layer, these products reduced to powder, as is done for the metal sheets in the refining of gold.[128] Cover the pot; warm up the automotarion for 3 hours; then remove and let cool. While discovering, you find the colored objects. To loosen them, wet with pure water; grinding common sulfur and sifting it, put oil in your hands, and rub the molded (objects); they emerge.

V.xvii. — VARIOUS DETAILS ON THE LEAD AND ON THE GOLD LEAF[129]

1. Marine sinker is hard and coarse. To prevent it from breaking, mix with 50 pounds of sabyesin lead (?),[130] 1 pound of white tin; operates the alloy at the rate of one pound for 50 pounds. Sabyesin (?) and dalmatic lead is pure and soft. When it is melted without any other addition, one puts for one pound (of lead), one pound of tin: this is what is appropriate. Sardinian lead is soft and contains copper; it is broken, to melt it with the copper, or submit it to preparation: for the metal must be alloyed with copper. The fusion lasts 1 day.

2. The proportion according to which it is advisable to alloy copper with silver is 5 parts for one of silver; that is to say, in one operation, 100 pounds of silver are melted with 500 pounds of copper.

For this work, per pound of alloy, one uses 1 muids of carbon; we implement zoo books; this weight reduces after the alloy to 166 lbs.

We use wax, 20 pounds; pewter, 20 pounds; plaster, 120 pounds; a firewood car; copper ore, 67 muids; building iron oxide, 20 pounds; oil for casts, books. It takes workers capable of shaping, melting, filing, and doing the job with pliers. 40 blowers to work gold and silver objects, at the rate of 5 books in 1 day.

3. To extend four white coins to the length of 100 cubits and draw 40 leaves from them, we take a square plate of glass, 20 fingers long, ten wide. From each piece of money, 10 leaves are taken; 120 are made. The craftsman draws 40 sheets of 4 coins each day.

For the golden object, one extends a coin, up to a length) of cubits. We mix misy, old pewter, Indian mugwort.

4. For the silver object, the craftsman works as for the gold object, (up to a length) of 20 (?) cubits. He puts on ice 110 parts of metal and 4 parts of additional matter, in order to obtain 100 parts of pure product.

One car and a half of firewood is used. It takes 22 grams (weight) of silver for silvering.

The gilder, for the gilding, with a solid gold ingot, makes in one day 150 leaves; for golden leaves, per day, 50 leaves; for the gilding of the ends, 100 sheets. For the complete gilding of an object of... cubits, 42 leaves; for open objects per cubit 16 leaves 1/3 (?).

For the complete manufacture of the sheets, it is necessary pounds for 72 coins of gold to the test; cold beaten Cyprus copper, 3 pounds; oil, to setier; coal, 25 muids. Craftsmen for making leaves (take) sulfur, 1 pound; arsenic (?), 20 pounds; vermilion, 10 lbs.

5. With a guest book, here are the various proportions: If it is a single model: 1,500 sheets; 2 models, 2,000; 3 models, 2,250; 4 models, 2,500; 5 models, 3,000; 6 models, 4,000 (?); 7 models, 5,000; 8 models, 6,000; 9 models, 7,000; 10 models, 8,000; 11 models, 9,000; 12 models, 10,000 (?).

The gold leaf worker, ie the gold beater, for the purpose of gold annealing and leafing, for each pound of the object to be gilded, takes 6 pieces coins, each 2 carats.

As for the gilder, for the gilding alone, and for each pound of the object, he needs 3 coins, each of 1 carat.

As for the lower parity, in the gilding operation, for each pound of statuettes, 3 coins are needed, if they are wooden objects; if it is stone, 2 is enough.

6. If the gilder works immediately and operates as explained in the tables of calculation, and if he employs small leaves, he will need a coin, by three cubits. But if he uses larger (sheets), such as those of the openwork fence in the corner of the oratory (?) of Saint Mary, near the palace of Maron (palace of Mary);[131] the proportion per cubit will be … . ; or of..., if larger leaves are required, as for the ciborium and for the columns of bronze.[132]

7. Take 6 ounces of plaster; bull's glue, 4 ounces; fish glue, 1 ounce; minium, 1 ounce; vermilion, ½ ounce; minium, 6 ounces; gum, (glue from) fish...; charcoal, 1,200 pounds ……..

V.xviii. — MANUFACTURE OF CHEESE GLUE[133]

1. Taking some old cheese, grind it in the cheese machine; then, pouring water, leaving for 3 days; then remove and change the water. Then, putting in a clean pot, boil until the cheese is diluted and thickened in hot water. Then, putting the same cheese in another water, this one lukewarm, to soften it, boil until it turns into glue. Then take up to 4 parts quicklime; male it intimately with the glue and glue what you want; let the glued object remain for 6 days.

2. Skin glue is also made in the same way. Boil until the skins are well dissolved by boiling, and evaporate. Then let cool and dry; then melt and glue.

3. Crush deer horn and reject coarse powder; pulverize the white (parts) as much as possible and leave to moisten with water for 10 days; then, boil quite strongly in a basin, until the substance overflows. Then evaporates and dries. Then, mix 2 parts lime with 1 part glue, and glue.

V. xix. — ON THE MANUFACTURE OF AXONGE SOAP[134]

Put as many pounds as you want of finely crushed axong in a basin; also get some abalone wood lye. Put it in several vases and place water in these vases; they should all be pierced with holes in the bottom, and the holes lined with a small cloth, so that the lye does not come down. Arrange below these vases other receptacles to receive the waters. The first filtered liquid, put it in the basin. This first lye water provides what is called first grade soap; the second lye water is weaker, and the three (waters) make the three charges of the soap.

V.xx. —THE MONTHS[135]

Lead is, by its nature, cold and dry; for 7 days.

Mercury (is), by its nature, temperate; for z5 days.

Aries (Mars) hot and humid.

Taurus (April) hot and humid.

Gemini (May) hot and humid.

Cancer (June) hot and dry.

Leo (July) hot and dry.

Virgo (August) hot and dry.

Libra (September) dry and wet.

Scorpio (October) dry and cold.

Sagittarius (November) dry and cold.

Capricorn (December) cold and wet.

Aquarius (January) cold and wet.

Pisces (February) cold and wet.

It is for you, lettered, legitimate sovereign, who has nothing foreign or irregular, that (we), your servants, we have composed this formula. Accept it then with benevolence, O prince; if it is short, it contains something useful.

V. xxi. — MANUFACTURE OF GOLD[136]

1. Taking natural copper, melt it seven times, and in each cast, project these materials: in the first cast, diluted tartar, at will; introduce (it) into the molten copper. In the second font, put alum crushed into an impalpable powder; in the third cast, crushed sal ammonia; in the fourth cast, crushed natron; in the fifth casting, similarly crushed arsenic; in the sixth cast, aphrosilon; similarly in the seventh cast, light green Spanish tutie, crushed beforehand, sprinkled with prepubescent urine, exposed to the sun and brought to the state of dry powder. With the will of God, you must see gold appear.[137] Mary says: “you will dip seven times, and you will find extraordinary things”.

2. Tartar, sal ammonia, alum, natron, ceruse, tutie, arsenic, aphroselinon, and glassmakers' magnesia, mixed with urine and diluted seven times, stain copper (and) make it look like silver.[138] This is what is called "our vinegar", that is to say copper vinegar.

V.xxii. — PREPARATION OF THE APHRONITRON
WANTED FOR GOLD, SILVER AND COPPER SOLDERING

Taking natron from Egypt 1 pound, axong soap prepared without lime, 1 pound, divide exactly and mix. Place these materials with the product, either in the sun or in a warm place; the result is perfect for soldering gold.

V.xxiii. — PREPARATION OF CINNABER[139]

1. Take: mercury, 2 parts; pulverized bright sulfur ……; pure urine, 1 part; also take a small, clean flask, capable of withstanding the force of a smokeless fire; put the preparation in it, without filling, but in such a way as to leave a gap of 2 or 3 fingers; mix it all up. Have a furnace similar to that of the glassmaker.

This vial will have a wide opening; arranges suitable place for flask to enter, isolating it with a reed; then light the stove. Create another small door, so that the flame can turn around. Here is the sign by which we recognize that the cooking is done: observe the space left empty in the vial and, if you see smoke coming out having the appearance of purple, and that the heated material is the color of cinnabar, the preparation is carried out. Do not heat the glass vase any further; because once the preparation is finished, if you heat more, the glass vase breaks.

2. Boil mercury with horseradish oil with sulfur added, and with burnt arsenic, in a glass vessel, for 3 days; the fourth, let it cool. Then the mercury will again be (mixed) with very strong vinegar, and a weight of sulfur equal to half that of the mercury. Mix these (materials) with natron, grind in a mortar, and the product will turn yellow. We put in a vase containing very strong vinegar; stop it well, so that it does not evaporate. Let digest for 5 days; the sixth, you will find the mystery. Water down and dry in the sun: preserve this mystery.

3. With the help of God, take eggs, break them, set apart the yolks, discarding the whites; place in a still and leave for 8 days. Take out the water; heats the material which has taken on the metallic appearance, until it has passed into the state of lime: and carefully preserves this lime, setting it apart. This lime is called terrestrial (?)

V.xxiv. —PRACTICE OF THE EMPEROR JUSTINIAN[140]

1. Taking eggshells, pound them in a mortar and dry them. Wash repeatedly and wash again with natron and water; sweeten with water and common vinegar, until the composition has become white like white lead. After letting it dry, keep it.

Taking of this shell turned white, 3 ounces, and egg whites, 6 ounces, stack together. Extract the waters from it by means of the still; keep the slag apart.

Put in these waters washed, hardened, that is to say dried, shells and concentrate. Exhausts (the action of the waters) on the sheets (of metal?) and keeps the composition ready to white. Taking the aforesaid slag, diluted in the waters and whitened, before the water has risen, that is to say 2 ounces... observe the preparation of the second juice.

Put the slag in a terracotta or glass vase; stop it; cook with the kerotakis on a violent fire for 1 day, until the product no longer has an odor and turns white.

After removing, pile in a mortar in the sun. Take a portion of the water that has risen, and bring it into viscous consistency, for 1 day. Then, after having dried in the sun and removed, cook with kerotakis on a violent fire, according to the aforesaid ordinance, for 1 day. Removing, thinning with water and bringing to a viscous consistency, exposing for 1 day to the sun; then cook. Repeat several times, until you see the white composition like white lead.

2. Then yellow as follows. After having made the water rise, according to the aforesaid ordinance, you no longer use it to operate the fixation of the color of the eggs on the leaves; but you add, in a setier, your egg yolks, and you scramble them in water. Keep the yellow waters, and with these waters, delay the composition, so as to bring it to a viscous consistency, for 1 day. After drying in the sun, heat and do all things according to the aforesaid ordinance, not being satisfied until you see the composition become yellow as gold.

Place this composition in a bottle, not stoppered; and put in a vase (of earth) very strong common vinegar. Arrange the bottle (containing) the composition, so that it floats on the vinegar. Lute all around the vase (which contains) the vinegar, with its lid; keeps for 41 days.

Then, removing the composition, put it in a mortar; add yellow waters and bring to a viscous consistency. After letting it dry in the sun, guard: the operation is accomplished.

3. To prepare such a (composition), we use maceration, cooking at high heat with asem, as well as grinding (in) mortar, and sprinkling with liquids. It is brought to such a point that it does not escape by the action of fire, but that it becomes capable of penetrating bodies and remaining fixed there, without volatilizing or being burned. This is what happens when the asem is subjected to strong heat, the vapor rising and descending in the spherical apparatus,[141] in the state of an opaque mist, until the product has acquired all its power of incombustible and fixed matter.

The dry powders will also undergo the same treatment, until they are completely decomposed and deprived of their water, and until they are mixed, completely unified with the liquids, forming no longer, so to speak, 'a single inseparable body, by the effect of the operation. The liquids, on their side, will be fixed by means of astringent species, completely decomposed and reduced to ios, until they have acquired the power to remain without volatilizing and to resist fire, By the effect of the indissoluble union between dry powders and liquids produces colors endowed with the ability to penetrate (metals); just as any natural extractive matter, put to boil in water over a gentle fire, is entirely dissolved, giving its color to the water, the whole being brought to unity,

4. After therefore that all the waters have completely risen,[142] take the dry and blackened sediment which remains, and whiten it (it) in this way. You will have a wine prepared beforehand, with lime water filtered through alabaster ashes, following the process of washing powder to soap. Take a portion and use it to wash well (the slag), until the water is blackened,

Then for new water and, if you want, let it digest for a few days. Returning (to the charge), washing again, following the order indicated above. Transferring the blackened water, put new ones on the other materials, then close them in vases, for the same number of days; then, withdraw them, rewash: by operating in this way, the black appearance is dissipated and a gold of white color is formed. As for the waters blackened before, put (them) in a glass vase; after having lute the vase all around, let it dry and let it digest for a few days, that is to say until the product is reduced to a paste, disintegrated, and has reached a suitable whiteness. Let it fall apart and disintegrate. Expose it above the vinegar,so that it undergoes the action of its pungent vapors and disintegrates; the vessel must be carefully closed. Thus, under the influence of pungent steam, the product whitens in the air and becomes like white lead from lead.

It is possible to produce this effect with our lime, that is to say by exposing our stone to the acid vapor of the vinegar, like a sheet of lead. But, to give this matter the yellow coloring, after the preparation has been suitably washed and bleached, it must first be sprinkled with yellow water, macerated and reacted, and then dried.

Thus was fulfilled the practice of the Emperor Justinian.[143]

V.xxv. — DESCRIPTION OF THE GREAT HELIURGY
EXPOSED IN THE TREATMENT OF THE WHOLE[144]

Know that the great heliurgy is exposed and described in the creation of the All, on the occasion of its creator (demiurge), according to the allegory that follows

The All manifests itself in six things: in the four elements, in the soul and in God himself, the maker and creator of these things. Now, the four elements are the following: the first, which is carried above, is fire; the second, placed below, the air; the third, lower down, the earth; the fourth, lower than earth, water; these are the four elements. Furthermore, there is the soul and God, their maker and maker. It is in these six things that the All manifests itself. There are also six things in the matter of the great heliurgy, things which they aptly stated; they are: water, sublimated vapour, body (metallic), ash, moist vapour, and fire.Of these things, the four (first) respond to the four elements. The fifth, that is to say the moist vapour, is equated with the soul, and the sixth,

V.xxvi. — HIVE BLESSING[145]

1. Hail, our Lord (Christ?), hail ……….. life ……….. (to the bee?) blessed, blessed by the Father, the Son and the Holy Spirit. Above all, you have the blessing; you have softened (my) heart; you have (favoured?) the blackmailer of the church; you have sanctified (it) with your product. Gather your little ones, gather them together, and go through the flowers of the mountains, the (flowers) with a thousand sweetnesses, with a thousand fruits that God knows, but that man does not know. I adjure thee (to chase away) the wild wasp, and the poisonous insect, and the crow, and the serpents, and the spider, and the ant; let nothing that harms the bee be allowed to approach the bees of the servant of God N …………….in the name of the Father and of the Son and of the Holy Spirit.

2. Make a cross and write this prayer on the cross, or on a stick (any) and place it in the middle of the hive.

3. On a means to use to put a man to sleep: Write on a bay leaf It was in Bethlehem in Judea that Christ was born. Rest. Saint Eugene, give sleep to the Servant of God N.

4. One means to employ so that one does not fall asleep.[146] Cook the testicles of a hare in good wine; Let us drink it and we will not fall asleep.

V.xxvii. — MANUFACTURE OF MONEY[147]

Take one part of lead, ten parts of tin, melt in the crucible; grinds with vinegar and salt, so as to whiten the metal. Then put in a crucible (?) and clean three times with oil. Then, on five parts of this alloy, project one part of silver; after mixing, melt on the fire. Then, melting five parts of tin, add to them one part of the previous composition and you will see silver in kind.

OTHER PROCESS. — Taking western mercury and eastern mercury, in equal parts; grind and put in a glass vase; cook seven times. The sublimated product is like crystal. Then grind it with egg white; cook again, and the sublimated product will be like crystal. Take it, suspend it in the vase of vinegar, as was said above; bring down the water; put in the (egg?) whites; bury the glass vase, following the philosophical method, in horse dung), for 40 days, until everything liquefies. This process is due to Solomon the Jew, and drawn from the temples of the sun.

V.xxviii. — ON ORICHALCUS.[148]

1. Taking Alexandrian tutie, tartar, flour, manure, figs and grapes, melt the copper: repeat the operation several times, with a new treatment. In this way the copper becomes like gold.

2. Add saffron, turmeric, honey and other lemon-colored (substances) as you wish; egg yolks and dried red ox bile.

V.xxix. — ON NON-COMBUSTIBLE SULFUR
Taking apyre sulphur, steeped in immature urine; then taking brine in equal quantity, boil until (the sulfur) floats to the surface, and (then) it becomes incombustible.[149] Test it, by removing it and examining it, until it becomes incombustible, that is, until you see that it no longer burns. Take the same water (of sulphur; incombustible; throw (it) on flower of salt, delay, acting as with incombustible sulphur. Such is the divine mystery.

Others mix lead with sulphur, at the same time as fleur de sel, and they prepare (thus) the divine mystery.

V. xxx. — WATER WHITENING

BY MEANS OF WHICH ARSENIC IS BLEACHED DURING PROCESSING, AS WELL AS SANDARAQUE
When burnt copper is combined with one part lamellar alum and one part white gum, dissolved the gum in water; when dissolved, a liquid of viscous consistency is obtained. Put the alum in a vase and pour the gum water into it; cook until dry and keep. The product is diluted with arsenic, sandarac and copper; then the coction is operated.

V. xxxi. — ON THE BLEACHING OF LAMELLOUS ARSENIC[150]

Taking arsenic, dilute with an equal amount of vinegar. After having resumed, place above a kerotakis, by superimposing a cut on a (another) cut. After having struggled all around at the top, make a light fire from below, until you see the cup become lukewarm. After removing the sublimated steam, bring it with water to a waxy consistency, and lute the cup after adding vinegar. Leave the sulfur until the product is white, and cook in the hot ashes, as explained above; then guard.

Taking sandarac, thinned with vinegar. Arrange in two boxes, put in the oven and after having removed the sublimated vapor, keep the arsenic and the sandarac. Magnesia becomes white as snow, and then it is yellowed.

V. xxxii. —IRON GILDING[151]

1. Taking mordant, 1 half ounce; rock salt, 1 half ounce; tartar, 2 ounces; of Roman vitriol, 1 half ounce; aluminum, 1 half ounce; verdigris (?), 2 or 3 hexes; pepper, half ounce; common salt, 1 ounce; grind all this very finely, separately, then together, and stir. Put the mixture in a new tinned vase, adding the value of two jugs (?) of water, cook until the water has reduced to one third, and, after having closed, hold on guard.

2. Then you varnish the iron, dye it red and dry it well. Then you history it and you write on it what you want to do, over the varnish, with an iron punch (?). Take a white preparation, that is to say sublimate, and grind it very fine. So, put (the object?) in a vase; also put some human urine in it and shake well. Then coat the letters with a quill, so as to get them written on the iron; then redden in the fire to dry out. Coat again and dry for a good three hours; and when you see that the liquor has attacked and dug the iron, whiten very strongly, in order to completely expel the preparation and the urine outside the letters.It should be wiped with a clean white handkerchief, so that there is no dirt, and be careful that the letters do not get dirty.

3. Obtain some gold from Venetian ducats and beat it on the anvil with the hammer, so that it becomes as thin as a rose leaf. Then cut it into small pieces and keep them.

Then filter mercury with (a) tight chamois; (do this) once and twice, to get the dirt off. So put the crucible on a goldsmith's furnace to make it blush. Then, remove it from the heat; put the gold in the crucible, and stir the crucible often; the gold is dissolved and units with the mercury; and then for into a spondyle shell.

PART SIX
COMMENTATORS

PRELIMINARY NOTICE

Then came Byzantine glossators, strangers to experimental work, who expounded on the old treatises with a scholastic subtlety mixed with exaltation. It is to this order of compositions that the books of Stephanus, the Christian Philosopher, and the Anonymous Philosopher belong. Stephanus is a known character,[152] at the same time philosopher, doctor, astrologer and alchemist, contemporary and adviser of the emperor Heraclius (around the year 620). His alchemical works, written in a mystical and enthusiastic language, do not have a great scientific interest;the Greek text was published by Ideler in his Physici et medici grœci minores (2 vol. in-8, Berlin 1841-1842, p. 199 to 237) from a copy by Dietz, made from a manuscript in Munich, and collated, it seems, on the old manuscript of Venice, of which the Munich manuscript is itself a direct or indirect copy.[153] This publication leaves much to be desired, the editor having transcribed the alchemical signs purely and simply, without understanding them, with more than one error, and having given no variant. However it allows to take a sufficient knowledge of the work of Stephanus; especially if we complete it by reading the Latin translation of this author, published in 1573 in Padua, by Pizimentius, in the work which bears the following title Democriti de Arte magna.Under these conditions, it did not seem essential to us to make a new edition of Stephanus, our publication being devoted essentially to original and unpublished works. the editor having transcribed the alchemical signs purely and simply, without understanding them, with more than one error, and having given no variant. However it allows to take a sufficient knowledge of the work of Stephanus; especially if we complete it by reading the Latin translation of this author, published in 1573 in Padua, by Pizimentius, in the work which bears the following title Democriti de Arte magna. Under these conditions, it did not seem essential to us to make a new edition of Stephanus, our publication being devoted essentially to original and unpublished works.the editor having transcribed the alchemical signs purely and simply, without understanding them, with more than one error, and having given no variant. However it allows to take a sufficient knowledge of the work of Stephanus; especially if we complete it by reading the Latin translation of this author, published in 1573 in Padua, by Pizimentius, in the work which bears the following title Democriti de Arte magna. Under these conditions, it did not seem essential to us to make a new edition of Stephanus, our publication being devoted essentially to original and unpublished works. However it allows to take a sufficient knowledge of the work of Stephanus;especially if we complete it by reading the Latin translation of this author, published in 1573 in Padua, by Pizimentius, in the work which bears the following title Democriti de Arte magna. Under these conditions, it did not seem essential to us to make a new edition of Stephanus, our publication being devoted essentially to original and unpublished works. However it allows to take a sufficient knowledge of the work of Stephanus; especially if we complete it by reading the Latin translation of this author, published in 1573 in Padua, by Pizimentius, in the work which bears the following title Democriti de Arte magna. Under these conditions, it did not seem essential to us to make a new edition of Stephanus, our publication being devoted essentially to original and unpublished works.

It is otherwise with the works of the Christian Philosopher and the Anonymous Philosopher, unpublished to this day. They are compilations, with comments, made according to the old authors. The initial extent of these compilations is not exactly known, since the copyists have successively attached to them pieces which were not originally part of them, as will be explained later. Some confusion even occurred between the two compilations. Finally, under the name of Anonymous, it seems that several different authors have been grouped together. The initial date of the Christian and that of the Anonymous would be determined, if one could refer to the indications of the Vatican manuscript.[154]Indeed, the treatise of Anonymous[155] which begins with the words Τὀ ὠόν τερτραμερὲς...

But the chapters on the Sulphurs, on the Measures and on the unique Tincture (III. xxi, xxii and xviii), which we have published in the works of Zosimus, and which form part of the Christian's compilation in the manuscripts, are also dedicated to the great Emperor Theodosius in the Vatican manuscript. In the first of these chapters, the first two lines (Text, p. 174, l. 11 and 12) are deleted, and the author begins with these words: Ἰστέον ὦ κράτιστε Βασιλεῦ, then he continues with: ὅτι οὐ μ όν ον ὁ φιλόσοφος, etc., as in line 13, until the last line of the chapter. This deletion and interpolation is suspect, and it may be assumed that the name Theodosius was added after the fact, as has happened too often in this kind of literature. Among the other chapters of these same compilations,

We find in the work of the Christian, as it is transcribed in the manuscript of St. Mark, another mention which seems more modern and more authentic, because it does not refer to the name of an emperor: c This is the dedication to Sergius of the treatise on Divine Water: it is probably Sergius Resaïnensis, Syriac translator of the Greek Philosophers, who lived at the end of the sixth century.[156] Was he really contemporary with the Christian Philosopher? One could seriously doubt it, if one attached oneself to the quotation of the name of Stephanus,[157] reproduced in one of the chapters of the Chretien: “On the detailed exposition of the work”;chapter which we have published in the works of Zosimus (III, xvi), because of the indications which are contained therein and because it contains fragments extracted from Democritus. But all these texts have been so interpolated by the copyists that one should not attach too absolute a meaning to such quotations, often added afterwards. In fact, I would be inclined to regard this quotation from Sergius as the only entirely authentic one, and consequently to fix the date of the Christian at the time of this writer, that is to say a little before Stephanus. One would also be carried back to an epoch which can hardly be lowered beyond the fifth or sixth century, by the opinions relative to the necessity of divine grace, opinions set forth in piece VI, i, on the Constitution of gold ( p.385 ).I would be inclined to regard this quotation from Sergius as the only entirely authentic one, and consequently to fix the date of the Christian at the time of this writer, that is to say a little before Stephanus. One would also be carried back to an epoch which can hardly be lowered beyond the fifth or sixth century, by the opinions relative to the necessity of divine grace, opinions set forth in piece VI, i, on the Constitution of gold ( p.385 ). I would be inclined to regard this quotation from Sergius as the only entirely authentic one, and consequently to fix the date of the Christian at the time of this writer, that is to say a little before Stephanus.One would also be carried back to an epoch which can hardly be lowered beyond the fifth or sixth century, by the opinions relative to the necessity of divine grace, opinions set forth in piece VI, i, on the Constitution of gold ( p.385 ).

As for the Anonymous Philosopher, he also quotes Stephanus, not in passing, but in a historical development relating to the alchemical authorities (VI, xiv), and I therefore think that he must be regarded as later. But he could be contemporary with the pseudonymous authors of the Lost Treatises, attributed to Heraclius and Justinian.[158] The attribution of certain chapters to the Anonymous also offers various confusions, which seem to indicate several writers.

Let us now go into more circumstantial detail on the Christian's compilation. The most modern and most perfect form in which we possess this compilation is that which exists in the manuscript Lb (2251 from Paris), copied about the middle of the seventeenth century; in view, it seems of a publication that did not take place. The copyist took as a basis the slightly older manuscript E (2329 from Paris), which he first completed with marginal additions; he then subjected the texts to considerable revisions, which most often are not improvements; finally he completed the compilation of the Chretien, inserting into it pieces which are not part of it with full certainty in the other manuscripts (except E).

We will, to clarify the discussion, give a table comprising the 53 chapters attributed to the Christian in manuscript L and those attributed to him in manuscript E; with the indication of the leaves of M (manuscript of St Mark, eleventh century), of B (2325 from Paris, thirteenth century), and of A (2327 from Paris, fifteenth century), where some of these chapters are found; that of the leaves of the Vatican manuscript, which contains some of them; the corresponding numbers of the old list of the manuscript of St. Mark;[159] finally the numbers of our own publication, where these various chapters are printed. Having done this, we will take a closer look at the composition of the compilation itself.

Vat. : Treatise cut in two by the binder (Introd., p. 184).

If one examines this list of chapters, one easily recognizes that it is broken down into several groups, which were separated in the oldest manuscripts and attributed to different authors. Such are first the chapters 2, 3, 4 and 5, up to 13, which seem to correspond to our numbers 31 and 32 of the old list of St. Mark (Introd., p. 175), designated under the name chapters from Agathodemon, Hermes, Zosimus, Nilus, Africanus; while the true chapters of the Chretien appear there under our numbers 33, 47 and 48 number 33 corresponds to chap. 48 on divine water; number 47 represents chapter 5 (Constitution of Gold), which is a special treatise;finally No. 48, comprising 30 chapters on Chrysopeia, according to the old list, responds substantially to the group of 34 chapters of Lb, understood from ch. 14, up to chapter 47; especially if we deduct from it the authentic writing of Zosimus (ch. 23), which is missing in M; as well as the Morals of the Philosopher and the Oath (ch. 28), which belong to another order of ideas. Chapters 49, 50, 51 have the character of old extracts, analogous to chs. 2 to 13. As for chs. 52 and 53 (Philosopher's Stone), it is a later addition, missing in M ​​and in B.

We would therefore have a first set of the Christian's compilation, comprising chapters 14 to 47 of Lb, and represented in the old list of St. Mark by n° 48. Later, in the type which served the copyist of the manuscript of St- Marc, we would have added the chapters of extracts which we include under nos. 31 and 32, that is to say chapters 2 to 13: the Constitution of gold (ch. 1) responding number 47, seems to have always been apart, as well as chapter 48, responding to number 33 on divine water. — Nos. 31 and 32 seem, I repeat, more chaps. 49, 50, 51, represent a group of older extracts, which will have come to merge with the compilation of the Christian. In any case, chaps. 52 and 53 were not yet part of the collection copied in the manuscript of St Mark (eleventh century),nor even in manuscript B (thirteenth century); but they entered there in the type which served the copyist of the manuscript A.

In the Vatican manuscript most of the Christian chapters are missing; only two groups of articles are there, one goes from ch. 36 at ch. 51; the other, from ch. 24 at ch. 27. This last group offers a special character, to which we shall return. But it is difficult to draw too absolute inferences from these gaps.

Let us now indicate the nature of the subjects dealt with and explain how we were led to dismember the compilation of the Christian, to transfer a certain number of pieces from it to the preceding parts. This dismemberment was indicated by our plan, in which I endeavored to reconstitute the texts with their most ancient character. Now the Christian's compilation was originally made under the general system followed by the Byzantines from the eighth to the tenth century, during which period they took from the ancient authors they had in hand extracts and summaries, such as those of Photius and Constantine Porphyrogenete. This process has preserved for us a multitude of remains of old texts; but he contributed to make us lose the original works.A similar result was particularly regrettable with regard to scientific works, which their abbreviators misunderstood, neglecting the technical part to focus on mystical and declamatory pieces. Be that as it may, the original books no longer exist and the problem is to reconstruct them as much as possible, using the fragments kept by the abbreviators. This is the work that was done for the ancient historians and it is the work that I tried to do for the alchemists.

This is how I restored to Zosimus and to the old authors the fragments, often altered and modified by later comments, which are found in the compilations of the Christian and the Anonymous; chapters 29 to 53 of Lb in particular, have thus passed into the IIIrd part of the present publication; chapters 28 and 28 bis of Lb, which have a special physiognomy, have been carried over to part I. Chapters 2 to 13, which I have indicated above as extracts from old authors, according to the old list of St-Marc, returned to the IVth part. Chapters 24 to 27, which are entirely distinguished by their technical character, have been retained in Part V.

It should not be concealed that this distribution lends itself a little to arbitrariness. However, it seems to me preferable to the system which would consist in keeping these bulk compilations. The table above shows the exact state of that of the Christian in the manuscripts, independently of any hypothesis.

This work of elimination finished, there still remained a considerable number of pieces, relating rather to the general classification of the compilation than to specific scientific subjects; it is this residue which constitutes the chapters of the Christian in the manuscripts, transcribed in the sixth part.

There are added to the Chretien and the Anonyme several pieces constituting analogous and still more recent compilations, such as those of Cosmas and Blemmidès; the last dates back only to the thirteenth or fourteenth century. Some debris of the same order, formed by an assemblage of old quotations, most of them second or third hand, and designated in the manuscripts under the generic title of a Philosopher's Stone have also been included in this VIth part: let us observe in this respect that a similar chapter already appears in the so-called works of Zosimus (III, xxix); we will give here some others, so as to complete the publication of the texts of our manuscripts.

VI. i. —THE CHRISTIAN
ON THE CONSTITUTION OF GOLD[160]

1. “After having discoursed just now in the second treatise and having developed the processes concerning the stones, I exposed in the third treatise what suited the subject; that is to say, the sulphurous are dominated by the sulphurous and the liquids by the corresponding liquids”.[161] Such is the preamble[162] that the scholar of Abdera placed in his fourth treatise, wishing to show thereby that there is identity between the liquid opposed to the corresponding liquid and the sulphurous element; that is to say that the capital point of the treatment is that the sulphurous are dominated by the sulphurous and the liquids by the corresponding liquids. Indeed nature enjoys nature; and likewise, nature triumphs over nature, and nature dominates nature.He said himself, as did his master Ostanes.[163]

2. For our part, following their traditions, it is with this same preamble that we have composed our treatise on gold and silver, without departing from the four books of Democritus, nor from all the related books. at work: what would not be possible. We will place in the middle of our demonstration the capital thing.[164] Just as the center of the circle determines your equal radii directed towards the circumference; in the same way also the inexhaustible source flowing in the middle of the Paradise provides To all a drinking and fruitful wave; likewise also the midday sun,[165] being at the zenith of one of the four (celestial) centers, illuminates without shadow the whole superterrestrial hemisphere.It is the same with the moon, [166] illuminating the earth from the height of the sky, and making the sadness of the night disappear by the full light of its disc borrowed from the light of the sun.[167] Indeed, without the Philosopher's liquids,[168] it is impossible to accomplish any of the things one desires.

3. We will occasionally remember the speech relating to his first class; then, conforming to his conceptions, we will say what we have been able (to do). "Taking," he said, "mercury, fix it with the metallic body of magnesia, or with the metallic body of antimony from Italy, or with apyre sulphur, or with fired limestone, or with of Mb alum, or as you will hear it". The divine Zosimus, interpreting these things, means by mercury, the divine water[170] deposited in the jars. As for the body of magnesia,[171] he called it in his book of Action the white composition treated with antimony from Italy, lime, alum from Milo and the rest; as I understand them, he adds, that is to say "treated with divine water." He thus summed up the whole class;and in this way he showed from the beginning the end of the art. We will ask him: Why this explanation? Speak, master; for what purpose, as the Philosopher said in his first class “Taking mercury, fix (it) with the body of magnesia; do you mean, you, that he showed by his explanation the end of art?

4. So why so many books and invocations to the demon[172]? Why have so many constructions of furnaces and appliances been described by the ancients, since all things are, as you say, easy to understand and summed up thereby? It is often, he says, O disciple who follows the works of (the school of) Democritus, in order to exercise your mind; for if the intelligence possesses in itself the directing way, nevertheless it knows all things only by an external help, and not according to its own nature. Indeed, man is not naturally a god,[173] but he is the image of God who said to his Son and to the Holy Spirit: let us make man in our image and likeness. What do you have that you have not received? says the herald of godliness, the apostle Paul.[174]When you received why do you boast as if you had not received? Jacques, inspired by God,[175] said “Every good present and every perfect gift comes from above; they are descended from the Father of lights L. Likewise he too, the God of the universe, our master and doctor Jesus Christ, instructing us, says:[176] given to you by the Father who is in heaven. So we must ask God, seek and knock (at the door), so that we receive. Indeed: “ask, says the divine oracle,[177] and you will receive; seek and you will find; knock and it will be opened to you: for he who asks will receive, and he who seeks will find; to him who knocks, it will be opened”. But it is necessary that each, governing himself and by his own initiative,consider with a simple heart what should be the object of his request; lest, making a rash and vain request, he should not succeed. For the divine oracle said: “if our request is not made with a simple heart, we take a reckless attitude towards God”. He says again: “you ask and you do not receive, because you make a bad request, and you propose to spend the things (requested) in pleasures,[178] 6 adulterous women a. It is therefore with a pure conscience, following a pure practice and mode, that one should implore God.[179] “you ask and you do not receive, because you make a bad request, and you propose to spend the things (requested) in pleasures,[178] 6 adulterous women a.It is therefore with a pure conscience, following a pure practice and mode, that one should implore God.[179] “you ask and you do not receive, because you make a bad request, and you propose to spend the things (requested) in pleasures,[178] 6 adulterous women a. It is therefore with a pure conscience, following a pure practice and mode, that one should implore God.[179]

5. The philosopher Zosimus saying these things,[180] and giving us this good advice, let us attach ourselves to the question (to know) what is mercury, and the body of magnesia; for all other things are included in the body of magnesia... [The conjunction or should not be adopted here in place of The disjunctive conjunction and [181]]. You have to know if it is 3, or 5 and 7 (days), for the total duration of the maceration corresponding to 15 days... According to the (saying) of Democritus, reported by the divine Zosimus in his discourse on the divine waters: “the two sulfurs are a single composition.[182]

6. The mercury and the bodies being two in number, incontestably the white composition and the water of sulfur are the same thing; this is also the opinion of Democritus. Thus, sulfur mixed with sulfur makes the substances sulphurous,[183] ​​because of their great reciprocal affinity. But if they possess a great reciprocal affinity, it is evident that they are of the same nature as him; and if they are of the same nature, it is quite evident that they are parts of the same Whole, that is to say of a single composition. Therefore, we must look for the unity whose parts would be the two sulfurs, or the sulphurous liquids, or any kind of corresponding liquids.

VI. ii. —THE CHRISTIAN, ON DIVINE WATER
WHAT ARE THE SPECIES
DIVINE WATER IN GENERAL? — WHAT IS (THE EXPLANATION)
IN RELATION TO LIESTONE? —
WHAT ARE THE NAMES OF THESE (MATERIALS)?

The explanation relating to the divine water has been given by many, excellent Sergius;[184] but many find it hard to hear, because they are incredulous and timorous. All the writers on art regard this water as divine, according to the double meaning of its name;[185] they add remarkable designations to it, naming it sometimes native water, sometimes water drawn from lime. Each of these (denominations) applied to yellow water, black water, white water; according to the different meanings adopted by the authors. Indeed, in the catalogs of the species, some have clearly exposed the fixing agents, by treating with moderation the matters which do not fix; others, on the contrary, speaking in riddles of fixing agents, have mentioned fugitive matters in more detail.Still others, mentioning all subjects,

VI. iii. — DISAGREEMENT OF ANCIENTS

. So they acted with good will,[186] so that whoever found it did not cause the book to disappear out of jealousy, and that the main point of science was not lost. Because this knowledge once lost, the whole art is lost at the same time, according to the very wise Zosimus.

But the diversity (of their explanations) produces great embarrassment for readers. Indeed, given the true unity of water (divine), natural and general, as well as the unity of art, here men find that it involves a multitude of treatments. Thereby they are led astray, being dominated by the respect and confidence that books inspire in them. But if they do not succeed in anything, they will necessarily be led to despise books, at the same time as art and the masters. However the masters, who had taught from their own point of view, were not the cause of the error of the young men; and the young people, on their side, who did not arrive at the result, did not act of injustice by attacking the old ones;for Necessity is a great goddess, according to the myth of the poets.

2. What, then, was Zosimos to do, this friend of truth, he who wanted to write as a friend of men? if not distinguish between the expositions of the ancients; restore agreement between their discordances and declare this loudly, in precise terms In their writings they have all used vulgar words to announce the hidden meaning of the unique science; while they composed the catalogs of the species[187] in symbolic words, distinguishing, as they were allowed, between intelligent people and people without sense. Because intelligence is not given to everyone, and everyone is not capable of simply understanding science; but most don't care, when they are told the truth.

3. So therefore, we too, guided in our walk by the Panopolitan (Zosimos), we will teach, in agreement with him, what concerns the precepts and the manufacture of the divine waters, or rather of the divine Water: because he there exists, as we have said, only one general water, which embraces all manufacture.

VI. iv. — WHAT IS THE TREATMENT OF DIVINE WATER
IN GENERAL

The water which appears in the secret discourses of science, those which the Egyptians do not know, is the divine water which comes from the ashes: this is the sulfur water of the first distillation, obtained by the decomposition and the rise (of vapours) , and which becomes white, or yellow, or of another color.

VI. v. — MAKING MYSTERIOUS WATER

. White, or yellow, or other color water

Then come 8 lines of blank in M. Then the author exposes pure subtleties, which we did not consider useful to translate.

2. Zosimus rightly said: “(divine) Water is one and comprised two units, by whose concurrence it is composed”. The divine oracle expresses itself thus:[188] “Let us make a man in our image and likeness”, and the writer adds: “he made them male and female”. It is impossible that, in number or species, any water should be both sulphurous and bituminous, derived from natron, saline and drinkable: I speak of the waters which are found in the sublunary (regions); I speak of the water which flows perpetually in the rivers and the torrents, the lakes and the seas, the fountains, the clouds. One, as to genes, it is multiple as to species, and it admits of an infinite number of differences.Likewise here, the distilled water which comes from the processing of the egg, while being one in genus, differs in species,

3. Hermes the harvester does not neglect to redden the white species of his cluster.[189]

4. This is what Zosimus says: "As the number grows by multiplying, so does each of the waters of which I have spoken."

5. The ash left in the cup, after purification and washing, is mixed, then divided into two portions. We also form the two composite units: the one that will be reduced to ios, and the one that will be mixed with it afterwards; which concurring together, at the time of separation and decomposition, are mutually fixed at the moment of mixing, and bring the Whole to perfection.

6. This is why it is permissible to say that, on the one hand, the water of the abyss, that which comes from the lower vial, is subject to extraction; and that, on the other hand, the two units which contribute together, furnish the two parts of the composition, namely: the undecomposed part, which is solid; and the decomposed part, which is liquid; (I speak of) that which is extracted from the pot, when it has been made by means of the apparatus, after the time marked for iosis. Hence it is that the Hebrew prophetess exclaimed without hesitation: “One becomes two, and two become three, and by means of the third, the fourth achieves unity; thus two become one.[190] »

See how (the divine water is) one as to kind, and not as to species, or number; indeed, from unity proceed the numbers two and three, which in turn contract into unity. This is also why she adds again: "the one" (etc.), reiterating her declaration. Zosimus follows her saying: “Indeed all things proceed from unity and are arranged in unity. He spoke first of the general unit, he finished with the numerical unit;[191] he thus wanted to indicate the perfect manufacture of the powder of projection.

VI. vi. —THE CHRISTIAN
OBJECTION ON WHAT DIVINE WATER IS ONE BY SPECIES. - SOLUTION

1. Some assert that (divine) water is one by species, bringing in Democritus who says: "A single species produces the action of many, since multiplicity proceeds from natural unity." And again: "A single species, variously treated, will have various actions." We will answer them that the Philosopher was right to write (that); for its explanation in this place does not relate to the All, but properly speaking and in reality to the unique species. Indeed the white parts of the species that are made to rise by means of a gentle fire can produce white (divine) water and whiten their own residue. The latter, being put into reaction with the bleached ashes, and being then exhausted, becomes capable of retaining the tincture. If it is heated more strongly,it produces yellow water clean from yellowing; and the same residue changed into ios fixes the tinctures.[192]

2. As a result, we understand how Democritus rejected violent fire for the work of bleaching, and said: “it is not useful to you at the moment, because you want to bleach the bodies...[193] »

Colored by the alkanet and by the fucus, separated into two parts and changed to ios, (this product) tints the purple which does not pass, as well as the pearls. But if it remains white and without dye and if it has undergone iosis, then it softens, dissolves and fixes with the help of chrysocolla, which forms a large whole by welding together several small objects. If bile of fish and other animals is added to it, it colors the pearls when they have been dried.[194] In the same way, dragon's blood, or some other species, tints stones and glass, crystals, well freed from any tinctorial substance, as well as emeralds, carbuncles and other species, placed in a double crucible placed on a fire of coals, where they are heated until they become incandescent and, seized with thirst,

3. In the same way the egg yolk,[195] according to the greater or lesser intensity of the fire which heats the stills, furnishes a yellow water, or a white water, and produces all the effects of which we have spoken, with more perfection and in a more sustainable way.

Thus, it is not on water in general that the current explanation of the Philosopher bears, but on a special water, when he says: Indeed the unique species variously treated... etc. Zosimus, praising the words of Democritus, addressed to young people, expressed himself thus: “What does multiple matter matter to you, given natural unity; I'm not talking about that of the species, but that of the water? This author who approved of him and who always wanted to follow in his footsteps, how could he have made assertions contrary to his, saying: "I am not talking about that of the species"; while Democritus spoke: "of the unique species"? It is evident that Democritus understood by this the species in general;while Zosimus urged young people to deviate from the material species.

VI. vii. —OTHER OBJECTION
WE WANT TO SHOW THAT THE WATER OF THE ABYSS IS ONE AS TO NUMBER: NEW SOLUTION

1. Others say that water is complex, being formed of two composite monads, in the same way that natural or artificial things are composed, a ship, for example, and a house. So also the world is one in number, while being composed of many things. This is why Hermes says that multiplicity is called unity. We speak thus to conform to this explanation given by him: "One in number, it has a triple meaning". In fact, one is called by the number a continuous object, for example a plank of 12 cubits; it is one in act, by the continuity of the parts, and yet multiple in potency, inasmuch as it is infinitely divisible. There is unity by number, when there is homonymy, as when we say: the celestial dog, the sea dog, the land dog;for all three have one denomination. Their name is one by number. There is also (the unit) simple and not involving coupling, such as (for example) a spirit, a soul, an angel.

2. Thus the most divine water of the art, which is called "Water of the abyss" by the master, is one, as to continuity, and yet composed of two monads, and not simple. Hermes was not aware of this when he said that, while being multiple, it is said to be one; seeing that it can be divided into several as to species and as to number, as happens with the unity of the universe. We must not fail to follow these contrary opinions, we who want to learn the hidden truth by means of symbols, and not by means of fables. Indeed it is not possible for the same water to be at the same time yellow, white and black; any more than it is possible for the same man to be at the same time white, black, gray or of another color.

§ 3 continues to develop these subtleties.

VI. viii. — SUMMARY OF CHRISTIAN
WHAT IS THE PURPOSE OF THIS TREATY

The exposition of the divine science has been made to you several times and with development, in the preceding studies; because it is difficult for most men to master this precious and excellent philosophy; the ancients and men of sense have brought it together under one and the same denomination, under which it is a question of discovering the desired thing.

But the rules of the ancient scholars are hard to hear, because the true nature is (veiled in symbols) drawn from the eggs of the goose and (other) domesticated birds.[196]

VI. ix. — DIVISION OF MATTER
FROM THE DIVISION OF MATTER INTO FOUR PARTS RESULTS VARIOUS CLASSES OF MANUFACTURING, THEIR PARTS BEING SOMETIMES SEPARATE, SOMETIMES COMBINED WITH EACH OTHER

1. The ornithogonia (generation of the egg) is divided into four parts, I mean the shell and the hymen, the white and the yolk, and various classes, both general and special, have been rightly established. From the start, liquids were treated separately from solids, by making water using stills. Then we take care of their union in the mortar; then again, from the separation (of the materials) in the washings, until the black coloring of the antimony is dissipated, according to Democritus. After that comes the distinction of the parts; it is then that the whole preparation is divided into two. But it is not a question of separation into its primitive components;for this is no longer possible after the combination formed by the elastic iosis and the intimate and reciprocal mixing.

2. Then the (first) half of the preparation is associated with various liquids, in the proportion of one acetabulum to one ounce; which produces what is called gold liquor, silver liquor, or black efflorescence. While the other half, mixed with the materials that have been ground down to the last degree of attenuation, produces the desired product. Thus are manifested the branches of art which result from these divisions and the parts of matter, brought into harmony by a necessary law.

VI. x. — HOW MANY VARIETIES ARE THERE
IN PARTICULAR AND IN GENERAL?

1. Matter has four parts, as we have said. Among the classes, some include all these parts; the others including three, others only two; others (finally) only one. In the number, some embrace what is prepared with water, as when it is a question of liquid iron extinguished in water (hardening of iron?). The others include dry matter: such is the case of dry medicinal (powders). Others are of a composite nature, as happens with the classes of softened materials, such as plasters, ointments and (generally all) the colors used in painting.

Some include (again) the species cooked in the fire, or passed through the still, or subjected to the action of the fire in any other way, as well as the species completely dissolved without the help of the fire, or else exhausted by the action of the fire. action of water; or those who have settled in cold places after their exhaustion; or even (the products obtained) when the material is diluted by mutual action, then dried by subjecting it to the action of fire, with chrysocolla;[197] or even when it is macerated in a certain place, decomposed repeatedly distilled by means of an apparatus (immersed) in horse manure: in this way it is not suddenly separated by the action of fire, and it does not undergo direct contact with it.

2. Now, therefore, there are 9 general classes (of treatment), originating from the whole: 3 classes, without the help of fire, accomplish the entire preparation, whether it be dry, or liquid, or in a state distinct from those two there; 3 classes, with the help of fire, carry out the preparation, whether dry, or liquid, or intermediate; 3 classes proceed by mixed way, to obtain a dry preparation, or liquid, or other.

3. If only three parts of the material are involved,[198] we see that there are 36 general classes of manufacture, carried out by means of raw or cooked species, or taken in an intermediate state.

Indeed those of the classes which are treated without involving egg yolks,[199] are g in number. Without the aid of fire, one accomplishes 3 classes of liquid, dry, or intermediate preparations. With the aid of fire, one also accomplishes three preparations, the liquid, the dry, or the intermediary; finally by a mixed action: 3 classes equally.

4. There are also 9 (classes) in which the (egg) whites are not involved, namely without the aid of fire, 3 classes of dry, liquid, or intermediate compositions; with the contest of fire, similarly 3 classes; finally, 3 other classes obtained by a mixed action.

5. When the parts are processed without involving the membranes (of the egg), there arise similarly 9 classes of general fabrications 3 without the aid of fire, namely the liquid preparation, the dry preparation, or the intermediary; 3 with the help of fire as we said, and 3 by a mixed action.

6. When the species are treated without involving the shells (of the egg), you find 9 other varieties of dry, or liquid, or intermediate preparations, depending on whether they are raw, cooked, or intermediate. So that these processing classes are 36 in all.

7. As to the general varieties of classes arising from two parts of matter united, we find 54 of them; namely: 9 from the shell and membranes combined; 3 prepared by means of fire, 3 without fire, and 3 by a mixed process which provides liquid, dry, or intermediate compositions. Similarly, 9 classes with the products coming from the white and the yellow, as has been repeatedly said; similarly, 9 classes from the shell and the white (combined), following the recipe indicated; 9 from membranes and yolks; and similarly another 9 from the shell and yolks; 9 likewise, from the membranes and from the whites. The general treatments from two united parts of the egg are therefore in all 54 in number.

8. The general treatments from a single part of the egg are 36: for each of these parts there are 3 treatments with fire; 3 without fire; 3 by mixed route: which generates a dry, liquid, or intermediate preparation, which is thus (come from) only the shells, or (only) membranes, or (only) whites, or (only) yolks.

Keeps the composition in a liquid state, without coloring it until the end; washes in water, at the time of dyeing, recoat objects and blades with silver and copper. After submitting to the fire, allow the preparation to penetrate, as Zosimus explained in the discourse on divine water. We've mentioned all or nearly all of this in our previous studies; only, let it be for you a universal precept for any substance derived from apyre sulphur, a naturally solid body; it must be previously macerated in the sun and washed in milk, without adding any solid or liquid species. It is especially necessary to avoid having recourse to immoderate heat to produce iosis.All the water must undergo the reaction and unite with (the matter) not decomposed, either that (the composition) is in the liquid state,

9. Thus therefore the only classes of manufacture of which we have spoken are shown to be 135 in number.[200] The processes in which the whole egg is employed are numbered according to whether one operates by fire alone, without fire, or by a mixed process; so as to obtain a dry, liquid, or intermediate preparation. As for the other special processes (in which the whole egg is not used), they are 126 in number, and it is impossible to find more. Indeed, if we seek to find other genera or species of manufacture, apart from the previous ones, we will not be able to leave the genera and species that we are making known at the moment. Even if you realize that these classes have an infinite number of varieties, you will not be dizzy,if you recognize what genes or species they belong to. In fact, the operations are indivisible: even when there are a thousand analogous substances (capable of being substituted for each other), there is no new operation. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials.But in reality the treatment is unique as to species. In fact, the operations are indivisible: even when there are a thousand analogous substances (capable of being substituted for each other), there is no new operation. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials.But in reality the treatment is unique as to species. In fact, the operations are indivisible: even when there are a thousand analogous substances (capable of being substituted for each other), there is no new operation. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials.But in reality the treatment is unique as to species. even when there are a thousand analogous substances (susceptible to being substituted for each other), this does not make any new operation. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species.even when there are a thousand analogous substances (susceptible to being substituted for each other), this does not make any new operation. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species.Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy. This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species. Just as for each species, there are a large number of particular varieties; the same in the case of this beautiful philosophy.This is a fact known, moreover, to all who philosophize on these subjects: the science of matter (in general) is unique as to its object. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species. If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species.If the masters give it various names, according to the variety of (special) materials, it is to exercise our minds[201] and because they have gotten into the habit of naming it because of the variety of treatments and special materials. But in reality the treatment is unique as to species.

It is thus that the vigilant and attentive author, like the bee, gathering his booty in our writings and in those of the eminent men of old, will methodically overcome poverty, this incurable evil:[202] we too, we we have endeavored to conform to the writings of scholars, our predecessors

VI. xi. — RELATION BETWEEN THE DIVISIONS OF SCIENCE AND GEOMETRIC FIGURES

The material cause[203] of the results of science is divided into four parts, namely: the first, the part which concerns the shell of the egg; the second, the part which concerns the membranes; the third, the part concerning the white; the fourth, the part which concerns the yellow part, that is to say the egg yolk.

Suppose figures described on a plane surface, we will represent the treatments coming from the Whole, by a square.

The (treatments carried out) with three parts, they are represented by a triangle, the elements responding to the angles in various ways, according to the various manufactures.

The (treatments carried out with only two parts) we will represent them by semicircles closed by a diameter, with a perpendicular radius, representing the descent of the highest elements.[204]

As for the classes formed with a single part, it is strictly speaking the (circle) alone, described as resulting from a single line.

If, on the one hand, one operates by fire alone, one obtains a pyramidal system,[205] which characterizes the classes of preparations made by means of fire.

If, on the other hand, (we operate) without the help of fire, we will have an octahedral figure, which responds to air; and, by its central part, it responds to water and air. Here are these figures.[206]

VI. xii. — WHAT IS THE CLASS EXHIBITED IN THE SECRET WRITINGS OF THE ANCIENT

1. Here begins the exact treatment, originating in the sanctuaries.[207] Taking the matter begotten by the birds (the egg), intact, immaculate, spotless, divide it as for stews; for in many (cases) the culinary art is useful to us.[208] Then, put in two pots each of the liquids; perform exhaustion by means of nipple apparatus, until the vapor no longer rises. All the part that is left inside the matras becomes black, inanimate, dead, that is to say deprived of spirit (caput mortuum).

2. This was mostly explained in a roundabout way; for fear that a too clear statement would allow jealous people to succeed without the help of writing. That is why they have described (the work) to their listeners under multiple denominations and forms;[209] they have exposed the work of innumerable classes, although the matter is properly speaking (always) the same and the operation be unique; they wanted to exercise the minds of the young people, so that they would bring to life the residues and the seeds of this (matter). But those who had a down to earth reasoning and who dragged themselves on the texts, imagined that they had understood the writings of the ancients and, by this, they fell into error about the matter. Moved by a more benevolent feeling,the masters who have come since have presented the entire science to others as consisting of a single matter[210] and a single manipulation; they made no secret of it out of jealousy. Of this number are Petasius and Synesius, those marvelous men. Indeed, one, making timely mention of arsenic alone, sets forth its treatments in various ways; he indicates exactly the measures and the combinations, in order to clearly demonstrate the thing to all naturalists. He agrees with the philosophers who exclaim: “Nature enjoys nature and nature triumphs over nature”. The other, by means of the rhubarb of Pont,[211] has shown that the easiest fabrications[212] of waters are the only main operations of true science.as consisting of one matter[210] and one manipulation; they made no secret of it out of jealousy. Of this number are Petasius and Synesius, those marvelous men. Indeed, one, making timely mention of arsenic alone, sets forth its treatments in various ways; he indicates exactly the measures and the combinations, in order to clearly demonstrate the thing to all naturalists. He agrees with the philosophers who exclaim: “Nature enjoys nature and nature triumphs over nature”. The other, by means of the rhubarb of Pont,[211] has shown that the easiest fabrications[212] of waters are the only main operations of true science. as consisting of one matter[210] and one manipulation; they made no secret of it out of jealousy.Of this number are Petasius and Synesius, those marvelous men. Indeed, one, making timely mention of arsenic alone, sets forth its treatments in various ways; he indicates exactly the measures and the combinations, in order to clearly demonstrate the thing to all naturalists. He agrees with the philosophers who exclaim: “Nature enjoys nature and nature triumphs over nature”. The other, by means of the rhubarb of Pont,[211] has shown that the easiest fabrications[212] of waters are the only main operations of true science. exposes its treatments in various ways; he indicates exactly the measures and the combinations, in order to clearly demonstrate the thing to all naturalists.He agrees with the philosophers who exclaim: “Nature enjoys nature and nature triumphs over nature”. The other, by means of the rhubarb of Pont,[211] has shown that the easiest fabrications[212] of waters are the only main operations of true science. exposes its treatments in various ways; he indicates exactly the measures and the combinations, in order to clearly demonstrate the thing to all naturalists. He agrees with the philosophers who exclaim: “Nature enjoys nature and nature triumphs over nature”. The other, by means of the rhubarb of Pont,[211] has shown that the easiest fabrications[212] of waters are the only main operations of true science.

3. Although the methods of these authors are esteemed for their clarity; however they abbreviated and veiled what concerned the matter, thus putting their listeners in pain. Indeed, how could they have understood that arsenic or rhubarb from Pontus gave rise to such declarations, while the egg accomplishes the All, as we have shown in detail in a dogmatic exposition? ?

4. One (of these two authors), under the name of arsenic, wanted to make riddles understand virility,[213] and, under the name of the (body) able to retain (the tincture), the copper and the metal endowed with the luster of gold. The other, under the name of rhubarbe du Pont, has designated the fixing and fertile water of art. Indeed, the sea[214] rushes, and with it the crowd of fish and the agglomeration of the barbarians; while copper is a murderous thing: It destroys inexperienced people who approach it. From this also comes that it is effective in putting life to sleep, when one takes a dose equal to the size of the lentil or sesame, according to what the ancients say.

5. To prevent art from being lacking in experience and appearing elusive from every point to everyone, while on the contrary it exists, with its true development and in conformity with experience, we have been led to exhibit it. , taking advantage of the explanations of those, and consulting the works of those. Wanting by philanthropy (to remove) the obscurity of the subject, we described the authentic matter and, we medicated it by several manipulations; sensible people who read them will see that the truth is presented in all of them, without deviating from the point.Indeed, they describe, according to one and the same method, blackening and whitening, yellowing and iosis, as well as the division of the composition and the union of the Whole, operations without which it is impossible to produce anything 'useful.

6. Only, so as not to put ourselves in the same situation as those who operate without experience, by exposing an infinite quantity of fabrications, and not to incur the same reproaches, we will present in the treatise the summary of all the operations, outlining the most general of them.[215] By this description, one will also be able to recognize the truth of special operations; we will usually proceed by division, for clarity. Whoever rejects such a method would have no reason to boast about it, as follows from the opinion of the learned Plato and from the truth. This method manifests both truth and error: the weak parts are placed next to the certain parts, so as not to omit anything.

7. Having expounded the classes according to our division, and by graphic demonstration, in orderly discourse, we will present to you and intelligent people, exact (notions), bringing to light the making of souls, according to the procedures contained in sanctuaries and sacred deposits. The (classes) in infinite number, we will group them according to the identity of the species; the species, we will unite them by genera; we will derive them from egg yolks; this is what writers in this art call spodios.[216]

8. Throwing this slag into a mortar, grind strongly and, after melting, wash in white sea waters, until the black color of the copper ios has disappeared.[217] Such is the first bleaching and discoloration of species; in this way they become able to receive the colors. This is how lachium is melted, which people in the trade call lachas (I mean blue dyers). Thus when one operates regularly, by means of natron and heat, the product rejects all its bloody species. It is strongly diluted in a bar of Ascalon,[218] with the hands, as for the washing of leguminous seeds. Become white, or rather devoid of color, it is then stretched, [219] beaten with hammers on millstones fixed in the ground.It is turned over from time to time, as well as the piece of wood in which it was embedded, after having been heated beforehand. Then it is colored by the action of a dye, and then it is hammered, lest after cooling it ceases to be malleable, and cause dyes to despair. Indeed, the repeated and continual blows of the young men who beat him, soften him, so as to make the colors penetrate there, when he receives the rosin which retains them, as well as the glue.

9. In the same way also this so famous copper will be diluted with chrysocolla in the marine waters, in the way that we have often explained, either in the urine of cranes, or else in the celestial dews: because all the (aforesaid matters are the same thing, and have the same efficacy, that of destroying the developed black) by the mortifying action of fire. The metal thereby becomes suitable for receiving the colors of art, after it has been stripped of its remaining liquid element, by first whitening it in a mortar with white water: whether it is generation of asem, or pearls, or precious stones. or purple.[220] The product is yellowed after bleaching, for the generation of gold, the production of red color and the dyeing of skins.It receives species of purple color after bleaching,

10. In general, regardless of blackening, that is, ebony black coloring, when you want to get any kind of color, prepare the projection powder and the (sought) composition, the slag is washed with waters of the same nature. The white matter is held in the chrysocolla,[221] in a bath, or by employing any other mode of harmless heating. We wash well, until the dark matter which is also called grau (film?) ceases to float above the water.[222] Anything resembling ash being removed, you will have purified tin.[223] As soon as the dark matter no longer rises, dry the composition in the sun; grinds in a mortar and colors with white waters: an extremely white honeycomb is thus formed, as Hermes Trismegistus says.[224]

It is then that he says: The composition is directed in such a way as to obtain asem; it is divided into two portions: one is treated with several waters in the apparatus and mercury; the other is kept free from any reaction; the transformed water is left there and projection powder is formed, which has been sought for centuries.

11. If one wants to continue the manufacture of gold, after having whitened beforehand the (materials) on which one previously operated a division, one yellows, by adding yellow waters, and one manufactures a yellow powder, according to the opinion of Hermès, by dividing this product into two portions “leave at the bottom and it is produced[225]”.

This (preparation) having become ios, raise it by means of the apparatus; mix with the undecomposed material and you will have the perfect projection powder.

About the pearls, it is said: Putting white water with white water, you soften in glass vases, by operating on small pearls,[226] or on aphroselinon, or on any other similar material. Struggling around and lining the joints with tallow, laying in horse dung, or employing some other similar mode of heating, until the stone is completely dissolved. It is again hardened in the same water, by exposing it to the sun during the scorching heat.

About the stones, it is said Take such tinctorial color as you want, unite it with water at the same time as the copper ios, in suitable proportion, and heat it in the sun. You will soften in the dye bath and you will dye D.

About the purple and other colors We put alkanet and fucus in the white waters, coming from the white matters. When they have taken color, divide into two portions and you will make ios, at the same time as projection powder. Indeed all copper ios originates from solid and liquid (materials). Mix with other waters of the same color, and you will dye”.

VI. xiii. — THE ANONYMOUS PHILOSOPHER ON THE DIVINE WATER OF BLEACHING[227]

1. The first mode of maceration is that of the divine bleaching water;[228] as much as is necessary, we will explain it. Indeed an excess of liquid causes the product to run; while an insufficient quantity does not allow the operation to be accomplished. Thus it is necessary to add the liquids, as much as it is necessary to carry out the composition and not to let this one flow, nor to remain confused (with the liquid).

2. The second mode of maceration must be regulated, in order to obtain a perfect dilution and purification. Just as filthy clothes are washed until they no longer shed dirt, but suds (soap water) run off pure, so too our composition is washed until the Water no longer carries dirt. Indeed, it naturally happens to be clogged, as a result of the penetration inside the metal of the superficial portion, which has become more earthy and thicker after it has been extracted, rarefied and expelled from the mass by heat. fire; as a result, the surface is thus clogged. So we wash until the dirt is completely cleaned.

3. The third mode of operation is regulated as follows: we delay the eggs in the water and put them in a matrass. The composition thus diluted and formed by maceration, is taken up after washing, in a matrass surmounted by a second glass container;[229] it is then agglomerated in the shape of a ball and is left to itself for 6 hours. , making sure there is no smoke. That is why the headquarters of the operation is established in a well-lit place, so that the sight of the smoke cannot escape. Now this apparatus is in the form of a tube, straight and double. From below we blow on the coals, while from above we receive the composition in the double container; in the middle it is cooled, in order to prevent it from being burned.[230]First of all, when we get up early in the morning, we extend the duration of the delay up to 6 hours; then we wash; cook for another 6 hours. Leave to cool all around, overnight and until morning. This explains what Hermès said: “All the materials that you can macerate, wash them also, and leave them to deposit in vases; whatever you can do, do it”.

4. Thus we macerate with the help of liquid currents, during the washings, and we deposit, leaving to cool again during the operation.

By hot and cold we mean the life and action of fire. Just as the generation of the bird is accomplished by the effect of heat, acting on the yolk of the egg, and the latter is transformed by means of the cold coming from the white; in the same way also this composition (it is what we call the egg of the philosophers), is engendered by virtue of the heat which resides in the yolk; as a result of the mixture and the cooperation (of its various parts), it takes consistency; and it is transformed by the cold which resides in the white and in the airy breath.

It should be remembered that when mixing, the solid, yellow body was previously considered to be hot; while one assimilates to the cold this white without fixity, which is drawn from lead and Etesian metal. This also applies to the alternating heating and cooling resulting from the succession of days and nights.

5. See with what philosophy the present work is filled; with what theoretical and philosophical circumspection all things are produced nothing is lightly and disdainfully produced. (Indeed) God loves those who live wisely. Neglect is condemned by God-inspired Scripture; the presumptuous and disdainful man will achieve nothing.[231]

Having described these things as conforming to our remembrance, we now put them under our seal, glorifying, thanking and blessing God, who in his wisdom was pleased to do all things wisely, and who gave us understanding of these matters; this God in whom we adore the Father, the Son and the Holy Spirit; he who receives worship from all his creation, now and always and forever and ever; so be it.[232]

VI. xiv. — FROM THE SAME ANONYMOUS PHILOSOPHER:
(DISCOURSE) ON THE PRACTICE OF CHRYSOPOEIA, DEVELOPED WITH GOD'S HELP[233]

1. We have previously extended on the theoretical considerations relative to the Chrysopée,[234] and we are going to point out the coryphées. The first, Hermes, called Trismegistus, is given to us as having received this denomination because the present fabrication includes the three powers of the act,[235] observing also, apart from the act, the three distinct essences of beings. This is the first who wrote on the great mystery; his disciple was John, who became archpriest in Holiness (Evagia) of the Tuthia and the sanctuaries it contains.[236]

After this came, in third place, Democritus, a famous philosopher of Abdera, superior to the prophets who preceded him.

We then quote the very learned Zosimus.

Here are (now) the famous ecumenical philosophers, the commentators of Plato and Aristotle:[237] Olympiodorus and Stephanus;[238] they have deepened still further what concerns Chrysopeia; they have composed extensive commentaries, worthy of the highest praise, giving assured rules for the fabrication of mystery.

2. As for us, after having read their very learned books,[239] and having tested them by experience and practice, we will remember that their exposition rests on the understanding of what exists, and that it is necessary and true.

They revealed the manufacture of molybdasem, by means of molybdochalcum;[240] having all agreed in their official descriptions relating to molybdochalcum. This is how, from experience, practice and distinctions relating to the matter, we have made a comment; having imposed on us this rule,[241] to abstain from all substances which have the power to burn, by the action of fire and sulphur; likewise, from the too violent mixture of all the arsenical agents, which cause damage of all kinds and lead to failure. But it is advisable to have recourse to all the things which possess the liquid power and to operate by the mixture and the assimilating action of the elements, with the help of the mixed lead. This mixture is what we call the union of substances.It is first realized by means of the crucible; then knead and wash. It is thus that one gives as etymology of the word magnesia,[242] this fact that it results from the mixture and the kneading, which confused in a single substance and a single existence the components of the mixture. Now the kneading of the All, that of all substance[243] takes place by means of liquids and in liquids; the washed materials are kneaded, as one does for the silty paste and for the linen or silk fabrics which one wants to whiten.[244] that of all substance[243] takes place by means of liquids and in liquids; the washed materials are kneaded, as one does for the silty paste and for the linen or silk fabrics which one wants to whiten.[244]that of all substance[243] takes place by means of liquids and in liquids; the washed materials are kneaded, as one does for the silty paste and for the linen or silk fabrics which one wants to whiten.[244]

3. This is also why the famous Olympiodorus, in his great Exposition, wrote that the mystery of Chrysopeia lies in liquids.[245] He provides a thousand examples[246] and typical representations, by means of currents, flows and fluxes, effluvia and washings, of what is called maceration and purification. (The real authors) describe[247] the treatment which accomplishes the mystery. They come back to this unique thought that substances become the golden ios; they say whoever makes ios makes (gold), while whoever doesn't make ios doesn't make anything. Indeed, the primitively compact substances become attenuated and spiritual, being transformed into tenuous and transmuted matters, as a result of their reciprocal impregnation and their common fixation.Being thus mixed and impregnated with each other, they destroy themselves and regenerate again. Thus Democritus, addressing us as much as the king, says: “Know, O king; let us also know, we priests and prophets, that if we do not learn to know the substances,[248] and if we do not mix the substances, and if we do not know the species; if one does not combine genres with genres, one works in vain and one titles oneself for a result without profit. For natures enjoy each other; they are charmed by each other; they destroy each other; they transform each other, and again they generate each other. addressing us as much as the king, said: “Know, O king;let us also know, we priests and prophets, that if we do not learn to know the substances,[248] and if we do not mix the substances, and if we do not know the species; if one does not combine genres with genres, one works in vain and one titles oneself for a result without profit. For natures enjoy each other; they are charmed by each other; they destroy each other; they transform each other, and again they generate each other. addressing us as much as the king, said: “Know, O king; let us also know, we priests and prophets, that if we do not learn to know the substances,[248] and if we do not mix the substances, and if we do not know the species;if one does not combine genres with genres, one works in vain and one titles oneself for a result without profit. For natures enjoy each other; they are charmed by each other; they destroy each other; they transform each other, and again they generate each other. er that one does not know the species; if one does not combine genres with genres, one works in vain and one titles oneself for a result without profit. For natures enjoy each other; they are charmed by each other; they destroy each other; they transform each other, and again they generate each other. er that one does not know the species;if one does not combine genres with genres, one works in vain and one titles oneself for a result without profit. For natures enjoy each other; they are charmed by each other; they destroy each other; they transform each other, and again they generate each other.

§§ 4, 5, 6 are pure subtleties, which we did not think useful to translate. The last one ends with these words

6. ……………. One must first learn to know the natures, the genera, the species, the affinities, the sympathies, the antipathies, the mixtures, the extractions, the friendships, the hatreds, the aversions and all the analogues, and in this way arrive the proposed composition; as Democritus says, summarizing these points.

7. Indeed it should not be ignored that it is by the effect of a natural sympathy that the magnetic stone attracts iron; while, by the effect of an antipathy, the garlic rubbed against the magnet withdraws it from this natural action. There is a mixture of water poured into wine; but separation of oil poured into water: the matters which have a natural sympathy unite, while there is separation between the antipathetic matters.

It did not seem useful to translate 8 to 14, which are Byzantine subtleties.

A and K then reproduce Zosimus' treatise on Virtue and Interpretation III, vi.

VI. XVI. — THE ANONYMOUS PHILOSOPHER
MUSIC AND CHEMISTRY[249]

1. The egg is by nature composed of four parts, being formed from the aforesaid parts.[250] Now all varieties of general fabrications number 135;[251] and it is not possible to find a greater or lesser number than this. These are the genera and species of the unique and true matter, described in the (or 5) precious books[252] which embrace science, (ie) silver, gold, pearls, stones and purple.[253] Now there are several special paths,[254] for those who pursue [the art]: some methodical, others not methodical. Among them some gave descriptions which we will reproduce; while others lack tradition and experience; we will discard this inexperience and these individual opinions.

2. Our science is like music. The most general musical rows being four in number,[255] the 1st, 2nd, 3rd and 4th, there are formed 24 others, differing in species, these (six in number) called central, equal, plagal, pure, non-tonal (and detonating). It is impossible to otherwise constitute the melodies which are indefinite as to their parts, such as those of the hymns, or of the offices, or of the revelations, or of any other branch of sacred science, as for example of the flow (? ) , or phthora (modulation, or other musical affections. In the same way here (in chemistry), it is necessary to define what is possible, when it is a question of the single, true and fundamental matter, (to know ) the manufacture of the bird product.[256]

3. All that is performed on the flute and what is on the zither is composed either of four rows, or of three, or of two only, or of only one. When the composition is obtained with three rows, it necessarily includes the 1st, 2nd and 3rd row; or 2nd, 4th and 1st or 4th, 1st and 3rd.[257] When the song is composed with two (rows), (it is) necessarily of the 1st and the 2nd or of the 2nd and the 3rd; or 3rd and 4th; or 4th and 1st; or 1st and 3rd; or 2nd and 4th. And when (the song) is composed with only one row, it is unquestionably, either of the 1st, or of the 2nd, or of the 3rd, or of the 4th; and it is impossible[258] for it to form under other conditions with one of the branches: there is nothing beyond.

4. In the same way as, in the (matters) musical, we see that the song is incorrect and inaccurate, his beginning with the 1st row we run consecutively on the 3rd or beyond, and vice versa; or else if we go at random from the 2nd to the 4th, and vice versa; or if, neglecting the alternation of plagal and held tones, (one passes) from the pure tone to the central one, or from the central 1st to the central 2nd, 3rd or 4th, or from a tone equal to one (another) equal , or from a plagal to (another) plagal, or from a non-tonal to another equal, or from a detonating to the preceding, or to the 3rd (tone), or to someone of the others , (or) vice versa. [259] For in all these points and their analogues there is a great distinction (to be made);and there are ups and downs, alterations and mortifications, or any other such fault.

5. This is why the masters in this science have said that the (sounds) proper to one tone) surpasses the (sounds) proper (to another tone) for each row of the central proper; likewise the central of the middle for the pure tones situated beyond the central which comes after; likewise the 3rd (surpasses) the 2nd, and the 3rd (surpasses) the 4th. Whoever makes the entrances and exits of rows in chants very large and irregular excites excessive laughter, because he produces the aforesaid effects. It is (especially) rightly criticized by scholars, by those who instruct us clearly in their discourses on (melodic) effects.

Likewise[260] here (in chemistry), one must beware of irregularity in all the aforesaid questions; for if (one) deals with blackening, whitening of (egg) shells, iosis of (egg) yolks, or any other part of the treatment, without walking step by step; or, if, instead of carrying out bleaching in the 1st place, in the 2nd place or in the 3rd place, by operating on the parts or on the whole; if (we say) one begins with the iosis of the separated parts, or scrambled together; or even if we begin with the shells, and if we pass suddenly to the yellow; or else if, neglecting the 1st mercury (obtained) by the stills, one passes to the medium (mercury);[261] or to the last; or else if, after having accomplished the first delays, we pass immediately to the last ones,or that we do the reverse for all the aforesaid (operations); or if one does something else contrary to the obligatory order: in all these cases, the result will be felt by such errors and will give rise to laughter.

5a. Likewise, etc.[262]

6. Just as, in connection with the parts of matter, we have spoken of the diversities of manufacture, with a view to their division; in the same way also, one will be able (to do it) with regard to the treatments. (However) it is possible to see on the contrary, in the case of our treatment, that its nature is one; the species is one and the substance unique. It is according to these principles that Zosimus, this holy author, commented on the words: "a unique nature triumphing over the All"; and these: “the natural being is one; it is not about the species, but about art”.

If we wanted to recall that the species of the 24 rows comprised only six categories, (namely) the pure, the plagal, the equal, the central, the non-tonal or the detonating, let us also remember that each is divided into 1st , 2nd, 3rd and 4th rows (musical). But it's not in our plan to talk about those kinds of things right now.

Similarly also, on the subject of chemical matter and species, it is permissible for those who so wish, to conceive analogous (ideas), and to admit that matter is quite unique, absolutely speaking. In the chemical species, it is a question of treatment, taken absolutely; just as there is the row taken absolutely, or the musical instrument taken in an absolute sense (?). While the subordinate and generic matter[263] is that which comes from the (eggs) of geese and (other) domesticated fowls.

The subordinate species are those obtained either by fire, or without the help of fire, or by a mixed process; because the genres happen to be alternative. Similarly in music there are general and special instruments, answering to the special parts of science, (namely): the nauston genre (percussion instruments?), the auletic (wind instruments) and the zither (string instruments); all corresponding to the quaternary of the lines that is to say (to the four musical lines). Now the species executed on these instruments and the secondary genres are six in number in science, namely: the pure, the plagal, the equal, the central, the non-tonal and the detonating.

The zither instruments are numerous and differ in their species; because there is the plinthion,[264] with 32 (strings), the lyre, with 9 (strings), the achilles, with 21 (strings) ………… the psaltery, with 10 strings at least, or with 30 or at 40 at the most, and the one that has only 3 or 4, or 5. There is also the plinthion,[265] with 32 strings, proper (to celebrate) the divine powers, which is mainly suitable for the same, as well as their conjunction with bodily powers.

The auletic instrument is sometimes made of copper, such as the very large instrument called the psaltery or hand organ, the cabithacanthion (?) for seven fingers, the pandourion, the tonadion, the trumpet, and the trumpets. It can also be constructed without copper, (such as) single torch, double torch, multiple torch, rax, tetroreon and plagal. We rank among the (percussion) instruments the cymbals for the hands or for the feet, the ewers (musical vases) in copper and glass. There is also the instrument composed[266] of several metals, which one understands when one knows how to implement the 24 rows.

8. The divine Xenocrates[267] has stated yet another thing. The species of the (eggs) of geese and of the (other fowls) deprived are found on their side[268] to comprehend four subdivisions, (namely) the white, the yolk, the membrane and the shell.

Hence the species-relative varieties of fabrications have been expounded as portions of science; just as the varieties of the aforesaid musical rows and melodies form very special species (in music). Indeed, just as our art, operating on the general parts of chemical matter, exhibits in great number and variety the species of fabrications; so too music, that God-given good, being combined with material species, has engendered many varieties.[269]

9. Not only the above varieties exist in chemistry for dry powder; but there are also fabrications as numerous as to species, depending on whether liquid (materials), dry or mixed materials are used. Indeed, for all varieties of species, among the dry powders, we will find divisions in equal number, among the liquid and mixed preparations; among those which are distilled by means of apparatus, and not distilled, but expressed by means of a cloth, or else dewatered by such or such other process; so that (the liquid) is united with material solids and achieves the average mixture after iosis: the whole is then diluted and has a completely liquid existence. It is not only the two liquid parts of the egg that can be mercurized, due to their fluid nature;but the two dry (parts) which constitute the surplus of nature (of the egg), are also capable of being mercurified; whereas every natural body has a mixed existence of the four elements, in unequal or equal proportion.[270]

10. Thus liquids are absorbed by solid substances, these ingredients being used in minimal doses, with the help of stills. Or we mix them; or they are extinguished in natural liquids, allowing decomposition and dissolution to take place over time. The products obtained are divided into two, and treated by the pelican (distilling apparatus), or else without the help of the nipple apparatus. Then the parts of the same nature are mixed together: I mean the decomposed (part) and the undecomposed part. If (one) wants, with the liquids alone, to practice a thorough dyeing by their decomposition, one does not have recourse to the delay;but by mixing water with water, the preparation is accomplished, by dividing the solid substances brought to the state of deposit,

§§ 11, 12, 13, 14, relate to chemical operations described in too vague a manner, for one to have succeeded in giving a sufficiently precise meaning to the translation.

15. But it will be said, "Show me that it is so according to the ancient writings." Listen to the first of the chemists: e Taking, he says, a pyrite stone,[271] heat it, until it becomes incandescent. After removing it (from the fire), dip it in cold water; (remove it immediately) and put some saliva in it with your finger: if it absorbs it, it means that it will have been suitably heated; then, deposit it in the tincture.[272]

VI. XIV. — COSMAS
EXPLANATION OF THE SCIENCE OF THE CHRYSOPOEIA BY THE HOLY MONK COSMAS [273]

1. This true and mysterious chemistry requires much work, but little expense, for One is the All and through it is the All, and if one is not three and three one, the All does not exist, it is there deliverance from the troublesome disease of poverty. So it is out of affection for you that I am writing to you, to send you a sort of viaticum and a little artifice against her.

2. Take pure gold, 3 hexes; mercury, 1 hex; make a mixture like the goldsmiths. Then soak the mixture in water, so that the black color escapes. Then press the mixture well in a linen cloth, so that the mercury escapes.

Then unite the mixture with good quality ios, sal ammonia and a little lime taken from the egg; grind everything well on a marble.

Then unite these (materials) with an egg yolk; place everything in a hard-boiled egg shell, (pierced) with a hole. The shell must be fresh and clean.[274] Fight the hole well, as well as the whole egg, and dip it in hot horse droppings for 7 days.

Then after removing it, look through the egg hole (the state of) the composition. If it's completely transitioned to ios, that's fine; if not, repeat the operation until the All is One, that is to say changed into bel ios.

Then, lighting the coals, several times and without stopping, roast the whole egg; then, withdrawing mixture, grinds on marble; keep that splatter powder.

By melting very pure silver in a crucible, and adding some of this powder to it, you will obtain very shiny gold. If you want to make it even finer, repeat the first operation 2 or 3 times, until (the result) pleases you.

3. THE FOLLOWING IS TAKEN FROM A CERTAIN ANCIENT AUTHOR ZOSIME; — THE OTHER (FRAGMENT) IS OF THE GREAT ART OF THE ANCIENTS. DO THIS TEST: [275] Take eggs, put them in a large terracotta vase; after having kneaded a little fine flour with honey, arrange this mixture all around the eggs in a vase. Stopper it well, immersed in droppings for 120 days, until a blood-red nature occurs (destined to become the soul of the product). Then, uncovering, put the contents in a brand new terracotta (vase); brings the burning coals to incandescence by fanning them, and directs the vapor of the coals onto the residue prepared in advance. When it is roasted, put it in a mortar, without your hand touching it. After grinding, keep it in a jar.pure silver fund, 1 pound; throw 3 or 6 parts of this dry powder on it and you will be surprised. This is the divine and great mystery, the one we are looking for, the one that can overcome poverty and ward off enemies. So be it.

4. FURTHER EXPLANATION. — (Taking) sandarac, rosacea, arsenic, sulfur and cinnabar, unite all these materials together. After having crushed, diluted and formed a viscous mixture, put in a clean glass, that is to say in a balloon, which must have a narrower orifice than its belly, such as the round baskets of hives (?). After filling the hole with lut, heat over a low heat. Then, removing the lut, you will find the mixture dried out, in the consistency of pitch. After further stirring, transfer to a terracotta pot; and taking the whole place near the fire. After discovering, you will find yellow.

5. Take white magnesia, and the same weight of filings, as well as the (materials) previously treated. Then warm the two (bodies) in horseradish oil, let them digest: you will obtain a superior quality yolk for melting. But if the color is not bright, after coating with salt, misy, and iron rust diluted with vinegar, and after bringing in the power of the filings from the small dish, (the preparation) will be perfect.

6. Now, if you have gold, and want to double its weight, without diminishing its quality; after having weighed this (gold), put a double dose of the preceding preparation, obtained with the misy and the blackened iron filings, taking from each a fourfold weight of the gold. Mixing or combining these things, apply them around the gold; after having put it in a crucible and heated it, remove it: you will find the gold (in quantity) doubled.

7. Cinnabar and ios of gold-colored copper, as well as certain natural species, projected into the lunar matter (silver), produce metallic gold.

8. After melting lead in the fire, sprinkle it with sulfur and heat until the bad smell has evaporated. Then putting lamellar alum and cinnabar in the vases, in equal proportion, and mixing with oxymel, sprinkle with liquefied lead. Do likewise with apyre sulphur, until the hardened matter changes into gold.

9. Taking copper, lay it out in strips, cut (it) into small square pieces and put these in a small clay pot: a layer of copper, then a layer of pounded sulphur; seal the orifice well at the top, with lut. Then, put this small pot in another (larger) pot; it must have holes. Let the fire enter through these holes; use a strong fire and cook for hours: the calcined copper thus becomes pulverulent, and similar to salt: what is called rasouchti is formed.[276]

10. Then take rasouchti, 5 and a half ounces; natron or artificial efflorescence (?), 3 ounces; of mercury, ounces: mix it all together and grind as fine as flour. Grind these things, until the mercury is no longer seen. Next, get yourself two dishes, arranged in such a way as to cover each other exactly and nothing can come out of them, not even water; then coat them with crucible clay; or, if you can't find any, with the clay from which the plates are made. As soon as you have arranged the two plates well, so that their edges fit one to the other, coat them exactly. The lower vase, that is to say the dish, must be immersed again in this clay and lute, at the joints and all around, with egg white. Afterwards,make a hole in the bottom of the top plate capable of admitting a bag sewing needle, or even a smaller hole, as for a large (ordinary) needle. Then make a small stove and narrow it at the top, so that the upper space can hold the dishes, while the lower part will be wider. Place the dishes in the upper part of the stove, and, from below, put on a little fire, evenly distributed. Put a knife on the hole in the upper dish, so that you can scrape with the tip, and cook well. Often withdraw the knife and look: when you see something like silver rising, then cook well. First there will rise thick smoke, and later mercury[277] like silver.Then make a small stove and narrow it at the top, so that the upper space can hold the dishes, while the lower part will be wider. Place the dishes in the upper part of the stove, and, from below, put on a little fire, evenly distributed. Put a knife on the hole in the upper dish, so that you can scrape with the tip, and cook well. Often withdraw the knife and look: when you see something like silver rising, then cook well. First there will rise thick smoke, and later mercury[277] like silver. Then make a small stove and narrow it at the top, so that the upper space can hold the dishes, while the lower part will be wider. Place the dishes in the upper part of the stove, and, from below, put on a little fire, evenly distributed.Put a knife on the hole in the upper dish, so that you can scrape with the tip, and cook well. Often withdraw the knife and look: when you see something like silver rising, then cook well. First there will rise thick smoke, and later mercury[277] like silver. equally distributed. Put a knife on the hole in the upper dish, so that you can scrape with the tip, and cook well. Often withdraw the knife and look: when you see something like silver rising, then cook well. First there will rise thick smoke, and later mercury[277] like silver. equally distributed. Put a knife on the hole in the upper dish, so that you can scrape with the tip, and cook well.Often withdraw the knife and look: when you see something like silver rising, then cook well. First there will rise thick smoke, and later mercury[277] like silver.

11. When you see this, cease the fire; plug the hole in the dish with lut and leave to cool (overnight). Towards the morning, remove the product, after removing the coating from the dishes. Seize the upper dish first, then the other, and collect all the mercury, so as to leave none in the upper dish; because it adheres to this dish: scrape it entirely and take it. So take silver, 4 ounces, and copper, 8 ounces. First melt the copper and, as soon as it is melted, add the silver. When you have also melted it, and the two (bodies) form one, then add dry powder, ie mercury collected in the dish, up to the amount of half an ounce: the whole will furnish you with pure and perfect silver.When you have melted it in the appliance, put sal ammonia on it; and if you want it to be more beautiful,

VI. xvii. — THE PHILOSOPHICAL STONE

Compilation of pieces already printed for the most part. We will only give the following:

Zosimus — 1. I will explain the comaris to you.[278] The comaris, by its addition, brings the pearls to perfection. By this name is meant the stone which attracts the spirit outside, by the power of the powder of projection. None of the prophets dared to expose this mystery in their speeches; but they knew that was the proper way to fix this precious feminine power; for she is the venerable whiteness, according to the interpretation of all the prophets. This power of the pearl is obtained by cooking it in oil.

2. Taking the Attic pearl, cook it in oil, in an uncovered and unclosed vessel, for 3 hours, in the middle of the fire. Rub the pearl with a woolen cloth to get rid of the oil and keep it to use in dyes. Because it is with the help of the oil that the pearl is brought to perfection.

VI. xviii. — ON THE PHILOSOPHICAL STONE

1. The famous philosopher of Abdera, Zosimus, John the Archpriest, Hermes Trismegistus, Democritus, Olympiodorus and Stephanus, in the exposition of Chrysopeia, revealed the mystery of molybdochalcum;[279] they agreed to take it as a starting point. In their memoirs, based on experience, practice, and knowledge of the matter, they prescribe the removal of all agents possessing caustic power, such as fire, sulfur, and all arsenics, because their mixture and their strength are the source of all damage and accidents. But according to them it is advisable to employ the soft agents, those which possess the liquefying power, for the mixture of the elements and the alloy of the lead. They also call this alloy union of substances first when it is achieved by means of fusion,and also (when operating) by toasting and washing. They designate (molybdochalcum) under the name of magnesia, because one mixes, kneads and quenches, in order to bring the alloy to the state of a single substance, by the identification of the constituent substances. Now the mixing of the Whole, the (fabrication of) matter, is accomplished entirely by the humid way and by liquids; just as clay is kneaded with washed materials, such as bleached fabrics and silks. is accomplished entirely wet and through liquids; just as clay is kneaded with washed materials, such as bleached fabrics and silks. is accomplished entirely wet and through liquids; just as clay is kneaded with washed materials, such as bleached fabrics and silks.

2. This is why Olympiodorus writes that the mystery of Chrysopeia lies in liquids. It is through water flows, currents, washings, maceration and treatment that the mysterious operation is accomplished.

(Follows a subtlety.)
3. Democritus said to the king:[280] If you do not know substances and their mixture, if you do not understand species and the union of genera with genera, you will labor in vain, O king.

4. Zosimus says:[281] In the mystery of the tincture of gold, the bodies become spirits, in order to be dyed by the spirit in the tincture; that is to say, the (metallic) bodies, united with molybdochalcum and modified by mercury, become spirits. By these agents they are first liquefied, cooked, subjected to flow, by virtue of the resulting maceration and the operation of transmutation, and they thus change bodies. For they pass naturally to the incorporeal state, and they arrive in an extraordinary way at the state of baked gold.

5. Olympiodorus says:[282] the molybdochalcum or etesian stone then determines the simultaneous flow of these products by the fire. One of the effects is due to lead and the other to fire. It is not on one of the isolated matters that the simultaneous flow depends; but one must make matter flow by the association of the three products. They are first mixed in equal parts and to make them flow, one must not add one of the products to the other two, but mix the three at the same time in the same alloy. The word simultaneous flow shows that it is necessary to make the whole flow at once.

6. (Subtleties follow.)

7. Zosimus says: Do not be afraid, etc. (reproduction of a given passage: III, vi, § 13, p. 135, until the end of the §).

8. The evaporation of water is its disappearance. I am surprised by the result of our study, and to see how the emission and action of the vapor of divine water can cook and color our composition.

9. Stephanus says ………… (III, vi, § 23 and 24, p. 138 and 139, with various gaps indicated in the Greek text).

Next come a series of already published pieces, taken from Zosimus, John the Archpriest, Stephanus, Comarius, Olympiodorus, etc., with abridged portions and gaps.

VI. xix. — HIEROTED
ON SACRED ART[283]

1. Taking iron batiture, 1 part; antimony from Italy, 1 part, mixed with natron oil. After having operated the extraction, set aside and melt with an equal quantity of copper from Italy. After reducing, alloy with gold and leave for 3 days. Take sulfur, 1 part; misy, 1 hand; delay, then taking the alloy, arrange it in alternating layers, and operate the extraction. Take of this product, 3 parts, and 1 part of gold; melt and you will find what you are looking for.

2. If you want to do even better, treat the alloy and macerate it with the flower of natron, until it becomes fluid (like) mercury. Sublime seven times and divide into two portions; the first is subjected to decomposition until water is produced; as for the other half, you mix it with the third of its weight of gold and the 6 of copper from Italy and iron having undergone the first treatment. Grinding everything, sprinkle with the water of mercury dissolved above, and heat. Do this until the water has disappeared; mix a little sulphur, so that it penetrates the preparation, and soaks it. Do this until cinnabar (or gold?

3. Use this (recipe) with the help of Emmanuel,[284] the chief of animated beings, the divine Word, the light of the Holy Spirit. For it is he who is the saviour, the giver and the cause of all good things. It is through her that this divine mystery is offered to the faithful and to people who are worthy of it, the remedy for the soul and deliverance from all pain. He who has found this mystery, he who has received this gift from God, he who knows how to operate the treatments and achieve the desired goal, owes it to the very high Emmanuel: he will become his minister and his agent in the execution of this divine art. (Therefore) in all (he shall reserve) the title for the building of holy churches and for the support of the needy.He will intervene on my behalf, minister to my needs, and carry me through life.

In order for his existence to remain free from envy, he must not take pride in his wealth, nor in the care he gives to the prosperity of his business; Nor should he abandon himself to poverty, that unfortunate and incurable disease. But he should rather shine with the richness of divine virtues and pure actions, being full of humility, pity and sincere love (of God). He will pray for me, who have laid these things forth liberally and simply, that we may both obtain the pure and eternal kingship of Christ our God. May it be given to all of us to obtain it, by the recommendations and by the prayers of Mary, the Immaculate Mother of God, and of John the precursor thrice very happy, as well as by (those) of the pure cohort of the divine apostles and prophets and of all the saints.So be it: amen.

VI. xx. — NICEPHORE BLEMMIDES[285]
CHRYSOPEIA

On the Chrysopeia of the egg treated by the very learned master of philosophy Nicephorus Blemmides, who reached the goal, with the help of the one who brings all things from non-being to being, Christ, our true God, to whom belongs the glory forever and ever amen. Take, with the help of God, this non-stone stone,[286] which is called the stone of the wise, formed by the 4 elements earth, water, air and fire; that is to say by the humid, the hot, the cold and the dry. So take one of the elements, the earth, the cold and dry element, in other words, the shell of the eggs.

After washing and purifying, cooling and grinding exactly, put in a pot; stop the opening of the pot with a lut which resists the fire, and put it in a glass furnace. Heat for 8 days,[287] until the product whitens. Set it aside carefully; for that is the famous lime. Attention!

2. After that, taking the inner white (of the egg), lay it in a shell-shaped vase, at the orifice of the vase, fit this nipple-shaped instrument, named alembic. Let it be well sealed and secured with plaster.[288] Make it rise like rose water, and keep it carefully in a vial. Attention!

Then taking lime,[289] 1 part, and distilled water, 9 parts; put together; introduce (into the vessel) and mouth carefully, as before. Distil it like rose water. The shell must be glass this time; the first was in terracotta. Return the distilled product to the same ash; extract and put everything together in a glass vial. Carefully plug the hole with a cloth and plaster, and bury it in horse dung for 21 days. Attention !

4. Then removing drops, put in the shell and raise as before. Then, again, taking the whole thing together, put the water and the matter in a glass vial and digest in horse dung, as before. Then, removing some dung, put it all together in a shell; raise as before and keep in a flask. Warning![290]

5. This is what is called divine water, lime water, sea water, vinegar, mercury, virgin's milk, immature child's urine, alum water, cabbage ash water, natron water. , t” water filtration, and other names (yet). This constitutes the divine water, by means of which the body of magnesia is whitened. The burnt copper is the ash which must be produced by the yolk of the eggs.

6. It is necessary to take other shells of unburned eggs,[291] crush (them) well and put them in a shell of glass with water mounted once without the use of lime. Let there be of this water the value of 3 parts and of the shells, 1 part. Distill this 3 more times, without digestion. At each distillation, reject the shells and put others in the same quantity. At the 3rd time, keep in a vial what is deposited.

7. Then taking the new lime,[292] mix it well with this water. Let there be of this water, 3 parts, and of lime, one part; put it in a vial. Stop the orifice of the vial well and let it digest in horse dung for 40 days, and if there are ashes, for 21 days.

8. Then, taking egg yolks, put them in an earthenware shell and distill this like rose water, with a (less) energetic fire; for the fire of the aforesaid (operations) must be milder. Mouth carefully and thus collect cochineal (color) oil.

9. Taking this oil,[293] unite it with the lime[294] drawn from the shells. Let there be of this lime, 1 part, and of the oil, 3 parts; work with it as with lime water, that is, distill and digest. Then distill again and digest, and after distilling, keep it all. Attention !

10. The ash from the egg yolks that will settle, whiten it with the 1st divine water obtained with lime; for this is magnesium.

11. Taking of this magnesia,[295] 4 parts, and of the lime deposited in the shell,[296] 1 part, that is to say of the latter the 5th (at all); grinds both well on the marble, so as to make the matter very fine and tenuous. Dilute completely with a little water (from) lime, as painters do. After allowing to cool, put in a shell 1 part of this mixture, and lime water, 3 parts. Here, the shell must be made of glass. Then make this (water) rise like rose water and collect everything that distills in a glass vase.

12. Next, take the dry powder, laid in the shell; put it again on the marble, dilute it in small portions, with the distilled water which comes from it. Let the product dry in the shade; and operate thus until all the distilled water has disappeared.

13. Then, after grinding the dry powder, put it in a shell, and with it another amount of lime water. Let there be water, 3 parts, and dry powder, 1 part; raise this and delay as it was said, up to 5 times.

14. Taking the 5th time all the distilled water, collect the deposited dry powder. After taking them both and putting them in a glass still, immerse it in horse manure for 40 days, or as long as you want.

15. Then put back in the glass shell, and raise as before. When half of the liquid has been distilled, after opening the shell, put it back into this (vessel), and repeat this up to 5 times.

16. Now you will take this precaution of not distilling (quickly), as before, but gently and slowly.

17. After the 5th time, collect everything that was distilled in the still. The dry powder deposited in the shell, put it on the marble; and after having crushed it and diluted with the distilled liquid, as above, let it cool in the shade. Do this until she has absorbed all the liquid. While we grind and we water, we will find the bleached product this whiteness constitutes the sign (which precedes?) the color red.

18. However, the product must be well whitened. Then put the blanched (part) in a glass still; add again the matter which comes from the lime water, 3 parts against 1 part of the product. After mixing well, buried in dung for another (40) days.

19. After withdrawing, raise, collect the liquid and put it back in this (vase): raise a second time, collect and watch. Now the part deposited in the shell, you will find it white, similar to marble. Taking it alike, operate with care.

20. Then, having taken of the marble-like species one part, and of distilled water another part; after mixing these things well, put in a glass shell, if you don't have a still; then properly seals and plugs its orifice with a lead lid; put a thin coating on said glass shell, using a fire-resistant lut.

21. Then skilfully process (this matter) and place (it) on a small furnace, similar to that of rose water. Instead of a coal fire, place it over a lighted lamp. If the species of the interior are in the proportion of an ounce (each), that is to say that the weight of one and the other is 2 ounces, the lamp must be burned for 7 days, that is to say 7 days and 7 nights. If these species are only half the weight, burn for 4 days; if it is the quarter, 2 days. After the 7 days, having opened the vase, and recognized that the species is compact, add more water apart, another ounce, as before. Then, making the lamp burn as many days as it was said, operate in this way up to 9 times.

22. After opening, you will find a compact yellow product, the weight of which will correspond to that of all the materials added successively in 9 times, up to a maximum of 10 ounces.

23. Set aside and take 1 part, that is, the value of one ounce.

24. Then, having operated by means of fire, that is to say by the heat of the lamp, sprinkle these (matters) times; by operating with an equal weight of divine oil, as you did with divine water. The last time, that is to say the 9th, you will take twice the weight of oil, and (then) you will make the lamp burn brighter.

25. Next you will find the fully prepared dry powder, bright purple in color. After grinding it well, keep it carefully.

26. When, with the help of God, you have obtained this product, take pure silver, the value of an ounce; melt it in the fire and put there the previous powder, the value of a grain: you will find the shining gold and whose brilliance extends to the limits of the inhabited (earth).

NICEPHORE BLEMMIDES. — APPENDIX
WHAT THIS PREPARATION CLAIMS

First clean eggs with their 36 (?) germs.

Apparatus: Two terracotta shells, with glass stoppers.

Similar also 3 shells of glass, capable of containing, one, a pint, the other, 2 pints, and the last a half-pint, with its cap.

Marble mortar; — and porphyry.

Painter's palette.

Old plaster, from a church.

A fire-resistant vase and two bowl-shaped pots (?)

Lut that resists fire.

It also needs, first, white water distilled ounce, 36 ounces.

Similarly, second, (the same water) mounted ounce, 18 ounces;

And cochineal oil, mounted ounce, 15 oz.

Know that the 36 eggs absorb 9 ounces of water.

The pint has 2 parts water.

Similarly, lime (from eggshells, with membranes) is also needed, 9 ounces; crushed, noncombustible egg casings, 18 ounces; magnesia, that is to say calcined (egg) yolks, hexagon 20 cotyles.

Scales, firewood, a small stove and a subtle and limitless spirit.

This is what is needed (to complete the mystery in its entirety: Take[297] the blood of a drunken man, the bile of an unmarked black ox, and the juice of the plant called goat's beard. Employing these three (materials) in equal proportion, heat iron and temper: you will be able to succeed.

--------------------------------------------------------------------------------

[1] See Introduction, p. 15, royal cement.

[2] Ewer, gold shell-shaped vase.

[3] That is to say with the gold amalgam prepared above.

[4] This is undoubtedly an enameling operation, designated by the word ἔγκοψιν, ἔγκαψιν or ἔγκαυσιν. — See Reiske's Commentary on Constantin Porphyrogenete, from Cerim. Aulae byzantinae (Byzantine collection of Bonn), t. III, p. 5. — Saglio, Dictionary. of Greek and Roman Antiquities, art. Coelature.

[5] The word soap must be understood here as meaning an alkaline flux. As for the "salt of soda", I thus translate the word τζαπαρικόν. — Indeed du Cange translates both τζαπαρικόν by fossicius and ἅλας τζ., by sal ammonia. It was undoubtedly at the beginning the sal ammonia of Pliny (Introd., p.45 and 237), variety of natron or carbonate of soda. But I have explained how the same word ended up also designating, in the course of the Middle Ages, our modern sal ammonia: the meaning of the Byzantine word having changed in the same way as that of the old denomination "sal ammonia", which he had replaced.

[6] Probably after having filled it with enamel. There are here, as in any technical description, omissions which the practitioner made up for, but which are difficult to guess today.

[7] To embed or varnish a metallic object.

[8] The word soap here means an alkaline material, suitable for cleaning metals (see note 5).

[9] Βοράκην: this word is the origin of the name of our borax; but in the language of the ancient authors it was not the same thing.

[10] It is therefore allied silver.

[11] In order to roll it on the surface of the object to be gilded. CP. § 4.

[12] Enameling operation.

[13] Unintelligible recipe.

[14] The ancients polished with animal teeth.

[15] See footnote 4.

[16] It is a process to make a fabric incombustible; but the final sentence appears to be the addition of some copyist, preoccupied with transmutation because it has no connection with what precedes.

[17] It must rather be iron oxide (?). — Introduction, p. 261.

[18] Nitrogen acid.

[19] Impure mercury nitrogen.

[20] Silver nitrogen.

[21] The first paragraphs relate to easy-to-understand preparations; the last is a philosopher's stone recipe. All these recipes are relatively modern, strong water not being known so clearly before the thirteenth or fourteenth century.

[22] Nitrogen acid.

[23] This recipe relates to the attack of an alloy containing gold by nitric acid. The gold remains as residue.

[24] That is to say the compound formed by silver.

[25] This recipe, like the previous ones, is relatively modern. It is a purification of the sulphide of antimony, called at first marcasite and, after its purification, antimony: the modern name of this substance appears here for the first time in the treatises of our collection.

[26] On this process of refining gold with antimony, v. Introd., p. 264.

[27] This is indeed a formula analogous to the old asèm of the Leide Papyrus. (Introd., p. 66), whose formula is thus reproduced towards the end of the Middle Ages. The relative date of this recipe is provided by the word "gunmetal." »

[28] Cp. Introd., p. 62; Papyrus X of Leide.

[29] Cp. Introd., p. 58 to 60; Papyrus X of Leide.

[30] Cp. 16.

[31] See § 50.

[32] That is to say the philosophical egg: it is a description of chemical operations, with allegorical expressions, in the manner of the ancient alchemists.

[33] Symbolic meaning for the philosopher's stone.

[34] Does this mean that an oxide or a sulphide is formed, sometimes black, sometimes red?

[35] Here we see the origin of one of the ordinary frauds of the charlatan alchemists.

[36] The name of Pseudo-Democritus was substituted for that of Zosimus, inadvertently, at the end of the note transcribed at the bottom of page 288.

[37] The date of this piece cannot be specified: it seems later than the authors of the seventh century, class modern: —Cp. Zosimus, p. 211, § 16. —We must especially compare it to the Treatise of Comarius, where an analogous symbolism appears, p. 285. According to the interpretations of M, in the last treatise, water signifies mercury; air would mean sometimes mercury, sometimes copper ios, sometimes cinnabar; the fire would be taken for sulfur; and sometimes for cinnabar; earth, for molybdochalcum. But these interpretations are narrower than those of the present piece, given in §§ 4, 7, 8, 11; which are themselves linked to the nomenclature of the philosophical egg.The indefinite vagueness of these nomenclatures makes the precise understanding of these pieces very uncertain.

[38] According to E; while according to A, it is: the magnet of Asia.

[39] See Nomenclature of the egg, p. 10, 22, and Introd., p. 215. Divine water or vinegar signifies not only mercury, but a large number of active liquids, according to the list below,

[40] Our water bath.

[41] According to E: “becomes perfect money; he is handsome. Otherwise, etc. »

[42] Cp. the Egg Nomenclature, I, iii, iv, p. 19 to 22, and Introd., p. 215. The word "air" here appears to mean the coloring principle which tints yellow in transmutation.

[43] This word is omitted in E.

[44] Cp. p. 122.

[45] Cp. p. 55. — In A, sign of silver, instead of that of mercury.

[46] Cp. IV, x, p. 69.

[47] The word earth is taken here in a generic sense; the earth is assimilated in particular to various limes, that is to say to the metallic oxides, which we even today call earths in certain cases. - PC. IV, ix.

[48] ​​§ 13 is in parentheses in Lc, ie regarded as a gloss.

[49] The ordinary pun between the double meaning of sulfur and divine, for the word θεἴον, is manifest here.

[50] The author keeps secret the composition of the liquor for dipping, following a very common artifice among practitioners.

[51] Cp. Pliny, HN, xxxiv, 41.

[52] Cp. p. 19, footnote 1; and P. 122.

[53] Cp. p. 122.

[54] The text resumes here, following on from § 2 and returning to the end. It seems that what precedes, from the beginning of § 3, is an intercalation due to an old commentator, preoccupied with transmutation; intercalation brought about by the word "mystical", but which offers no practical meaning relative to the quenching of iron. — Perhaps there originally existed, in a manuscript earlier than ours, a third recipe analogous to the second, and which has been replaced by the verbiage of the glossator. In any case, the transcription of these recipes is very confused in the manuscripts. §§ 2 and 3 are missing in A and B.

[55] The beginning of § 4 gives rise to the same remarks as that of § 3. It seems that there was in this place, in an old manuscript, a technical recipe, which has disappeared to make way for the vain declamation of a commentator.

[56] Is it a hardening operated with milk or urine?

[57] BCA, etc., add: “King of Macedonia; such as this copper exists on the doors of Sainte-Sophie” and below: “Manufacture of yellow copper”. This piece was written in the Byzantine period, between the seventh and eleventh centuries, as indicated by the quotation from the Arabs and the word tutie, which does not appear among the ancient alchemists. This observation also applies to the following number. But the bottom of the receipts must be older, and go up, according to the title, at a time forming to the Christian era. — See also the following note.— We find cited in the treatise De mirabilibus (ch. 49) attributed to Aristotle, an Indian copper, coming from the treasures of Darius and endowed with special properties which caused it to be confused with gold; Introd., p. 261. — Cp. Origins of Alchemy, p. 227, and this volume, p. 297.

[58] That is to say the part which has sublimated at the upper part of the furnace: it is above all zinc oxide. — Introduction, p. 239 and 240.

[59] It is probably an arsenical preparation, perhaps identical to the red of cobathia, arsenic sulphide (realgar) which was already assimilated to the ash of palm trees, in the time of Zosimus (see p. 185). CP. Plinianae exercisees Salmasii, 936 b C, 937 b F, 938 a A.

[60] This preparation was to provide an alloy of copper and arsenical zinc, similar to tombac. —Cp. Introd., Papyrus X of Leide, p. 60 to 62.

[61] Or rather myrobalans, fruits of Terminalia. See the following note.

[62] On these Arabic words, Cp. Saumaise, Plinianae exercisees, 930 b C, 931 a B and C etc.

[63] Introduction, p. 255 and 256: Iron or manganese oxide.

[64] Cp. p. 40.

[65] This is a sacramental formula, which is found at the head of various receipts. CP. Zosimus, III, viii, p. 143. These expressions therefore have a symbolic character: they designate mineral products, which are subjected to sublimations and calcinations, before using them to manufacture the glasses of the four colors designated below. After this presentation, which seems purely technical, an alchemical commentator has added a mystical recipe that, according to which these four glasses, associated with the mysterious oils, obtained by the distillation or the dissolution of metallic bodies, constitute the golden ferment, or philosopher's stone.

[66] According to M. — Was it the flame of a gas with no visible fuel?

[67] Subtitle of A1, 2, 3 K: “the house that units everything”.

[68] Product of previous distillations or dissolutions, which related to products (Metallic bodies), designated here in a symbolic way.

[69] Sign of cinnabar, often confused with that of the sun and gold. CP. Introd., p. 122, note 1 and p. 144.

[70] This little treatise is a collection of recipes, going back for certain parts to a high antiquity; as these words seem to indicate: "according to the book drawn from the Sanctuary of the Temples". There are found there, alongside these old recipes: more recent theoretical discussions, of the kind of that of Zosimus and the Byzantine commentators; more or less extensive quotations from Mary, Moses and Democritus; finally much more modern glosses, judging by the quotation from the Ishmaelites, that is to say the Arabs. This was no doubt a technical work, which passed from hand to hand, being enriched by successive additions. It was originally outside the alchemical collection; because it does not appear in the ms. of St. Mark;but it must have been part of a large technical collection, whose title has been preserved for us (See III, xliv, § 7, p. 213 of the Traduct., and p. 220 of the Text), title in which this little treatise appears formally designated. The treatise on the dyeing of pearls, given later (V, ix), was also part of it; as well as a treatise on the quenching, coloring and molding of metals, from which appear drawn pieces V, iii, iv, v, xvi and xvii. We will come back to this last treaty later, on the occasion of articles xvi and xvii.

[71] The words: comaris and comaros have been considered identical in the translation.

[72] It seems to be a question in this passage, of a superficial dyeing of vitrified objects; dyeing carried out by means of talc, serving as a support, of a copper salt, and of a liquor mixed with bile, the whole forming an adherent varnish.

[73] Ruby gold.

[74] Introduction, p. 244.

[75] This is a second article, similar to the previous one, with repetitions and new details.

[76] Medusa.

[77] See in vol. XIV of the 6th series of the Annales de Chimie et de Physique (1888) the observations I made on this process, intended to make precious stones phosphorescent.

[78] Here begins a third small treatise or chapter, on the same subject as the preceding ones.

[79] This is no doubt the treatise printed at p. 287 (IV, xxii), treatise also referred to as the Maza of Moses (p. 180 and 209). The sentence quoted here is not there verbatim, but several similar texts can be read there, notably in § 3.

[80] Fourth small treatise or chapter.

[81] The subjects announced in this paragraph are not dealt with further on.

[82] That is to say attacked superficially, so as to make it possible to fix, then the coloring matter.

[83] We see how the dyeing of metals, that of glass and that of purple fabrics were put on the same footing. CP. Origins of Alchemy, p. 242, 243, 245, etc.

[84] New fragments, or rather a series of titles, fragments and extracts, placed end to end, as in the Writings of Zosimos (Part III), notably xliii, Chapters to Theodore.

[85] Or Native Sulfur Water.

[86] Cp. note 2 on p. 159.

[87] Origins of Alchemy, p. 158.

[88] Or divine waters.

[89] Cp. The Nomenclature of the Egg, p. 19.

[90] Cp. p. 173 and the Lexicon, p. 8.

[91] The two kinds of sulfur or divine waters, mentioned above.

[92] Or copper stone: synonym of the philosopher's stone. The name Cythère seems to indicate the intervention of a new author in the current fragments.

[93] Cp. p.122, § 2.

[94] Gloss of the preceding paragraph.

[95] Cp. Glossary, p. 9.

[96] Aphroselinon. - PC. p. 131, 132 and 133.

[97] Or rather the fixation of the colors on the surface of the stone, previously attacked.

[98] Cp. p. 51. This passage is not found in the book of Sophe (that is to say of Cheops), a book attributed above (205 and 206) to Zosimus.

[99] Cp. Introd., p. 261, coeruleun, —procedure of Vitruvius.

[100] More modern gloss which seems applicable to § 21. It seems that articles of various origins, placed end to end in an old manuscript, were the object of marginal comments and additions, that a more modern copyist will have transcribed, confusing the order of the pieces.

[101] Cp. § 20, above.

[102] There are two ferruginous preparations, one made with rosacea, the other with metallic iron.

[103] This should produce an alloy of lead and antimony.

[104] That is to say frosted, superficially etched and ready to be dyed.

[105] Cp. p. 170.

[106] See p. 99, 101, 114, etc.

[107] See p. 78, 101, 103 (text and note 1), p. 128, etc.

[108] Minimum.

[109] Syn. emerald.

[110] Cp above § 26, and its note.

[111] This little treatise deals with the manufacture of artificial pearls, by means of a composition which seems to include lime salts, various organic matters and mercury chloride. Granules are formed from it, which after this treatment, according to the author, take on the appearance of pearls. These recipes look real; but they are too obscure to be fully heard. The Greek contains, moreover, modern words which recall the treatise on goldsmithery (V, i). — Observe that the treatise on the round pearl is found in ms. 2325, which is from the thirteenth century. It is attributed to an Arab author. It is purely technical and contains neither quotes from old authors, nor charlatanesque or mystical phrases.

[112] Is it a sublimed mercury chloride preparation? — In the margin of this article we read in AB: "See the process for making gold, and don't be mistaken." — This gloss shows that the copyists saw processes of transmutation everywhere, even when it was a question of something quite different.

[113] Mercury chloride powder.

[114] Tuna species.

[115] See the process of Salmanas, § 1, p. 349.

[116] This bizarre recipe recalls some of those in Pliny and the Geoponica.

[117] Cp. further § 15.

[118] This last paragraph does not appear to follow on from the above, but rather from the recipe of § 5.

[119] Final award not following what precedes and unintelligible. It could perhaps refer to the recipe at the end of § 1, the copyist having mixed the articles (?) Cp. above § 23.

[120] PC. the end of § 6. It seems that one softened the pearls, and then gave them a shape or an imprint.

[121] Cp. V. vii. § 4 (?).

[122] Cp. 9.

[123] Or: “Cleaning pearls, according to the monk called Plumbers (?)”.

[124] This word has been mistakenly translated elsewhere as “aromatic oil”.

[125] This award does not seem to follow on from the above, nor to be related to what follows.

[126] This is a counterfeiting process.

[127] Or rather powdered clay?

[128] Introduction, p. 15.

[129] These are workshop recipes; most refer to gilding by application of thin leaves. The general meaning is clear; but there are many obscure details, owing to the insufficiency of the data and the faults of the copyist. This recalls, moreover, the goldsmith's treatise, V, i, §§ 4, 9, etc.

[130] Of Sabina?

[131] Gloss inserted in the text?

[132] From the shrine to the altar.

[133] Recipe for preparing a glue, mainly intended for regluing glass or pottery. CP. Silversmithing, § 36, p. 316.

[134] Cp. the learning process: V, xi p. 357.

[135] Text in very small characters, inserted by a copyist. It is a magic formula, composed for any Byzantine emperor. - PC. Olympiodorus, p. 110.

[136] The recipe seems old, but the words tartar, tutie and a few others are from a less remote time.

[137] This preparation is that of a brass.

[138] Preparation of an alloy similar to tombac.

[139] Cp. p. 17.

[140] This is a fairly extensive fragment of the lost treatises which bore the name of this emperor (see Introd., p. 176, 214, 215).

[141] Cf. Zosimus quoted by Olympiodorus, p. 105.

[142] From this word, the text represents a new copy of a text, already given as an appendix at the end of Olympiodorus (p. 113 of the Translation). The current text is more correct and it offers important variants: what made us decide to reproduce it here.

[143] The text reads: Justin. I had first read Julien; but the text of M. and the tradition which attributes alchemical treatises to Justinian (Introd., p. 176 and 214) leave no room for doubt

[144] Mystical piece of unknown date, but which could not be older than the corresponding writing, that is to say than the 15th century. The word heliurgy is synonymous with chrysurgy, the sign of gold and that of the sun being the same.

[145] Invocation of a modern era, followed by some magic formulas. This piece indicates the moral character of the monks who held the manuscript M.

[146] This recalls the recipes attributed to Democritus, in Pliny and in the Geoponica.

[147] Writing of the fifteenth century. This piece was added after the fact in the ms. Mr. Its date is undetermined; but some expressions seem quite modern.

[148] Cp. p. 321, § 55, a similar and more developed recipe.

[149] This recipe has a precise meaning, if one understands by the word sulphur, pyrite or any other metallic sulphide, in accordance with § 6 of the treatise of Democritus, p. 47.

[150] This process appears to be the same as that of Olympiodorus, p. 82.

[151] Modern recipe.

[152] Origins of Alchemy, p. 199.

[153] See Introduction, p. 198.

[154] Introduction, p. 191. — Report by M. André Berthelot in the Archives of scientific missions, 3rd series, t. xiii(1887).

[155] This is the treatise to which we have given the title: "Music and Chemistry", VI, xv; see also III, xliv.

[156] Origins of Alchemy, p. 205.

[157] Zosimus, p. 162.

[158] Introduction, p. 176, 214; Trans., p. 368.

[159] Introduction, p. 175.

[160] First chapter in E, Lb. —In the margin of A, we read: "Jacques, the inspired of God you will find him (quoted) in the middle of this speech". Then: “it should be known that Job spent seven and a half years in his affliction” (see below).

[161] Cp. p. 20, 145, 183.

[162] The above is taken from one of the four books attributed to Democritus, on gold, silver, stones and purple. In the Physica and mystica we have fragments of the first two books. - PC. Origins of Alchemy, p. 77.

[163] Cp. p. 45.

[164] That is to say that the work of the whole Treatise consists in the sulphurous and in the liquids. Addition in the margin of E, introduced in the text of Lb.

[165] MB's text here bears the sign of chrysocolla, assimilated to the sun and corrected in this sense by E.

[166] Sign of the Moon and Money) M; sign of mercury BAKE.

[167] Commentary by E, introduced into the text by Lb: “These words, sulphurous are dominated by sulphurous and liquids, etc., are the center, the source, the light of all art”.

[168] This is divine water or water of sulfur, whose name includes both “sulphurous” and “liquids”.

[169] Cp. p. 46.

[170] CP, p. 86, the multiple meanings of the words: “Divine Water”. — See also p. 173.

[171] Cp. p. 186.

[172] According to M; that is to say to the (good) Genius, "Agathodemon" (see p. 87). This was undoubtedly the initial text, which responds to various passages (p. 99, etc.); but the word Demon having subsequently been understood in an unfortunate sense, the other mss. BAKE Lb. substituted "invocations to God". Here again we see the need for magic formulas for transmutation, formulas which have almost disappeared from the manuscripts. - PC. Origins of Alchemy, p. vi, 15, 17, 20, etc., and Introduction, p. 8, 13, 153, 207.

[173] That is to say, does not possess universal and divine knowledge by nature. — What follows concerns rather the doctrine of divine grace, without the gift of which man can do nothing.

[174] Cor. IV, 7.

[175] Epistle I, 17.

[176] John, III, 27.

[177] Matt., VII, 7, 8. Luke. XI, 9, 10.

[178] “In adulteries” BAE. —James, IV, 3.

[179] The mystical sense of the search for grace merges here with the alchemical sense of the search for gold, as frequently happens with our authors.

[180] Cp. p. 92 and 235.

[181] Gloss interspersed in the text; it applies to the following sentence, because 15 is the sum of the numbers 3, 5 and 7 (See p. 174). The award that comes after it also seems independent of the one that precedes it.

[182] Cp. p. 162 footnote 1, and p. 157.

[183] ​​Cp. p. 167, 173, 174.

[184] Sergius Resaïnensis, from Syria, sixth century. —Origin of Alchemy, p. 105.

[185] θεἴον means divine and sulfur. Cp p. 174.

[186] This award follows the last of the previous piece.

[187] Cp. prophetic nomenclature Introd., p. 10. — In other words, they designate the object of science in ordinary language; but they use symbolic words for the substances used.

[188] Genesis, I, 27.

[189] On the harvest of Hermès, vp 119, 129, note 1, and p. 139.

[190] Axiom of Mary the Jewess. All this seems to mean that the transmutation is accomplished by the successive combination of 3 or 4 metallic bodies, first distinct, then identified at the end of the operation.

[191] Above the sign of mercury in E; and the word mercury in the text of Lb; which signifies the mercury of the philosophers, or the fundamental unity of metallic matter.

[192] Here B and the other mss repeat the sentence: “because his explanation, etc. »

[193] There is a gap here.

[194] Cp. V, vii, etc. This quotation shows that the pieces relating to the dyeing of stones (V, vii) are prior to the sixth century. We have said that they go back even further. But it is interesting to see them cited here.

[195] Symbolic meaning.

[196] The text corresponding to the last line (OR its equivalent) has been scratched out in the ms. of St Mark. The same precaution has been taken in this manuscript for most of the passages where it is a question of the philosophical egg: Origines de l'Alchimie, p. 16.

[197] Gold, Lb.

[198] That is to say by operating with 3 of the 4 parts of the egg.

[199] Gold, Lb.

[200] This number breaks down as follows: 9 with the 4 parts of the egg; 36 with 3 egg parts; 36 with 1 part; 54 with 2 parts, total: 135.

[201] Cp. p. 63.

[202] Var. of M: "This dreadful evil".

[203] Cp. the article on the various causes according to Aristotle.

[204] The perpendicular is not shown in the drawings.

[205] Tetrahedron (?)

[206] See these figures (Introd., p. 160, fig. 36). The end of this text recalls a passage from Plato's Timaeus: Origins of Alchemy, p. 265.

[207] Water treatment, ABKELB.

[208] Cp. p.85, note 3.

[209] Cp. Introd., p. 10; and this volume, p. 63, 86, 182, 196; 221, footnote 3, etc.

[210] Cp. p. 37 and footnote 4.

[211] Cp. p. 62.

[212] There is here in Greek an untranslatable play on words between the word which means rhubarb and the one which means very easy.

[213] Pun on the name of arsenic.

[214] Pun on πόντος = sea, see Synesius, p. 62.

[215] All this seems the preamble to a practical treatise, which has been lost; the copyists having been interested only in the declamations of the beginning.

[216] Ash or slag. CP. p. 107, 113, 196, 368, etc.

[217] Cp. III, xxxix, § 4 and 5. p. 230.

[218] Cp. p. 204, 280.

[219] Cp. p. 301.

[220] The same system of preparations is applied here to the dyeing of metals, pearls, vitrifications and purple: Cp. Origins of Alchemy, p. 245. But it is probable that in our author the vagueness of the general descriptions is intentional, the materials employed being different, according to the nature of the bodies intended to be dyed.

[221] According to MB. — in A, sign of gold (or of the sun) — in ELb: the sun in full.

[222] Cp. p. 219.

[223] Mercury, ELb.

[224] Cp. p. 66.

[225] Cp. Stephanus, quoted in the Introduction, p. 179.

[226] Cp.p. 122, 325, etc.

[227] ELa “on the whitening of the divine Water”, and likewise below. 'It's a bad lesson.

[228] This sentence is taken from AELa; it is missing in Mr.

[229] According to E: it is placed with its plate in a glass vase of double size; then we leave it there”.

[230] This vague description seems to refer to a distillation or sublimation device, such as a still (dibicos), Introd. (p. 138, Fig. 14). It recalls certain texts of Zosimus, p. 227, 228, etc.

[231] Habakkuk, II, 5 (Septuagint).

[232] E adds: “Take the blood of a drunken man, the bile of an unmarked black ox, and the juice of the plant, (called) tragis (goat's beard?); take these three things in equal portions; heat iron and quench: you will succeed very well”. — This is a marginal note from some copyist; it is reproduced at the end of VI, xx.

[233] (3) Title in E et La (which is the copy): “From the Anonymous Philosopher, discourse on the practice, explaining the process of Chrysopoeia, developed, etc. A adds in the margin: “second speech”.

[234] Writing by E: “Having explained the question of Chrysopeia, let us now speak of those who have practiced it. The first of them is the one called Hermes Trismegistus; he said that the present fabrication takes place according to the three powers and acts. Then come John the archpriest in Evagia, Democritus, Zosimus, Olympiodorus, Stephanus, and many others afterwards; who, as interpreters, commented on authors older than them, I mean Hermes, Democritus, Plato and Aristotle”.

[235] Cp. p. 119: on the dry powder.

[236] Cp. Origins of Alchemy, p. 118. Evagie can signify a determined place, or represent a mystical designation: holiness, that is to say archpriest of holy memory. Does the word Tuthie apply to a place name? or does it designate the chemical tuthie, That is to say the old cadmium or impure zinc oxide? Perhaps the name of the place where the preparation was made has passed to the prepared material. The word itself, with this latter meaning, would then be older than we have hitherto believed (Introd., pp. 268 and 241).

[237] Red. by E: They have examined and deepened all the theoretical and fundamental comments of this art of Chrysopeia; they wrote with great merit about it, clearing up for us the making of this mystery.

[238] This passage shows that the Anonymous is later than Stephanus.

[239] Red. from E: “As for us, after having read their very learned books, by dint of experience and practice, we have come to understand the nature of beings. This is also why we have recognized by ourselves and we expose that this art of Chrysopée is necessary and real”.

[240] That is to say the transformation of an alloy of copper and lead (molybdochalcum), into an alloy of copper and electrum or silver (molybdasèm). — See the Crayfish formula, Introd., p. 154.

[241] Ed. of E:. "We therefore prescribe to you, according to the philosophers, to abstain from all matters which have the power to burn..."

[242] Red. of E: "They give the name of magnesia (to this substance) because it is mixed (μίγνυμμι) kneaded, dyed and brought to a unique essence".

[243] The author opposes the masculine and the feminine of the word (All).

[244] Here AKELa intercalates several fragments already published in Zosimus III, xxxi, p. 199. — III, xxxix, § 4-5, p. 203.

[245] Red. of E: “Now, Olympiodorus explains that it is in liquids, etc. »

[246] Cp. Olympiodorus, p. 93.

[247] Red. from E: “For all write that the treatment is unique, as well as the fulfillment of the mystery. They return to this thought and say that the substances are brought into unity; for he who makes ios makes gold, they say, while, &c. ".

[248] P. 50 and 51.

[249] "On the sacred and divine art of the philosophers": Treatise dedicated to the great Emperor Theodosius.; Vat. CP. p. 378.

[250] To be compared with III, xliv, p. 211. This whole piece seems to be a continuation of I, iii and I, iv, p. 18 to 22. It has a unique character, because of the mystical connections that are exposed there between music and chemistry. We have tried to translate these comparisons as literally as possible, but without claiming to have penetrated their exact meaning, which the author perhaps did not fully understand himself. Moreover, this piece will no doubt provide specialists with some new information on Byzantine music.

[251] This passage refers to the Writing of the Christian Philosopher, VI, x, § 9, p. 396.

[252] E: “body”, instead of “books”.

[253] The four books on gold, silver, stones and purple are the four books attributed to Democritus. We see that a fifth book on pearls is inserted here, which appears to be the work transcribed in Part V, ix (p. 352). This was not understood by the copyist of E, who gives the following wording: “Now the most precious parts of this scientific matter are silver, gold, pearls and purple. ".

[254] E: “Special paths to those who pursue an art devoid of method for the ignorant, though methodical for those capable of instruction. »

[255] E everywhere replaces στοχὸς (or rather στοϊχος, row, line), by ἠχος; (tone, mode). Byzantine music, like Roman plainchant, is made up of 4 main tones (authentic) and 4 plagal tones: what constitutes the octo-echoes (CER).

E: "Just as the 4 most general tones or modes, the foundations of musical science, that is to say the 1st tone, the 2nd, the 3rd and the 4th, engender other tones, which differ in kind, and are called central and pure, non-tonal and equal, &c. ”

[256] That is to say of the philosophical egg.

E: “ornithogonia of the egg; now all voices and all sorts of songs are produced either by the larynx, or by the flute, or by the zither or another instrument; but all sorts of chants are composed of tones, or of 3, or of z, or of a single one. »

[257] The author excludes 2, 3, 4; like not making a melodic combination.

[258] E: “And it is impossible for it to form otherwise. For every kind of song must be formed from one of the aforesaid branches and, apart from these, there is no other process”.

[259] The six parts or tones indicated here are the pure (cathar or authente?); the central, the plagal, the equal (ison), the non-tonal and the detonant each of which can be taken with four different pitches (rows).

[260] E: “Likewise, in this divine art which is ours, there are irregularities and deviations, alterations and mortifications, if one operates with ignorance and without art. This is why young people must guard themselves carefully against all this”.

[261] The word mercury here seems synonymous with divine water, that is to say, the distilled liquids used for the operation. We find an analogous mystical meaning in Raymond Lully: Manget, t. I, p. 824.

[262] Translated, p. 212.

[263] E: “while by secondary and generic material we meant the material produced with the eggs of geese and other domestic birds, or with many (?) Now we call secondary species those obtained by fire (or without fire), or by a mixed process”.

[264] E: “The plinthion, composed of 32 strings; the lyre, composed of 9 strings; the Achilles, composed of 30 strings with an additional string, and the psaltery, etc. ".

[265] E: “There is another plinthion, made up of 32 strings. As for the instruments that we now call instruments par excellence (organs?), the ancients called them plinthion without strings and auletic. This instrument is appropriated to the divine powers and it agrees mainly with the souls; it is apt to fortify bodily powers; he possesses a charm to combat the pain of the soul, and to make God loved. What is still suitable for corps is the auletic (wind) instrument: it is made of copper, and it is called great organ and great psaltery”.

[266] E: “Just as in music there are many genres, species and instruments; so also in the divine art of chemistry, there are genera, species, varieties of treatment and combinations, and vessels, and ewers of copper, glass, and earthenware. And whoever knows all these varieties and that of the other arts, still knows how to accomplish what is sought. »

[267] E: “As the divine Xenocrates says, the eggs of geese and other private birds contain 4 species, namely: the white, etc. —Xenocrates is included in the old list of alchemical authors given by ms. M (Introduction, p. 110, 111).

[268] Like musical tones.

[269] The connections between music and chemistry are no longer found in the following paragraphs.

[270] Add. of E: "So that it seems to the uninitiated and the ignorant that it is impossible to undertake any operation)". — Mercurified here has a mystical meaning, implying the idea of ​​distillation. - PC. VI, xv, § 4.

[271] Flint? "That's the meaning of that word in neo-Greek."

[272] E: "End of the book of the musical stone".

[273] Treatise of a much more recent period, judging by the language. It is given here to show the continuity of the alchemical tradition in the Middle Ages. It is a suite of transmutation recipes.

[274] The philosophical egg here designates an apparatus, according to alchemical nomenclature.

[275] This piece follows the article by Cosmas in the manuscripts and seems to have been part of it. Is it really extracted from Zosimus? This is what is difficult to decide.

[276] This is the preparation of the oes ustum of Dioscorides. Introd., p. 133.

[277] Our mercury, or perhaps our arsenic. — Introduction, p. 239.

[278] Cp. Zosimus, p. 122. This is a variant.

[279] This § summarizes article VI, xiv, of Anonymous.

[280] Cp.408. —This axiomatic form recalls the Turba philosophorum and seems to belong to a similar tradition.

[281] Cp. Pelagius, IV, i, § 9, p. 248, and VI, xiv, § 8 and 9, Text.

[282] Cp. VI, xii, § 9, Text.

[283] There exists under the same name a small alchemical poem, where it is a question of the Emperor Nicephorus: his author would therefore be from the ninth century of our era. If the present text is by the same writer as the poem, the time would be indicated by the above. In the old list of St. Mark, under our number 38, (Introd., p. 175) we also read: “Chapters of Eugenius and Hierotheus”; but these chapters are not found in the current Ms. M.

[284] Cf. the book of Emmanuel, quoted in the Arab Pseudo-Aristotle, t. iii of Theatrum Chemicum.

[285] This author has also been given the name of Blemmydas and he has been identified, rightly or wrongly, with a figure of the thirteenth century, who refused the Patriarchate of Constantinople.

[286] Cp. p. 19.

[287] Scolie: “Note that it is impossible to heat the lime to change it into white lead, unless it is heated for 8 days on the glassmaker's furnace”. The successive reference signs of this scholia and the following ones in our manuscripts are the signs of the Zodiac, from Aries to Libra. (Cp. Introd., p. 205.)

[288] Scolia: “The plaster must be old, and (come from) a church (?)”.

[289] Scolia: "The lime here must be (weight) 4 ounces and the water (distilled ounce) weigh 36 ounces".

[290] Scolia: “Here you have decomposed lime; however the water necessary for (extractions), delays and waterings must be (of the weight) of 31 ounces”.

[291] Scolia: “These shells must be (weight) 18 ounces for the 3 times, and the water, weight 18 ounces each time. »

[292] Scolia: “This lime must be 5 ounces. As it should be mixed with water by 3 times; the whole must be of 15 ounce weight”.

[293] Scolia: “This oil must weigh 15 ounces”.

[294] Scolia: “Such a lime, I believe, must weigh 5 ounces, which (are) introduced into the previous 15 ounces; the water, you made it come up three times, with the unburned shells".

[295] Scolia: “4 hexes 25k, for 1 hex 25k. »

[296] Scolia: "A lime of this nature is the first that comes from the white divine water, when you want to whiten the magnesia".

[297] This final formula is already found at the end of VI, xizt, p. 405, footnote 2.