One thousand valuable secrets, in the elegant and useful arts, collected from the practice of the best artists, and containing an account of the various methods of engraving on brass, copper and steel. Of the composition of metals. -- of varnishes. Of mastichs, cements, sealing wax. Of the glass manufactory. Various imitations of precious stones and French paste. Of colours and painting, useful for carriage painters. Of painting on paper. Of compositions for limners. Of transparent colours. Of colours to dye skins and gloves. To colour and varnish copper-plate prints. Of painting on glass. Of colours of all sorts, for oil, water and crayons. Of preparing the lapis lazuli. To make ultramarine. Of the art of guilding. The art of dying woods, bones, &c. The art of casting in moulds. Of making useful sort of ink. The art of making wines. -- Of making vinegars. Of liquors, essential oils, &c. Of confectionary. Of preparing various kinds of snuffs. Of taking out spots and stains. Of fishing, angling, bird-catching, and a variety of other curious, entertaining and useful articles.

Title

One thousand valuable secrets, in the elegant and useful arts, collected from the practice of the best artists, and containing an account of the various methods of engraving on brass, copper and steel. Of the composition of metals. -- of varnishes. Of mastichs, cements, sealing wax. Of the glass manufactory. Various imitations of precious stones and French paste. Of colours and painting, useful for carriage painters. Of painting on paper. Of compositions for limners. Of transparent colours. Of colours to dye skins and gloves. To colour and varnish copper-plate prints. Of painting on glass. Of colours of all sorts, for oil, water and crayons. Of preparing the lapis lazuli. To make ultramarine. Of the art of guilding. The art of dying woods, bones, &c. The art of casting in moulds. Of making useful sort of ink. The art of making wines. -- Of making vinegars. Of liquors, essential oils, &c. Of confectionary. Of preparing various kinds of snuffs. Of taking out spots and stains. Of fishing, angling, bird-catching, and a variety of other curious, entertaining and useful articles.

Publication

Philadelphia: :: Printed for B. Davies, no. 68, Market Street, and T. Stephens, no. 75, South Second-Street.,

1795.

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Subject terms

Decorative arts -- Handbooks, manuals, etc.

Cookery -- Handbooks, manuals, etc.

Industrial arts -- Handbooks, manuals, etc.

Recipes.

Link to this Item

https://quod.lib.umich.edu/e/evans/n22165.0001.001 content_copy

Cite this Item

"One thousand valuable secrets, in the elegant and useful arts, collected from the practice of the best artists, and containing an account of the various methods of engraving on brass, copper and steel. Of the composition of metals. -- of varnishes. Of mastichs, cements, sealing wax. Of the glass manufactory. Various imitations of precious stones and French paste. Of colours and painting, useful for carriage painters. Of painting on paper. Of compositions for limners. Of transparent colours. Of colours to dye skins and gloves. To colour and varnish copper-plate prints. Of painting on glass. Of colours of all sorts, for oil, water and crayons. Of preparing the lapis lazuli. To make ultramarine. Of the art of guilding. The art of dying woods, bones, &c. The art of casting in moulds. Of making useful sort of ink. The art of making wines. -- Of making vinegars. Of liquors, essential oils, &c. Of confectionary. Of preparing various kinds of snuffs. Of taking out spots and stains. Of fishing, angling, bird-catching, and a variety of other curious, entertaining and useful articles." In the digital collection Evans Early American Imprint Collection. https://name.umdl.umich.edu/N22165.0001.001. University of Michigan Library Digital Collections. Accessed May 2, 2024. content_copy

Contents

• title page
• THE PREFACE,
• CONTENTS.
• SECRETS CONCERNING ARTS and TRADES.
  • CHAP. I.
    • I. A wax to lay on iron or steel.
    • II. A mordant water to engrave on steel.
    • III. To engrave with aquafortis, so that the work may appear like a basso relievo.
    • IV. Aquafortis for engraving.
    • V. To engrave on brass, or copper, with aquafortis.
    • VI. To engrave prints by aquafortis.
    • VII. Another.
    • VIII. The method of engraving with aquafortis.
    • IX. To engrave on wood.
    • X. To engrave on copper with the graver.
    • XI. To engrave on steel or iron; such as blades of swords, knives, &c.
    • XII. A water to engrave on iron or copper.
    • XIII. Another more mordant water.
    • XIV. An ardent water to engrave steel deeply, or even eat it off entirely.
  • CHAP. II.
    • I. A secret to cause the transmutation of iron into the finest German steel.
    • II. To make tin.
    • III. To break an iron bar as big as the arm.
    • IV. Another for the same purpose.
    • V. To compose a metal of a gold colour.
    • VI. Another composition of metal.
    • VII. To dissolve gold in your naked hand.
    • VIII. How to give some perfection to imperfect metals.
    • IX. To melt all sorts of metals in the shell of a nut, without burning it.
    • X. To increase the virtue of a loadstone.
    • XI. To restore gold to its weight, after it has lost it in regal water.
    • XII. To operate the transmutation of silver into gold.
    • XIII. Fixation of gold into silver.
    • XIV. To extract mercury from lead.
    • XV. Another mercury from lead.
    • XVI. Permutation of lead into silver.
    • XVII. Fixation of salt petre.
    • XVIII. Transmutation of iron into copper.
    • XIX. Another to the same purpose.
    • XX. Another.
    • XXI. To preserve the brightness of arms.
    • XXII. To manage steel so, that it may cut iron as it were lead.
    • XXIII. To soften steel.
    • XXIV. To extract mercury from antimony.
    • XXV. A magical mercurial ring.
    • XXVI. To melt the aforesaid mercury.
    • XXVII. The virtue of those rings.
    • XXVIII. A fixation of copper which will be found yield six ounces out of eight, on the test.
    • XXIX. To whiten copper so as to make very fine fi|gures with it.
    • XXX. To give the finest colour of gold to copper, in order to make statues, or other works with it.
    • XXXI. To imitate tortoise shell on copper.
    • XXXII. To perform the same on horn.
    • XXXIII. To soften metals.
    • XXXIV. To wash brass figures over with silver.
    • XXXV. To operate the transmuttaion of iron into steel.
    • XXXV. Another receipt for the same.
      • *†* An estimate of the costs and profits, of such as operation in France.
    • XXVII. To take immediately rust from iron.
    • XXXVIII. To obtain good silver from pewter.
    • XXXIX. To soften iron.
    • XL. To melt iron so that it will spread under the hammer.
    • XLI. To give iron a temper to cut porphyry.
    • XLII. To soften all sorts of metals.
    • XLIII. To soften a sophistic metal.
    • XLIV. A good temper for arms.
    • XLV. Another very hard temper.
    • XLVI. To melt iron and make it soft.
    • XLVII. To whiten iron like silver.
    • XLVIII. To render iron brittle so as to pound like glass.
    • XLIX. Ingredients which serve to the melting of iron.
    • L. To melt or calcinate the blade of a sword without hurting the scabbard.
    • LI. A spirit which will dissolve all forts of stones, without excepting the most hard.
    • LII. To refine pewter.
    • LIII. To fix mercury.
    • LIV. To extract mercury from lead.
    • LV. The composition of cast mirrors and cylinders.
    • LVI. The true composition of metallic mirrors, or look|ing-glasses, used among the ancients.
    • LVII. To make convex and ardent mirrors.
    • LVIII. To give tools such a temper, as will enable them to saw marble.
    • LIX. To soften iron, and harden it afterwards more than it was before.
    • LX. To operate the transmutation of iron into damask steel.
    • LXI. To guard iron against rusting.
    • LXII. To cut pebbles with ease.
    • LXIII. To whiten copper.
    • LXIV. A projection on copper.
    • LXV. A receipt for the preparation of emery.
    • LXVI. A factitious amiant; or the way to make an incomoustible cloth.
    • LXVII. To render tartar fusible and penetrating.
    • LXVIII. To extract mercury from any metal.
    • LXIX. To dye in gold silver medals, or laminas, through and through.
    • LXX. To refine pewter.
    • LXXI. To make a perpetual motion.
    • LXXII. A secret fire.
    • LXXIII. An oil, one ounce of which will last longer than one pound of any other.
    • LXXIV. To make a coppel with ashes.
    • LXXV. To solder iron, or any other metal, without fire.
    • LXXVI. To solder with fire.
    • LXXVII. To make Borax.
    • LXXVIII. To render iron as white, and beautiful, as silver.
    • LXXIX. To calcine pewter, and render it as white, and as hard as silver.
    • LXXX. Another to the same purpose.
    • LXXXI. To whiten brass.
    • LXXXII. Another method.
    • LXXXIII. To extract gold from silver.
  • CHAP. III.
    • I. A gold varnish.
    • II. How to prepare the lintseed oil with the hepatica|aloes, for the above purpose.
    • III. How to draw the tincture of rocou used in the com|position of the above varnish.
    • IV. A varnish for iceing.
    • V. An excellent varnish.
    • VI. Another, as good.
    • VII. A red varnish.
    • VIII. A black varnish.
    • IX. How to make a good ivory-black for the above purpose.
    • X. A varnish for floors.
    • XI. A varnish from Flanders.
    • XII. A varnish to lay on canvass sashes.
    • XIII. A varnish of shell-lac, for minatures and other pictures.
    • XIV. Another varnish for pictures.
    • XV. Another sort.
    • XVI. The Chinese varnish.
    • XVII. How to imitate a black jasper, or variegated black marble.
    • XVIII. Another way.
    • XIX. An excellent varnish to give a fine gloss to the above-mentioned jasper, or variegated black marble.
    • XX. A varnish which dries in two hours time.
    • XXI. A varnish for copperplate prints.
    • XXII. An admirable varnish.
    • XXIII. A varnish fit to lay on all sorts of colours.
    • XXIV. A varnish known under the appellation of Beaume-blanc, or white-balm.
    • XXV. A varnish to be used on plaister, and any other sort of materials.
    • XXVI. An excellent varnish, in which may be put, and diluted, whatever colour you like.—It suits, equally well, goldsmiths and limners.
    • XXVII. A Chinese varnish suitable to all sorts of co|lours.
    • XXVIII. Another Chinese varnish, more particularly calculated for miniature painting.
    • XXIX. How to make a red, with varnish, of a much higher hue than coral itself.
    • XXX. To make it gridelin colour.
    • XXXI. To make it green.
    • XXXII. Another way for the same.
    • XXXIII. To make it yellow.
    • XXXIV. To make it blue.
    • XXXV. Another sort of varnish.
    • XXXVI. A clear and transparent varnish fit for all sorts of colours.
    • XXXVI. To make sashes with cloth, which will be ve|ry transparent.
    • XXXVIII. The composition of varnish fit for the above sashes.
    • XXXIX. A fine white varnish.
    • XL. A curious and easy varnish to engrave with aqua|fortis.
    • XL. A varnish to prevent the rays of the sun from pas|sing through the panes of window-glasses.
    • XLI. To raise a relief on varnish.
    • XLII. To render silk stuffs transparent, after the Chi|nese manner; and paint them with transparent colours likewise, in imitation of the India manufactured silks.
    • XLIII. To make a transparent blue hue for the above purpose.
    • XLIV. To make a transparent yellow hue for the use.
    • XLV. To make a transparent green.
    • XLVI. To give the above mentioned painted silks, all the smell, and fragrancy, of the India ones.
    • XLVII. A most beautiful Chinese varnish.
    • XLVIII. The true receipt of the English varnish, such as in that country is laid on sticks and artificial-made canes.
    • XLIX. A fine varnish for all sorts of colors.
    • L. A varnish to lay on, after the isinglass.
    • LI. A varnish to gild with, without gold.
    • LII. A varnish water proof.
    • LIII. Callot's varnish, mentioned in Chap. I. p. 2.
    • LIV. A varnish to lay on paper.
    • LV. How to cast figures in moulds.
    • LVI. Another varnish.
    • LVII. L'Abbe Mulot's varnish.
    • LVIII. A varnish to lay over plaster-works, or fi|gures.
    • LIX. A very fine red varnish.
    • LX. A varnish to gild certain parts of stamped lea|thers, silvered in some places with pewter-leaves, and otherwise adorned with running stalks of flowers, of various colors, figures, and other sorts of embellishments.
    • LXI. To imitate porphyry.
    • LXII. To imitate serpentine.
  • CHAP. IV.
    • I. A subtile mastich to mend all sorts of broken vessels.
    • II. Another.
    • III. A mastich to make rock-works.
    • IV. An excellent mastich.
    • V. A mastich for broken wares.
    • VI. Another mastich.
    • VII. Another.
    • VIII. A cement.
    • IX. A glue to lay upon gold.
    • X. A size.
    • XI. An exceeding good size, called Orleans size.
    • XII. A cement for delft, and other earthen wares.
    • XIII. Another, for the same purpose, which resists water.
    • XIV. A cold cement for cisterns and fountains.
    • XV. A lute to join broken vessels.
    • XVI. A strong glue with soft cheese.
    • XVII. To make a strong mastich.
    • XVIII. To make corks for bottles.
    • XIX. To imitate rock works.
    • XX. To rub floors with, whether boards, bricks,&c.
    • XXI. A composition to make a relief fit to gild over, or even to raise, an embroidery.
    • XXII. Sealing wax. Receipe 1st.
    • XXIII. Another sealing wax. Receipe 2d.
    • XXIV. Another. Receipe 3d.
    • XXV. Another. Receipe 4th.
    • XXVI. Another. Receipe 5th.
    • XXVII. Another. Receipe 6th.
    • XXVIII. Another. Receipe 7th. Excessively good.
    • XXIX. Another. Receipe 8th.
    • XXX. An excellent sealing wax, by Girardot. Re|ceipe 9th.
    • XXXI. A colour for the above wax.
  • CHAP V.
    • I. The general composition of the paste to make spurious precious stones, such as Emeralds, Saphires, Ru|bies,&c.
    • II. To make Emeralds, and other sorts of precious stones.
    • III. To calcine calcedony-stone and crystal, in order to compose precious stones with them.
    • IV. To make emeralds.
    • V. For Topazes.
    • VI. For Sapphires.
    • VII. For Amethysts.
    • VIII. For Hyacinths.
    • IX. For Rubies.
    • X. Another way to make emeralds.
    • XI. Another composition for Hyacinths.
    • XII. Another for Rubies.
    • XIII. To make diamonds.
    • XIV. A water to harden artificial stones.
    • XV. A water, or rather a dye, to put under diamonds, both true and false, when they are set.
    • XVI. How to make white sapphires, to imitate true diamonds.
    • XVII. A better way of doing the same.
    • XVIII. A colour to make Rubies.
    • XIX. To whiten Amethysts.
    • XX. To make Emeralds light and hard.
    • XXI. To give crystal a perfect hardness.
    • XXII. A cement to render crystal like diamonds, and give the sapphires of Alenson a hardness to cut glass with ease.
    • XXIII. To make crystal throw off as much fire as diamonds.
    • XXIV. Another way of making diamonds.
    • XXV. To give the white Amythyst the color of a true diamond.
    • XXVI. To imitate chalcedony.
    • XXVII. To make a crysolite.
    • XXVIII. To make diamonds with jargons.
    • XXIX. To make what they call Doublets in Rubies and Emeralds, as they do at Milan.
    • XXX. To soften crystal.
    • XXXI. Another receipt to soften crystal, or any other colored stone, so that you may cut it like cheese; and restore it afterwards to its primary hardness.
    • XXXII. Another equally useful to soften crystal and steel.
    • XXXIII. A paste, which will procure as beautiful Eme|ralds as natural ones.
    • XXXIV. Another way of making Emeralds.
    • XXXV. To whiten imperfect diamonds, or those which have been discolored.
    • XXXVI. To counterfeit diamonds.
    • XXXVII. Various dyes for precious stones.
    • XXXVIII. A color for glasses and enamels.
    • XXXIX. Another ruby color.
    • XL. Another of the invention of Saint Marie, the enameller.
    • XLI. A composition which is the fundamental basis of all enamels.
    • XLII. To make an enamel as white as milk.
    • XLIII. To make an enamel, turquoise color.
    • XLIV. How to prepare the scories of copper for the above purpose.
    • XLV. To make blue enamel.
    • XLVI. To make green enamel.
    • XLVII. To make a black shining enamel.
    • XLVIII. To make an enamel purple colour.
    • XLIX. Another.
    • L. A yellow enamel.
    • LI. To make a crystaline matter, which serves as a basis to red-color enamels.
    • LII. How to make a fine preparation of fusible magne|sia, to be employed in the making of red enamels.
    • LIII. To make a red enamel, of a most bright and beau|tiful hue.
    • LIV. To make an enamel, true Balais-ruby colour.
    • LV. To make a bright enamel, escarbouncle colour.
    • LVI. To give rock crystal the various colors of topaz, rubies, opal, heliotrope, and others.
    • LVII. The method of counter-drawing on artificial stones, the original camieaus, intaglios, and other gems, which are kept and preserved in the several mu|seums of Europe.
    • LVII. To jasper glass globes.
    • LVIII. To give globes a silver color.
    • LVIII. A good method for tinning the above mention|ed glass globes.
    • LIX. To make the same in colors.
    • LX. To stick these globes upon one another.
    • LXI. To make transparent frames.
    • LXII. Another.
    • LXIII. Another way, which will make the frame look as made of glass, and even a great deal more clear.
    • LXIV. A white paint to preserve the putty which is put round the panes of glasses against the injuries of the weather.
    • LXV. To clear glass.
    • LXVI. How to distinguish a true from a false stone.
    • LXVII. Another to the same purpose.
    • LXVIII. To make pearls, and swell them to what size you please.
    • LXIX. To dye crystal ruby hue, with lake.
    • LXX. To make a sapphire.
    • LXXI. Another composition for the sapphire.
    • LXXII. To make an amethyst.
  • CHAP. VI.
    • § 1. To paint in varnish on wood. (Useful to Carriage Painters.)
      • I. The preparation of the wood, previous to the laying of colors, and the general process observed in laying them on it.
      • II. To make a black.
      • III. To make a blue.
      • IV. To make the Gridelin.
    • § II. To paint on paper.
      • V. For the red.
      • VI. To make a fine yellow.
      • VII. To make a green.
      • VIII. To transfer a print on vellum, and then paint it.
    • § III. Composition for Limners.
      • IX. How to prepare most colors for limning.
      • X. To make what is called lamp-black.
      • XI. Another way of making black.
      • XII. To make a blue.
      • XIII. To make a turquin blue.
      • XIV. A fine green for limning.
      • XV. Another for the same purpose.
      • XVI. To make what is called the Sap-green, or black|berry green.
      • XVII. To make lake.
      • XVIII. To make a liquid lake.
      • XIX. Another way.
      • XX. For the vermilion.
      • XXI. For the making of carmine.
      • XXII. Of the choice of colors fit for expressing the va|rious complexions.
    • § IV. To make transparent colors.
      • XXIII. For the green.
      • XXIV. For the red.
      • XXV. For the yellow.
      • XXVI. For the blue.
      • XXVII. Another blue, very like ultramarine.
      • XXVIII. A pale red to paint on enamel.
      • XXIX. Process of making the purple, for painting on enamel; a most admirable secret.
      • XXX. How to make a fine flesh colour.
      • XXXI. A good way to make carmine.
      • XXXII. Another way.
      • XXXIII. The whole process of making ultramarine, three times experienced by the author.
      • XXXIV. Another very fine and well-experienced ultra|marine.
      • XXXV. A very good and experienced pastil to make ultramarine of.—The doses as for one pound.
      • XXXVI. The way of mixing the lapis with the pastil, to make ultramarine.
      • Observations on the above process.
      • XXXVII. Another secret to compose a fine blue. fit for washing, in drawings, instead of ultramarine, which is both too dear, and too strong, to be used for that purpose.
      • XXXVIII. The true secret of making Iris-green.
      • XXXIX. To make a dark green, whether for the grounds of miniature pictures, or for washing on pa|per, or, in short, for draperies and terraces.
      • XL. To make the Bistre, for the wash.
      • XLI. The secret for a fine Red for the wash.
      • XLII. A secret to make Carmine, at a small expence.
    • § V. Composition of colors, to dye skins or gloves.
      • XLIII. A lively Isabel.
      • XLIV. For the same, paler.
      • XLV. For a pale filbert color.
      • XLVI. For an amber color.
      • XLVII. For the gold color.
      • XLVIII. For the flesh color.
      • XLIX. The straw color.
      • L. A fine brown.
      • LI. To make a fine musk color.
      • LII. To make a Frangipane color.
      • LIII. An olive color.
      • LIV. For the Wainscot color.
      • LV. How to make Skins and Gloves take these Dyes.
      • LVI. To varnish a Chimney.
    • § VI. To color, or varnish, Copperplate-prints.
      • LVII. To varnish Copperplate-Prints.
      • LVIII. How to color these prints, in imitation of Pic|tures in oil colors.
      • LIX. A varnish which suits all sorts of prints, and may be applied on the right side of it.—It suits also pic|tures and painted wood. It stands water, and makes the work appear as shining as glass.
      • LX. To make appear in gold, the figures of a print.
      • LXI. A curious secret to make a print imitate the paint|ing on glass.
      • LXII. Another to the same purpose.
      • LXIII. The method of chalking, for those who are not acquainted with drawing.
      • LXIV. How to prepare a transparent paper to chalk with.
      • * LXV. Another, and more speedy method of making a transparent paper, to be used instantly.
      • LXVI. A varnish to render transparent the impressi|on of a print which has been glued on glass, and the paper scratched off as mentioned in Art. lxi. and lxii.
    • § VII. For painting on glass.
      • LXVII. How to draw on glass.
      • LXVIII. A color for grounds on glass.
      • LXIX. Preparation of lake, for glass.
      • LXX. Preparation of the blue purple, for glass.
      • LXXI. Preparation of the green, for glass.
      • LXXII. Preparation of the yellow for the same.
      • LXXIII. Preparation of the white.
      • LXXIV. The proper varnish to be laid on glass after painting.
      • LXXV. How to paint on glass without fire.
    • § VIII. Preparations of colors of all sorts for oil, wa|ter, and crayons.
      • LXXVI. An oil to grind colors with, when the works are much exposed to the injuries of the weather.
      • LXXVII. To marble and jasper paper.
      • LXXVIII. To clean pictures.
      • LXXIX. Another for the same purpose.
      • LXXX. A secret to render old pictures as fine as new.
      • LXXXI. An oil to prevent pictures from blackening.—It may serve also to make cloth to carry in the pocki|et, against wet weather.
      • LXXXII. A wash to clean pictures.
      • LXXXIII. Another way.
      • LXXXIV. Another way.
      • LXXXV. A very curious and simple way of preventing flies from sitting o pictures, or any other furniture, and making their dung there.
      • LXXXVI. To make indigo.
      • LXXXVII. To make a yellow.
      • LXXXVIII. An azure of mother-of-pearl.
      • LXXXIX. A white for painters, which may be preserv|ed for ever.
      • XC. Another white for ladies' paint.
      • XCI. A good azure.
      • XCII. An azure from silver, done in less than a fort|night.
      • XCIII. To make an azured water.
      • XCIV. Another way of making azure.
      • XCV. A fine azure.
      • XCVI. Another way.
      • XCVII. Another way.
      • XCVIII. To make an admirable white lead, fit for oil painting and coloring of prints.
      • XCIX. The preparation of verdigrise.
      • C. A fine liquid green.
      • CI. To make the Stil-de-grain, which we call Brown pink.
      • CII. To make a fine vermilion.
      • CIII. A secret to draw without either ink or pencil.
      • CIV. To make an imitation of enamel on tin, for chim|ney-branches, &c.
      • CV. A very valuable secret to make exceeding good cray|ons, as hard as red chalk. This secret is of the discovery of Prince Robert, brother to Prince Pala|tine.
      • CVI. To render the stone-cinnabar and vermilion finer, and at the same time, to prevent them from black|ening.
      • CVII. The true process used in the composition of the Eastern carmine.
      • CVIII. The process observed in making the lake.
      • CXI. To make the fine columbine lake.
      • CX. A fine red water, for miniature-painting.
      • CXI. The receipt of the fine Venetian lake.
      • CXII. Directions for coloring prints.
      • CXIII. Directions for the mixture of colors.
      • CXIV. Directions for painting fresco.
      • CXV. Directions for the choice, use, and composition, of the colors employed for the above purpose.
      • CXVI. Directions for painting in oil on a wall.
      • CXVII. Method 2.
      • CXVIII. Method 3.
      • CXIX. Directions for painting in oil on wood.
      • CXX. Directions for painting in oil on canvas.
      • CXXI. Which colors are used for the above purpose.
      • CXXII. Which oils are used in painting.
      • CXXIII. To take off instantly a copy from a print, or a picture.
      • CXXIV. Directions to make the Spanish carnation.
      • CXXV. To make the Spanish ladies rouge.
      • CXXVI. A fine lake, made with shell-lac.
      • CXXVII. Directions to make cinnabar, or vermilion.
      • CXXVIII. Another, very different, method of making cinnabar.
      • CXXIX. An azure as fine as, and which looks similar to ultramarine.
      • CXXX. The same, another way, as practised in Ger|many.
      • CXXXI. Another very fine azure.
      • CXXXII. Another.
    • § IX. Preparation of the lapis lazuli to make ultrama|rine.
      • CXXXIII. Just. The general manipulation of the whole process; each single part of which shall be treated of in particular, afterwards.
      • CXXXIV. 2d. Directions to be observed in the process of preparing the strong cement, in which the lapis lazuli is to be incorporated, to draw afterwards the azure from it.
      • CXXXV. To make another cement, of a softer nature, for the said azure.
      • CXXXVI. Directions to prepare and purify the lint|seed oil for the azure.
      • CXXXVII. The lye to wash the ultramarine with.
      • CXXXVIII. Another sort of lye for the same purpose.
      • CXXXIX. Directions for the choice of the vessels in which the most impure ultramarine is to be washed, in order to be mixed afterwards with the other a|zure.
      • CXL. Observations proper to be made for dis|cerning the virtue, and good or bad qualities of the lapis lazuli, from which you intend to compose ultramarine.
      • CXLI. The method of calcining, and otherwise pre|paring, the lapis lazuli, in order to grind it after|wards.
      • CXLII. Directions for making the liquor fit to grind the lapis with, in order to make the ultramarine.
      • CXLIII. The method of grinding the lapis lazuli or por|phyry, and the signs which attend it.
      • CXLIV. The method of incorporating the grinded lapis lazuli with either of the strong or soft cements.
      • CXLV. Directions for extracting the azure out of the cement.
      • CXLVI. Observations on the colors of the azures at their coming out of the cement, and the signs which attend them.
      • CXLVII. The washing and purifying of the azures after they are got out of the cement.
      • CXLVIII. Another way of purifying the same azures with yolks of eggs.
      • CXLIX. Another particular and scarce secret for pu|rifying azures.
      • CL. How to run the azures, after having been thus cleansed, washed and purified.
      • CLI. The method of making the green azure.
      • CLII. Another sort of green azure.
      • CLIII. A very fine method for marbling paper.
  • CHAP. VII.
    • I. The method of guilding with size, or with oil.
    • II. To gild with size, or what is called in burnish-gold.
    • II. To gild without gold.
    • III. Another to the same purpose.
    • IV. A gold without gold.
    • V. The preparations of the gum-water.
    • VI. To write in gold or silver.
    • VII. To gild on glasses, earthen, or china wares.
    • VIII. To write, or paint, in gold colour.
    • IX. To write, or paint, in silver, especially with a pencil.
    • X. To whiten the silver copper medals.
    • XI. A water to gild iron.
    • XII. To whiten exteriorly copper statues.
    • XIII. To write in gold letters on pots, or boxes.
    • XIV. To gild silver in water-gilding without the assist|ance of mercury.
    • XV. The liquor, called the sauce, which is to be used for coloring silver plates, gilt with the above des|cribed powder.
    • XVI. A water which gilds copper and bronze. A se|cret very useful for watch and pin makers.
    • XVII. Another.
    • XVIII. A water to gild steel or iron, after being well polished.
    • XIX. To silver copper figures.
    • XX. To silver, or gild pewter.
    • XXI. A composition to lay on lead, tin, or any other metal, in order to hold fast the ready gilt leaves of pewter which are applied on it; useful for gilding on high steeples, domes, &c.
    • XXII. To clean and whiten silver.
    • XXIII. The preparation of gold in shell.
    • XXIV. To bronze in gold color.
    • XXV. Another to the same purpose.
    • XXVI. How to matt burnished gold.
    • XXVII. How to do the same to burnish silver.
    • XXVIII. The method of applying gold, of silver, in shell, on the wood.
    • XXIX. To gild sandy gold.
    • XXX. The varnish fit to be laid on gilding and sil|vering.
    • XXXI. The method of bronzing.
    • XXXII. A water to gild iron with.
    • XXXIII. To make the fine writing-gold.
    • XXXIV. How to get the gold, or silver, out of gilt plates.
    • XXXV. To gild paper on the edge.
    • XXXVI. To gild on vellum.
    • XXXVII. Another way.
    • XXXVIII. Another way.
    • XXXIX. A gilt without gold.
    • XL. To gild without gold.
    • XLI. To gild on calf and sheep-skin.
    • XLII. Gold and silver in shell.
    • XLIII. To gild marble.
    • XLIV. To apply gold on glazed wares, christal, glass, china, &c.
    • XLV. Matt gold in oil.
    • XLVI. To dye any metal, or stone, gold color, with|out gold.
    • XLVII. To whiten copper.
    • XLVIII. To whiten silver without the assistance of fire.
    • XLIX. To whiten iron like silver.
  • CHAP. VIII.
    • I. The composition for red.
    • II. Another red.
    • III. Another way.
    • IV. To dye wood in a purplish color.
    • V. A blue purple.
    • VI. Another.
    • VII. A blue for wood.
    • VIII. A green.
    • IX. A yellow.
    • X. Another yellow.
    • XI. Another fiuer yellow.
    • XII. To dye wood in a fine polished white.
    • XIII. To dye in polished black.
    • XIV. Another way.
    • XV. To imitate ebony.
    • XVI. Another way.
    • XVII. Another way.
    • XVIII. Another ebony black.
    • XIX. Another way.
    • XX. A fine black, easily made.
    • XXI. To dye wood silver fashion.
    • XXII. To dye in gold, silver, or copper.
    • XXIII. To give a piece of nut, or pear tree, what un|dulations one likes.
    • XXIV. To imitate the root of nut-tree.
    • XXV. To give a fine color to the cherry-tree wood.
    • XXVI. To marble wood.
    • XXVII. To imitate white marble.
    • XXVIII. To imitate black marble.
    • XXIX. To marble, and jasper.
    • XXX. For the aventurine.
    • XXXI. A counter-faction of coral.
    • XXXII. To soften amber, otherwise karabe.
    • XXXIII. To take the impression of any seal.
    • XXXIV. Another way.
    • XXXV. To get birds with white feathers.
    • XXXVI. To soften ivory.
    • XXXVII. To dye ivory, thus softened.
    • XXXVIII. Another way to soften ivory.
    • XXXIX. Another way.
    • XL. To whiten ivory, which has been spoiled.
    • XLI. Another way.
    • XLII. To whiten green ivory; and whiten again that which has turned of a brown yellow.
    • XLIII. To whiten bones.
    • XLIV. To petrify wood &c.
    • XLV. To imitate tortoise-shell with horn.
    • XLVI. A preparation for the tortoise-shell.
    • XLVII. To dye bones in green.
    • XLVIII. Another way.
    • XLIX. To dye bones, and mould them in all manner of shapes
    • L. To dye bones in black.
    • LI. To soften bones.
    • LII. To dye bones in green.
    • LIII. A salt for hardening soft bones.
    • LIV. To make figures, or vases, with egg-shells.
    • LV. To dye bones and ivory of a fine red.
    • LVI. To make a paste in imitation of black marble.
    • LVII. A receipt to dye marble, or alabaster, in blue or purple.
    • LVIII. To bronze wooden, plaister, ivory, or other fi|gures, so that the bronze may stand water for ever.
    • LIX. The varnish fit for bronzing.
    • LX. A water to dye bones and wood.
    • LXI. To dye bones and ivory an emerald green.
    • LXII. To dye bones any color.
    • LXIII. To whiten alabaster and white marble.
    • LXIV. To blacken bones.
    • LXV. Another way to dye woods and bones red.
    • LXVI. The same in black.
    • LXVII. For the green.
    • LXVIII. To dye wood vermilion color.
    • LXIX. To soften horn, so that you may cast it in a mould as melted lead.
  • CHAP. IX.
    • I. To cast a figure in bronze.
    • II. How to gild such sorts of figures.
    • III. Of the choice and composition of metals.
  • CHAP. X.
    • I. A good shining Ink.
    • II. To write on grease, and make the ink run on it.
    • III. An ink-stone, with which ink-stands may be made, and with which you may write without ink.
    • IV. To write with common clear water.
    • V. A good ink, both for drawing and writing.
    • VI. To make very good ink without gall-nuts; which will be equally good to wash drawings and plans, and strike very neat lines with the pen.
    • VII. An invisible ink.
    • VIII. Another way.
    • IX. To make good India ink.
    • X. Red ink.
    • XI. A green ink.
    • XII. To make an ink which appears, and disappears, al|ternately.
    • XIII. The invisible method of conveying secrets. 1st. Ink.
    • XIV. An ink, to write over the other. 2d. Ink.
    • XV. Another ink which effaces the second, and makes the first appear. 3d. Ink.
    • XVI. An ink which will go off in six days.
    • XVII. Another which you may rub off when you please.
    • XVIII. Powder ink.
    • XIX. An exceeding good writing ink.
    • XX. A gold-color ink, without gold.
    • XXI. Another way.
    • XXII. To write in silver without silver.
    • XXIII. A good shining ink.
    • XXIV. A blue ink.
    • XXV. A yellow ink.
    • XXVI. A green ink, which may keep two years.
    • XXVII. A shining ink.
    • XXVIII. A way of writing which will not be visible, unless you hold the paper to the sun, or to the light of a candle.
    • XXIX. A secret to revive old writings which are al|most defaced.
    • XXX. To write in gold or silver letters.
    • XXXI. An Iris on white paper.
    • XXXII. A shining ink.
    • XXXIII. A common ink.
    • XXXIV. How to prepare printers' ink.
    • XXXV. The preparation of the ink which serves to write inscriptions, epitaphs, &c. on stones, marbles, &c.
    • XXXVI. T various ways of making an ink for wri|ting. 1st Method.
    • XXXVII. Another way. 2d Method.
    • XXXVIII. Another way. 3d Method.
    • XXXIX. Another way. 4th Method.
    • XL. Another way. 5th Method.
    • XLI. Another way. 6th Method.
    • XLII. Another way. 7th Method.
    • XLIII. Another way. 8th Method.
    • XLIV. Another way. 9th Method.
    • XLV. An ink which may be made instantly.
    • XLVI. Another way to the same purpose.
    • XLVII. A portable ink, without either gall-nut or vitriol.
    • XLVIII. Another portible ink, in powder.
    • XLIX. Another portable powder to make ink in|stantly.
    • L. Another sort of powder to the same purpose.
    • LI. A yellow ink.
    • LII. Another way.
    • LIII. Another way.
    • LIV. Another sort of yellow liquor.
    • LV. Another way.
    • LVI. Another way superior to all the rest.
    • LVII. Of the use of sugar-candy in ink.
    • LVIII. A sort of black ink fit for painting figures, and to write upon stuffs, and linen, as well as on paper.
    • LIX. To prevent ink from freezing in the winter.
    • LX. How to renew old writings almost defaced.
    • LXI. A green ink.
    • LXII. Another way.
    • LXIII. To write in gold letters, on iron or steel.
    • LXIV. An ink which writes like silver, without silver in it.
    • LXV. To write on silver in black which will never go off.
  • CHAP. XI.
    • I. To make a wine to have the taste and flavour of French muscat.
    • II. To make the vin doux.
    • III. To make vin-bourru, of an excellent taste.
    • IV. To imitate a malvoisie.
    • V. To change red wine into white, and white into red.
    • VI. To prevent wine from fusting, otherwise tasting of the cask, and to give it both a taste and flavour quite agreeable.
    • VII. To make a vine produce a sweet wine.
    • VIII. To make a sweet wine of a very agreeable flavour, and besides very wholesome.
    • IX. To clarify in two days new wine when muddy.
    • X. To make the wine keep mout or unfermented for twelve months.
    • XI. To make a wine turn black.
    • XII. To clarify a wine which is turned.
    • XIII. To correct a bad flavor in wine.
    • XIV. To prevent wine from spoiling and turning.
    • XV. To prevent thunder and lightning from hurting wine.
    • XVI. To prevent wine from corrupting.
    • XVII. To restore a wine turned sour or sharp.
    • XVIII. To restore a wine corrupted and glairy.
    • XIX. To prevent wine from growing sour, and turn|ing into vinegar.
    • XX. To make a new wine taste as an old wine.
    • XXI. To restore a wine turned.
    • XXII. To restore a wine fusted, or tasting of the cask.
    • XXIII. To prevent wine from pricking.
    • XXIV. To make wine keep.
    • XXV. To clarify wine easily.
    • XXVI. To prevent wine from turning.
    • XXVII. To correct a musty taste in wine.
    • XXVIII. Another method.
    • XXIX. To correct a sour, or bitter taste in wine.
    • XXX. To restore a spoiled wine.
    • XXXI. To sweeten a tart wine.
    • XXXII. Another way.
    • XXXIII. To prevent tartness in wine.
    • XXXIV. To heighten a wine in liquor, and give it an agreeable flavour.
    • XXXV. To give wine a most agreeable flavor.
    • XXXVI. How to find out whether or not there be wa|ter mixed in a cask of wine.
    • XXXVII. To separate the water from wine.
    • XXXVIII. To ungrease wine in less than twenty-four hours.
    • XXXIX. To restore a wine.
    • XL. To correct a bad taste and sourness in wine.
    • XLI. Another way.
    • XLII. Another way.
    • XLIII. To cure those who are too much addicted to drink wine.
    • XLIV. Another method, no less certain.
    • XLV. To prevent one from getting intoxicated with drinking.
    • XLVI. Another way.
    • XLVII. Another way.
    • XLVIII. Another way.
    • XLIX. Another method.
    • L. Another way.
    • LI. A method of making people drunk, without en|dangering their health.
    • LII. Another way.
    • LIII. To recover a person from intoxication.
    • LIV. To prevent the breath from smelling of wine.
    • LV. To preserve wine good to the last.
  • CHAP. XII.
    • I. To make good wine vinegar in a short time.
    • II. To change wine into strong vinegar.
    • III. To make very good and stong vinegar with the worst of wines.
    • IV. To turn wine into vinegar in less than three hours.
    • V. To restore such a wine to its first taste.
    • VI. An excellent preparation of vinegar.
    • VII. To render vinegar alkali.
    • VIII. To make in one hour, good rose vinegar.
    • IX. Another method to make such vinegar in an in|stant.
    • X. To operate the same in one hour's time on a larger quantity of wine.
    • XI. The receipt of the vinegar called the Grand Con|stable's Vinegar.
    • XII. A secret to increase the strength and sharpness of the vinegar.
    • XIII. Another way to do the same.
    • XIV. The secret for making good vinegar, given by a vinegar-man at Paris.
    • XV. To make vinegar with water.
    • XVI. To make good vinegar with spoiled wine.
    • XVII. A dry portable vinegar, or the vinaigreen pou|dre.
  • CHAP XIII.
    • I. To make as good wine as Spanish wine.
    • II. Another way to imitate Spanish wine.
    • III. To make the Rossolis.
    • IV. To make a Rossolis which may serve as a founda|tion to other liquors.
    • V. To make Ambrosy.
    • VI. For the nectar.
    • VII. A common Rossolis.
    • VIII. Another Rossolis.
    • IX. Another way.
    • X. To make Eau de Franchipane.
    • XI. Orange-flower water made instantly.
    • XII. Muscadine rose-water.
    • XIII. To make raspberry, strawberry, cherry, or other such waters.
    • XIV. Lemonade water at a cheap rate.
    • XV. Apricot water.
    • XVI. To make exceeding good lemonade.
    • XVII. To make orangeade the same way.
    • XVIII. To make Eau de Verjus.
    • XIX. To make orgeat-water.
    • XX. Other waters.
    • XXI. To make a cooling cinnamon water.
    • XXII. To make coriander water.
    • XXIII. Anise-seed water.
    • XXIV. Citron water.
    • XXV. Cinnamon water.
    • XXVI. To make cedrat water.
    • XXVII. To make cedrat another way.
    • XXVIII. Juniper-water.
    • XXIX. To make good hydromel; otherwise, metheglin.
    • XXX. To make Eau d'Ange.
    • XXXI. Another Eau d'Ange.
    • XXXII. Another Eau d'Ange.
    • XXXIII. A light and delicate Rossolis, known under the denomination of Populo.
    • XXXIV. Angelic water.
    • XXXV. The preparation of musk and amber, to have it ready when wanted to put in cordials.
    • XXXVI. To make Eau-de-Cete.
    • XXXVII. To make the compounded Eau-clairette.
    • XXXIX. The Cinnamon water.
    • XL. To make a strong anise-seed water, or animated brandy.
    • XLL. To make white Ratafia, called otherwise Eau-de-Noiau, or kernal water.
    • XLII. To make good Hypocres, both the red and white sort.
    • XLIII. To make good Rossolis.
    • XLIV. An essence of Hypocras, to make this liquor instantly, and at will.
    • XLV. An exceeding good Ratafia.
    • XLVI. An essence of ambergrise.
    • XLVII. Another, and shorter way of making the same.
    • XLVIII. A smelling water.
    • XLIX. A receipt to compose one pint of Rossolis, with which you can make forty.
    • L. To make a Rossolis after that of Turin.
    • LI. How to make Sharbat, a Persian species of punch.
    • LII. An exceeding fine essence of Hypocras.
    • LIII. To make Vin-des-Dieux.
    • LIV. Burnt wine.
    • LV. To imitate muscat wine.
    • LVI. Eau-clairette simple.
    • LVII. A violet water.
    • LVIII. To make a clear and white Hypocras.
    • LIX. For the white Hypocras.
    • LX. To make the true Eau-de-Noiau.
    • LXI. To make Eau-de-Fenouillette, such as comes from the isle of Retz.
    • LXII. To make an hypocras with water.
    • LXIII. Of the various liquors with which Hypocras may be made.
    • LXIV. A rossolis, Turin fashion.
    • LXV. An admirable oil of sugar.
    • LXVI. Another oil of sugar, without the assistance of fire.
    • LXVII. An admirable essence of red sugar.
    • LXVIII. Another oil of sugar, excessively good.
    • LXIX. How to extract the essential oil from any flower.
    • LXX. Essence of jessamine, roses and other flow|ers.
    • LXXI. To draw an oil from jessamine, or any other flowers.
    • LXXII. To draw the essential oil of roses.
    • LXXIII. The oil of cinnamon.
    • LXXIV. An essence of jessamine.
    • LXXV. Essence of Ambergrise.
    • LXXVI. Essence of capon and other fowls.
    • LXXVII. Virginal milk.
    • LXXVIII. How to make the Hipoteque.
    • LXXIX. An exceeding good ptisan.
    • LXXX. How to color any sort of liquor.
    • LXXXI. A ladies fine rouge, not at all hurtful to their skin like other rouges, wherein there always enters a mixture of lead of quick silver.
    • LXXXII. An exceeding fine smelling water, made at a very small expence.
    • LXXXIII. The receipt of the Eau-imperial, or impe|rial water.
    • LXXXIV. The receipt of the syrup of orgeat of Montpellier.
    • LXXXV. A receipt to make an imitation of coffee.
    • LXXXVI. Another way.
    • LXXXVII. Directions for preparing the true coffee.
    • LXXXVIII. Directions for the preparing of tea.
    • LXXXIX. A receipt for making of chocolate.
  • CHAP. XIV.
    • I. Preserved nuts.
    • II. Orange-flower paste.
    • III. Paste of Jessamine.
    • IV. Apricot paste.
    • V. Currant paste.
    • VI. A verjus-paste.
    • VII. How to make syrups with all sorts of flowers which shall be possessed of all their taste, flavour and fragrancy.
    • VIII. Raspberry syrup.
    • IX. Apricot-syrup.
    • X. The verjus syrup.
    • XI. A general manner of making syrups, applicable to almost all sorts of fruits, especially currants.
    • XII. To make liquid currants-jam.
    • XIII. To make the same with cherries.
    • XIV. Another way to preserve cherries, with or with|out stones.
    • XV. To make the liquid raspberry jam.
    • XVI. The verjus-jam.
    • XVII. The same with powder sugar.
    • XVIII. Peeled verjus.
    • XIX. To preserve March, double or single, violets.
    • XX. To make a dry preserve of the same violets.
    • XXI. Another way to make them liquid.
    • XXII. To preserve apricots, when neither too ripe nor too green.
    • XXIII. How to make a dry preserve of them.
    • XXIV. To preserve green apricots.
    • XXV. To make the Cotignac liquid.
    • XXVI. Another way.
    • XXVII. How to make the caramel.
    • XXVIII. To make Raisinet.
    • XXIX. To preserve quinces in red.
    • XXX. To do the same in white.
    • XXXI. To preserve Rousselet, Muscadine, and other sorts of pears.
    • XXXII. A preserve of green almonds.
    • XXXIII. To make the same into a compote.
    • XXXIV. To make dry portable cherries.
    • XXXV. The preserve of orange-flowers; whether in loose leaves, or in buds, or even in grapes or bunches.
    • XXXVI. A marmalade of orange flowers.
    • XXXVII. To make an apricot, or peach jam.
    • XXXVIII. An apricot jam, after the French way.
    • XXXIX. To make raspberry, currants, and cherry jam.
    • XL. To make a good currant jelly.
    • XLI. To make a verjus jelly.
    • XLII. To make an apple jelly.
    • XLIII. To make the conserve of orange-flowers.
    • XLIV. A conserve of violets.
    • XLV. A conserve with raspings of Portugal oran|ges and lemons, conjointly or separately.
    • XLVI. To make almonds a-la-praline.
    • XLVII. To whiten cherries, currants, raspberries, grapes, strawberries and other such like fruits.
    • XLVIII. To make iced maroons.
    • XLIX. To make the Royal-massepins.
    • L. To make Savoy biscuits.
    • LI. To make bitter almond-biscuts.
    • LII. To make meringues.
    • LIII. The same with cinnamon, or chocolate.
    • LIV. Another way of icing, contrived for the sake of certain scrupulous persons.
    • LV. To make gimblettes.
    • LVI. To make biscotins.
    • LVII. To make lemon lozenges.
    • LVIII. How to preserve orange-peels all the year round, but especially in the month of May.
    • LIX. To make a paste with whatever fruit it may be.
    • LX. The Genoa paste.
    • LXI. Quinces-jam, and other fruits.
    • LXII. Genoa biscuits.
    • LXIII. The Queen's cakes, or biscuits.
    • LXIV. Macaroons.
    • LXV. A method of making cakes exceeding fine.
    • LXVI. Another particular method of making cakes.
    • LXVII. A cream made without fire.
    • LXVIII. A cream which cuts as a rice pudding.
    • LXIX. To make an exceeding good boiled cream.
    • LXX. To make whipped cream.
    • LXXI. Another sort of a cream.
    • § II. Of Summer compottes, or stewed fruits.
      • LXXII. The raspberries compotte.
      • LXXIII. The apricots-compotte.
      • LXXIV. Another way of doing the same.
      • LXXV. To do the same fruit, as well as peaches, when ripe.
      • LXXVI. To make a compotte of the same fruits as above, and even plumbs, broiled.
      • LXXVII. To make a compotte of perdrigon-plumbs.
      • LXXVIII. The same for mirabelles, purple and black damask, Sainte-Catherine and other plumbs.
      • LXXIX. Compottes of verjus in grain.
      • LXXX. Compottes of peeled verjus.
      • LXXXI. The compottes of pears called muscat, the first and most early.
      • LXXXII. The compotte of the largest sorts of pears, such as Beurre, Messire-jean, Bergamotte, Verte|longue, Bzidery, Mouille-bouche, Amadotte, Double|fleur, Bon-chretien-d'hyver, Franc-real, &c. &c.
      • LXXXIII. A compotte of pears a-la-braise.
      • LXXXIV. A compotte of quinces.
      • LXXXV. Compotte of apples, Portuguese fashion.
      • LXXXVI. A jelly-compotte of apples.
      • LXXXVII. A compotte of apples a-la-bouillonne.
  • CHAP. XV.
    • I. How to reduce tobacco into powder.
    • II. How to purge snuff, and prepare it for admitting of odours.
    • III. How to perfume snuff with flowers.
    • IV. Another way to do the same.
    • V. Another method.
    • VI. Snuff of mille-fleurs.
    • VII. The odoring snuff after the method practised at Rome.
    • VIII. The snuff with the odour of civett.
    • IX. Amber-snuff.
    • X. The odoring snuff, Malthese fashion.
    • XI. The true Malthese method of preparing snuff.
    • XII. The Spanish method of preparing perfumed snuff.
    • XIII. To give a red or yellow color to snuff.
  • CHAP XVI.
    • I. To take off iron-moulds from linen.
    • II. To take off carriage-wheel's grease from clothes.
    • III. Against piss-spots.
    • IV. To take off all sorts of spots from cloth of whate|ver colour it may be.
    • V. A general receipt against all sorts of spots, upon every sort of stuff.
    • VI. Against oil spots.
    • VII. A washing ball to take off spots.
    • VIII. To take out pitch and turpentine spots.
    • IX. Against ink spots, whether on cloth or linen.
    • X. Another more simple remedy against ink when just spilled.
    • XI. Against oil spots on satin, and other silk-stuffs, even on paper.
    • XII. A preparation of balls against spots.
    • XIII. For silks.
    • XIV. To restore gold and silver laces to their former beauty.
    • XV. To restore Turkey carpets to their first bloom.
    • XVI. To make tapestries resume their first bright|ness when their colors have been tarnished and spoiled.
    • XVII. To take off all the spots of wax from the vel|vet of any color, except the crimson.
    • XVIII. To take the same off from silks and camblet.
    • XIX. To wash a gold or silver, or silk embroidery, on either linen or any stuff whatever, and render it like new.
    • XX. To take the spots off from silk and woollen stuffs.
    • XXI. To color velvet in red.
    • XXII. To revive the color of a cloth.
    • XXIII. To take the spots off from a white cloth.
    • XXIV. To take off the spots from crimson and other velvets.
    • XXV. To take off an oil spot from cloth.
    • XXVI. A composition of soap to take off all sorts of spots.
    • XXVII. To take the spots off from a white silk or crimson velvet.
  • CHAP. XVII.
    • I. How to intice a great quantity of fish to resort to a certain place.
    • II. Another receipt to the same purpose.
    • III. Another way.
    • IV. Another way.
    • V. Another superstitious method.
    • VI. Another on the same subject.
    • VII. To prevent the birds from spoiling a field sown with grain.
    • VIII. How to get a good many birds.
    • IX. Another way.
    • X. Another way.
    • XI. Another way.
    • XII. To preserve and multiply pigeons.
    • XIII. Another for the same purpose.
    • XIV. How to fatten pigeons.
  • CHAP. XVIII.
    • I. To whiten wax.
    • II. Another way of whitening wax in large manufacto|ries.
    • III. How to multiply wax.
    • IV. To make mutton suet candles, in imitation of wax candles.
    • V. To make soap.
    • VI. To prevent any thing from burning in the fire.
    • VII. To prevent burning one's fingers in melted lead.
    • VIII. A fire which cannot be extinguished by water.
    • IX. To prevent the oil of a lamp from smoaking.
    • X. Another receipt for the same purpose.
    • XI. To make an incombustible wick.
    • XII. A stone which is inflammable with water.
    • XIII. A receipt to make the true phosphorus, extracted from urine, and which is inflammable by the air, so that two pieces of wood may be lighted by it.
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