Excel Sheet Color Code

Gold Color, 18

Gold Leaf - when it mentions gold leaf occasionally I infer that is leaf from description of the technique

Ambigious Gold - when it doesn’t reference the form of the gold

Pure Gold - includes the explicit ‘pure gold’ and when gold is mentioned in casting techniques

Goldsmith, add p89r, 107r

• Potentially determine which types of gold were used on which surfaces or works. Is there a consistent usage for each type and (for example with the bronze the color of gold recipe the author says that this gold color can be added to any surface) does he give specific advice on which to use where (so implicit or explicit distinction between uses of types of gold)
• Discuss where in the manuscript they gold recipes are collected.There is a good concentration of them at the beginning that are in reference to gold leafing, then it seems there is a shift towards gold color/ imitation. Towards the middle references to gold are dispersed and seem to mention it as an afterthought. At the end it seems to shift completely to discussion of pure gold/ gold used for casting is almost always referenced along with silver  - these are just the initial impression that I got from going through the manuscript. Lets double check this based on the color coding to see if there is a traceable pattern
• See if you can go back through the ambiguous gold recipes and determine the likely form of the gold referenced (seems like they are about gold leaf, can we potentially make this assumption because they are located near gold leaf recipes?)
• How familiar was the author with the work of goldsmiths - he references them quite often - can we see a clear connection between his writing and that of more prolific goldsmiths manuals like cellini?
• Is there any way of finding out if he trained as a goldsmith at all, also what sorts of overlap there may have been between the profession or philosophies of goldsmiths and alchemists
• No way that he could have been a goldsmith - Michelle Bimbenet - Privat (?)
• If he was a goldsmith why speak about them in the third person
• Collect the occurences of his use of the word goldsmith
• Look at the frequency of the mentions of gold and also how dispersed they are. I think the longest he goes without refering to it is about 20 pages. Otherwise fairly consistently comes up
• Are there tangential jobs that would have been in the same circle as goldsmiths that the AP could have been a part of. If not an actual goldsmith certainly knew some fairly well
• What were the standards to become a goldsmith?
• It might be useful to go back through the pure gold recipes and distinguish those that are recipes that call for gold and silver and those that just mention it. And also when it is mentioned alongside silver
• Compare to other manuscripts in terms of how often they refer to gold
• By far his metal casting and subsequent goldsmith training was his most significant and most complete
• Self taught, used to help others self teach?
• Do I need to include discussion of other metals if I focus this on goldsmith identity?

P006r_1

•  For the gold on wood in matte gold and in mayerne, on p006r_1 there is a discussion on how to prepare wood:

Therefore for burnished <m>gold</m> take some good <m>chalk</m>, quite white, well ground and soaked with <m>distemper glue</m> and with it, make four coats one after the other on the <m>wood</m>. And the last being dry, rub it with <m>horsetail</m>, which is an herb differently named <m><al>horse</al>tail</m>, to render it well polished.

• Also, compare with Zazera, seems to coincide fairly well, esp with the candi sugar, though here it says not to use glue - also it seems more likely that our author has actually done this recipe based on the amount of precision in measurements and the advice he has for which ingredients are better than others whereas Wallert seems sceptical of the fact that Zazera did many of the recipes he records

P007r

• Do we want to pursue the ‘withstand rain on houses’ thing? Perhaps this is about the use of gold as decoration on houses or facades? Was this a practice in france at this time? Perhaps it also accounts for the different colors of gold - so tarnished gold alloys on houses or something?
• Also think about the connection to dragonsblood and medicinal recipes so the doublet recipe on same page has reference to dragonsblood and I believe there is another one about dragonsblood in a varnish to be applied to gold later in the manuscript

P007v

• For giving color to metals and woods might be relevant if we pursue this idea of many colored golds and manipulation of color
• Gonorrhea recipes on this page call for golden or yellow marcasite and then goldsmiths water. I wonder if this is tangential link to the healing properties of gold.  

P008v

• Ground gold and silver, first mention I’ve seen of pure gold. Calls for it to be ‘calcined’

• Calcine - To heat a substance to a high temperature but below the melting or fusing point, causing loss of moisture, reduction, or oxidation and the decomposition of carbonates and other compounds.

• Strange symbol. Perhaps try to track it down? I think it may be the mercury symbol
•  associated symbol is silverspirit- same symbol just with a half cresent underneath- is this also related to mercury? Wiki, cameo - mercury alloys easily with many metals such as gold, silver, and tin. These alloys are called amalgams. Used in the recovery of gold from its ores
• Quite clearly then our manuscript writer is familiar at least with the basics of alchemy
• In consistent in his use of the symbols, however - why use it here?
• Also, nearby recipe using marcasite

010r

• Imitation Jasper recipe calls for gold and silver leaves for marbled jasper
• 

10v

• Its unclear what form of gold is used in the taffeta recipe. Is this gold color or gold leaf? It would seem that gold leaf wouldn’t work well on a piece of cloth.
• Right above a recipe on layer of gold leaf on parchment - perhaps this is a gold on other materials page?
• Cleaning gold leaf that has been applied to iron
• Then shifts to cleaning or ‘whitening’ ceruse (tin or lead based white pigment)
• On 11r - how to oil paint azure enamel - “this is a secret hardly known to common painters”

11v

• Apply color of damascene steel on knives - the comment by Heather Wacha - they think this means that you apply it as one would apply to a touchstone - in fine strokes  

• How familiar was the author with the work of goldsmiths - he references them quite often - can we see a clear connection between his writing and that of more prolific goldsmiths manuals like cellini?
• Is there any way of finding out if he trained as a goldsmith at all, also what sorts of overlap there may have been between the profession or philosophies of goldsmiths and alchemists

• Richelet, 1680 : "Sorte de pierre dont les orfévres se servent pour voir si l'or est bon. [Pierre de touche fort bonne.]"
• Next recipe - getting rid of red or black eyes - is this a product of one of the previous ingredients? Aqua fortis (dilute nitric acid) or touchstone (flint, lydian stone or basanite)
• Its not clear what form of gold is used in either of the recipes on this page. It mentions ‘the gold’ but can we assume that this is gold leaf? The fact that Wacha’s comment suggests that it was applied with a paintbrush would suggest that it is not in leaf form…

12r

• The gold border that they mention in the manuscript may just refer to the gold color which may be applied in any form. Here is just seems like the aesthetic is the concern, not the technique

12v

• Mentions the goldsmith bouture but I’m not sure what that is. Is this word left because no english equivalent is available?
• In to whiten enilanroc the comments suggest that the author actually means cornaline spelled backwards, which according to Cotgrave is “a flesh-coloured stone that is easy to be graven on and therefore much used in signets.” Carnelian in english. - again makes to goldsmith profession -

• If he aligns with goldsmiths can we see any difference in attitude when he talks just about gold color and gold in casting?
• What was the difference between goldsmithing and alchemy? What were the contemporary understandings of the goldsmith ‘profession’ - in light of our class discussion on the complication of professions

15r (title) casting gold and silver

• A good deal about the properties of gold and silver, porous and ‘leaping’
• More about the sand than the actual metal I’d say -
• Its right after a recipe on casting metals generally so its discussing the specific differences in gold and silver
• Both this and previous recipe are about sand more than metals

15v

• Tablets - gold and silver just mentioned as potential materials to make tablets with

• Very short recipe

• Stamping  - writes about adding a ‘thin plate of gold’ on top of bronze medal and hammering it with a wooden mallet. Is this stamping? - It talks about ‘making the bronze medal ‘very light’, does this mean changing the color of the medal? It doesnt seem that the very thin gold plate is intended to be separated from the bronze medal afterwards but maybe he just assumes you know to do this? But it would seem like a delicate process that one would need more instruction on.

29r

• The entire page is one recipe entitled ‘stucco for molding’
• Gives  A LOT of detail with regard to quality/properties of ingredients,
• Talks about dusting the tragacanth gum with flour - I know this all too well from the experiments in sugarworks from earlier this semester. The gum can be far too sticky and the only way to make it more workable is to add flour. Also as he says there has to be a balance in the amount of flour added: if too little it sticks to everything and can’t be used. If too much it becomes brittle and won’t to itself and breaks into little bits. “When it can stretch enough without breaking”
• I wonder if it is worth going into the tense of the recipes. This one seems much more like a record of experimental notes rather than the instructions (this seems to happen when the you’re taking notes as you work rather than recording from memory or recording a recipe that you’ve never done)
• It says that you can apply gold and all colors - I assume that means only gold color. Is there any significance to the fact that gold is the only color mentioned
• Header - if you want that the mold remains white
• This seems like a comparable recipe to our matte gold recipe since it also refers to coloring molding and ornaments gold
• FIND IMAGES OF THIS EITHER IN ACTUALITY OR WHAT THEY WERE TRYING TO IMITATE

29v

• The reverse has a number of recipes on gold color
• Layer of gold - there is no gold in the recipe only terra emerita and saffron
• Does not indicate where or how to apply
• It could be that all of the recipes on 29v are dealing with gold color and not gold metal but it is not explicitly clear

32r

• Painters note just before the laying down gold in distemper
• Talks about the superior varnish of Flemish and how one can go from distemper to oil easily but not the other way around
• Gives a description of a method of laying gold that seems somewhere between having tried it and or at the very least having seen it used. He passes judgement on the types of people who use it and what the final result looks like
• Immediately gives advice on what would be a better method
• Below another description of what “others” do - this seems like a section that is filled with different profession description

32v

• What does ‘greater metal mean?’- in the French it is written as ‘grands metaulx’ with ‘grands’ in the margin as an author’s note

• What sense of revision do we have of within the context of the gold recipes?

• Identifies melting point depression when silver is mixed
• Geographical discussion - Germany again - I wonder if this is because he either learned these recipes/ trained in Germany or he is just deferring to them because they are thought to be the authority on metalworking at the time
• In the margin to the left he writes Gold, silver, copper, leton, iron

• Seems to have come back to this recipe quite a bit - these marginalia dont seem like the things that are written while doing an experiment but rather just having reread and thinking of amendments - a process that he is fairly familiar with?

34r

• Magic trick that is supposed to turn a ring into i suppose gold or silver powder or mercury? It requires a bit of forethought and it’s amusing to see him say to “make the appropriate faces” and the magic words “inhonorificabilitidinitatudinibus”
• Only recipe on this page
• Contains a labeled diagram of the vessels used at the top

36r

• Another magic trick
• Requires “goldibus powder’ but translators include the following comments Lorraine de la Ve..The closest translation to 'poudre d'oribus' ou 'poudre de perlimpinpin' would be 'snake oil' but we lose the idea of the substance 'powder' and there is no sense of a magic trick with 'snake oil' (more the miracle remedy sold by charlatans
• This could potentially be the same gold powder that is mentioned above - it would make more sense for this not to be actual gold powder since that would seem like a wasteful process just for a magic trick
• The goldibus powder used in this context might be used to evoke the transformative properties of gold!!

39r

• The header is the profession of goldsmiths
• Gold filings are bound to borax - according to Wikipedia: In artisanal gold mining, the borax method is sometimes used as a substitute for toxic mercury in the gold extraction process. Borax was reportedly used by gold miners in parts of the Philippines in the 1900s.[5]
• Gives a number of methods by which Goldsmiths extract or collect gold, though I’m not sure if this is gold mining - or maybe they have the raw material in their workshops and have to separate out the gold
• Puts a final note about trying these methods with enamel
• Also the dyer’s woad recipe includes a description of golden veins in good woad. Doesnt really seem like much more than a reference to a color

39v

• Refers to the best metals for making enamels - After applying the enamel one gilds the cut foliage - compares the hardness of copper in this context for pure silve and pistolet gold -  translator note says that the term pistolet might refer to French gold coins
• “Tracing a story” - translation note - Perhaps it would be better to translate ‘historie” as composition? - see Cole, Leonardo, Michelangelo, and the Art of the Figure
• If you want to paint with colors in the manner of glaziers….IMITATING the taille basse of goldsmiths, gild the whole glass with gummy water or garlic juice or fig tree milk
• The level of detail for this recipe seems like he has performed this before

40r

• The recipe on button is just after a list of materials and their descriptions, how to prepare them and where to get them
• This recipe just mentions the gold as a part of the enamel process very briefly. All of the recipes on this page are very short

40v

• This recipe is one that he has not performed before - ‘I believe is made in Flanders’
• Briefly mentions goldsmith technique for burnished silver leaf  which is thicker than that for painting - goldsmiths use a thicker leaf!!
• Compares profession of “makers of foil backing for gemstones and goldsmithing

41v

• Silver leaf is twice as strong as gold leaf
• Compares the properties of gold and silver leaf
• Very briefly if you want a gold color without gold, mix dried saffron with a little bit of massicot

47r

• Crucible recipe curiously imbedded in a list of health recipes for “teeth, epilespy or dizziness, and diarrhea and dysentery”
• The first two deal with oil (the first ends with an oil and the second is titled about an oil) seems as though he wrote these very close in time - the ink blots look similar and the end of the first one is smeared as if the quickly moved from one to the other
• Maybe there was a bit of a delay between the recipes after antimony oil one - still doesnt account for the association between the crucible and the
• Much more on crucibles and casting on the verso

47v

• The proper type of stone needed to cast 22 carat gold without prepare  - thats the entire recipe
• Continues on to folio 48 with founder but then talks about how to care for animals ??
• In the hot-worked steel recipe on 50v_2 there is a translator’s note : donner une chaude" is a technical term used by goldsmiths as well as glass makers and iron workers.

52r

• I am very confused by this recipe and I am unsure what the desired outcome is
• It seems that the gold in this context is being used not for its visual properties of lustre or color but rather as a health supplement maybe- really unclear.
• Uses a number of alchemical symbols.  
• Eventually deals with forging metal weapons?
• Mentions Saint’s days
• Come back to this recipe
• Next pages go on to talk about different types of metals with a color, linseed, and almond tree recipe inserted
• Unrelated: In the 55v AK: from Cotgrave: "A certaine weight; (among Goldsmiths, seven graines, among Lapidaries, two carrats) also, the stuffe, or thin woollen cloth, called Wadnall." Marc Smith  382014 10:45

57r

• Strange formatting on this page
• The recipes don’t seem to have headers in the same way that the rest of the manuscript does
• These are all under the header of ‘To Paint’
• Only refers to the gold colored varnish of turmeric that Emilie Foyer spoke of
• Effect of applying gold leaf and then stretching it creates powdered gold

65r

• The Flesh tone recipe, “Carnations” - seems to have been written in a different color ink - likely at a different time than the others on this page - note on the side
• It seems that he is talking about applying a gold color but here still refers to it as gilding - otherwise what form does matte gold take if it is not just a painter’s pigment?
• Ceruse, minium, masicot and ochre are greasy and make good gold colors - because they add a pseudo lustrous effect?

65v

• Mentions the word Cocon which pam smith says was mentioned on 32r as a base to apply gold leaf  thinks it might be a secret- could be compared to the recipe by Zazera -
• Is it priming or printing in the header for recipe 7? - Suggests that cleaning oil gold is not as good as ceruse or yellow ochre or massicot

66r

• Will come back for more detailed analysis later since this is where the matte gold recipe is
• Here he also says that you gild in matte gold…
• In the matte gold recipe itself he writes about how it should ‘tend towards gilded gold’ showing his interest in a verisimilitude
• Again this concern with rain - though it seems highly unlikely that these would have been outside - does he use rain as a catch all term to mean any form of moisture?
• Here he compares the gold made with different colors and the gold of gilding -
• This recipe is becoming much less clear than initially expected - its interchanges between discussion of matte gold and gilded gold but the process for applying matte gold is also called gilding which suggests that is it not just a color…
• Matte gold entry is actually very dense and continues into the verso

73r

• To make bronze with a gold color - on the same page as the flanders varnish recipe though at the bottome - flanders varnish perhaps doesn’t really have to do with gold at all - since here as well as in the matte gold recipes it is rather dealing with wood than with the gilded surface
• To make bronze with a gold - the color of gold is created here but with other metals - the fact that he speaks of it as a gold color seems to suggest that he is not under the impression that he is “ripening” or turning these metals into gold but just creating this effect - this seems like a good suggestion that he does not actually consider this an alchemical process
• Perhaps the gold effect hinges on the source of the copper and its natural composition? Perhaps there is an unstable idea of what copper is at this time as well.

75r-v

• On the page seems to be ways of preparing ingredients. A good deal of recipes dealing with applications on wood
• Seems like a combination of yellow gold color and gilding as far as I can tell
• So applying bronzes, applying gold color, gilding wood gilding with ground gold
• The recipes in the 70s all seem to have to do with color manipulation
• Can we tell which of these gold bronze colors that he actually executed?
• On 76v the ‘gilding iron or tin’ recipe uses the word gilding but says terra merita - is this just the product of translations?
• On 89r ‘Powder of ox bone and rock salt” - reference to tripoli OED: A fine earth used as a polishing-powder, consisting mainly of decomposed siliceous matter, esp. That formed of the shells of diatoms; called also infusorial earth or rotten-stone. Also referred to in the OED entry as 'goldsmith's earth' (referenced in Pliny 'Naturalis Historia', XXXV, vi 530 Lydia Hansell  2062014 11:12 PM

94r

• Pretty large gap between these and the last gold recipes. Usually not more than 2 or 3 pages between here somewhere near 15
• Here it seems to begin the section where gold is mentioned as a decorative element and always phrased “gold or silver” as in the grey hilts recipe’
• Calls gold and silver metal ‘coloring agents’ with regard to sword hilts

97r

• Gilding - apply the gold leaf with tweezers, a burnisher, and sanguine - seems like an abbreviated method here- explicitly says that you can’t touch it with your hands so we know that it is delicate, but it is also supposed to be “thicker and stronger than the ones painters use. -
• If you’re not casting the gold here it would seem that gold leaf would not be so substantial for the hilt of a sword, especially if it is being used - perhaps it is just a decorative sword or one worn but not used (court)
• Mentions gold in the silver gilding recipe only insofar as it compares to the treatment of the silver leaf

 98r

• Leadsmiths say that making a lizard… turn tin golden - transformation and transmutation question
• Lizards have the same transmutation association
• <ab id=”p098r_b3b”>Leadsmiths say that making a lizard die in the melted tin makes the tinning become very golden. Or else by adding sal ammoniac.</ab>

99v

• To gild frames paintings without gold
• Might be a good comparison for the matte gold and other painting frames recipe
• Very short in comparison to the matte gold recipe
• Also, gives his opinion - suggesting that it is not good to use this method

100r

• Gold color, right after the gild frames, orange orpiment, varnish, - what does this association tell us?
• To very quickly make a matte layer of <m>gold</m> on canvas or other <m>oil</m> paintings
• Might also be a good comparison for the matte gold recipe - also destabilizes what is meant by matte gold since it doesnt seem to mean gold leaf
• 100v - ruby gold leaf - has obviously performed this experiment
• Discussions of enamels concentrated around late 90s early 100s and so reemergence of gold leaf

104r

• How to corrode and desolve pure gold
• Calls for tenuous gold what is this? “Lor fort tanvre”
• Good mixture to color gold - I assume this is to change the color of gold - what color would it turn?
• Gold also used as a reference for how to treat silver, not an ingredient

106r

• Making Gold run for casting:
• A good deal on the nature of gold and best way to cast, how it runs, how it is difficult to hammer when it is too pure,
• Goes into a great deal, seems to have completed this recipe
• A good deal about

107r

• Look into what crocum ferri is and how it reacts to gold. It is used a few times in the same recipes as gold, specific for gold casting and here it says that it “attracts” gold
• The page is doing some really weird things in numbering, so the recipes are numbered 107r but the pages are 107v and 108r as well… whats going on here?

111v

• Lizards - small lizards that are caught in the summer are the best for casting in silver, gold and other metals because scales rougher and show better
• Mentions gold and silver as an afterthought in these recipes that are primarily about casting - often says that gold and silver a good for casting this particular object or with a particular material

115r

• Note about everything above said : Casts for gold must be reheated

116r

• In enamel recipe for very fine gold leaf he says that the gold leaf can be fortified with silver which is then eaten away by aqua fortis leaving the gold, however, earlier he wrote about a recipe that used aqua fortis (HNO3) to corrode or dissolve pure gold, how would it not in this instance dissolve the gold leaf? Aqua regia (HNO3 +HCL) is supposed to be able to dissolve gold not fortis. Perhaps this hinges on the definition of “tenuous gold”
• The end of the enamel gold leaf recipe is lost under tape according to translator note

118r

• Sal Ammoniac  (KNO3) is good for use in casting gold and silver
• On 118v - in casting in a box mold : might be good to read Rosemarijn’s annotation
• Often talks about reddening the box mold - does this just mean heating until red hot?
• On p 121v he says “Sal armoniac is friend with gold and silver” “Le sel armoniac est amy de lor & de largent”
• Brass is the enemy of gold and the friend of silver, Le letton est ennemy de lor<lb/>
• & amy de largent
• 132v - crocum ferry is a friend of gold pource que cest lamy de lor

119v

• a good deal about his tone on things that hes obviously actually experimented on...perhaps compare his distinction between the way that he does 'field notes' and the way that you do them...when do you list as instructions and when do you record your experiences and is it possible that he is having similar distinctions in his tone?
• Are his references to Germany just in deference since they were the leading goldsmiths at the time? Maybe he didn’t train in Germany but just refers to their methods a good deal
• Just talking about the best clay for making gold molds- don’t mix it with those used for lead, tin, and latten since these will make the gold brittle
• Excellent secret to mould in hollow and very delicately in fine gold use the same sand mentioned above, cast in alloyed silver, then gild in fine gold many layers until it is as thick as a piece of paper (three or four or five times), then dip in aqua fortis until silver corrodes away -
• Calls the resulting mold “ hollow, light and wonderful”, “demeurera creux & leger & admirable.”
• Mini section on goldsmiths (just that he refers to them three times in 3 pages)
• Mentions a ‘rare secret’ to use goldsmith’s sand to preserve flowers

121v

• On a page with a list of ingredients and what their casting uses are
• Mentions goldsmiths twice on page 121v. refers to ‘they’ and then something about making silver run but does that mean that this material is unknown to goldsmiths (like he has the secrets) or that they use it when available?

123r

• How to make argenta run
• Strange format for a recipe for our author-practitioner specifically
• Starts with a list of materials  and gives the weights of which one should use
• Personal safety equipment: cover your face, nose and mouth, don’t inhale
• Suggests putting a gold coin in your mouth so you can protect yourself from the adverse effects of the experiment
• Potentially about the health benefits of gold?

124r

• Fine Gold: a kind of gold that very fine and unalloyed is “passed through” aqua fortis and antimony. Il y a une nature dor quencores quil soit fin & sans alliage<lb/> & passe par leau fort & lantimoyne 
• Is this the tenuous gold? What does it mean for the gold to pass through these materials?

124v

• Pure gold not as good for rouge clair enamels
• Alloyed gold, such as for escu or pistolet coins better - what is the composition of these alloys do we know?
• Escu, pistolet, gold with grains in it
• Fine gold doesnt flow, alloyed gold does
• Gold and silver “do not get acid” when dipped in water - what does this mean?
• Gold a quarter heavier than lead
• Gold becomes green like emerald when gets right heat - this cant be, what do you mean? A particular gold alloy?

126v

• Crocum ferri
• Look it up
• Absorbs and attracts gold well and therefore is used in cast molds

128

• Capital league
• The author is
• probably referring to "Capitole", the City
• Hall of Toulouse.
• Grégory Champeaud  1262015 1:35 AM
• Comment [1375]: League here as to be
• understood here as "an excellent soulder,
• eight parts whereof be fine gold, three
• silver, and three copper" (Cotgrave)
• Whitening silver, coloring gold : Note that the bullitoyre for <m>silver</m> is not appropriate to use in a crucible because the <m>tartar</m> evaporates. But the vessel, being made of <m>copper</m>, is excellent to whiten <m>silver</m> and for the mixture which colors <m>gold</m>.</note>

Much of the recipes towards the end here are only about casting and refer to gold in order to distinguish between the casting of gold and silver  (or give more details on these particular methods) from whatever other method they are referring.

135r

• Couleurs pour or ou Saulce, Colors for gold, or sauce
• Look up Borax
• 135v for example is a text book ‘I’ve done this experiment’

136v

• Germany

138v

• Again uses the word tenuous to describe gold
• Pure gold not delicate enough for delicate casts
• Discusses goldsmiths

139

• Entire page one recipe on casting in tin and lead with extensive marginal notes
• I think it describes some sort of gold engraving tool

• 141r - fill in mold losses with goldsmiths cement he suggests
• 145r - cuttlefish bone is not the best to be cast in gold and silver, gold does not react well to humidity
• 147v - in Latten casting mentions Calamine which is a minearl substance that Cotgrave says looks like gold
• 149r - one calls it gold from the Rhine  - Alluvial gold

• Also mentions German goldsmiths here
• The alluvial gold can’t be purified however
• In next recipe talks about germany again Artisans use watermills to be hammered (I assume this means to flatten them?)

• 153v

• When gold is too dry you use verdigris to soften it
• Usually you would try to keep verdigris away from your gold because it can be corrosive/ have adverse effects but here it seems these effects are desirable

• 154r

• Removing gold

• Discusses damages to gilt coins: if it is reheated the mercury in the lead alloy of the coin will “pierce” the gold coin

• Cutting lead note

• Change in the color of gold and silver if exposed to a certain kind of smoke

• Softening silver mentions goldsmith, also in note
• Metal file dust

• Metal file dust of gold is made from saltpeter

• 156r_a2: describes again the casting in thin gold by casting in silver, gilding a number of times and then corroding away the silver with aquafortis - Here he doesn’t call it a secret though. Notes that silver should be of low quality to corrode well in aqua fortis
• 156v - molding a fly - says that one can cast them in gold or silver but usually has to do the legs and wings separate (since they are too delicate I suppose) - gives more detail in side note
• 162r - look into his use of Latin maybe…
• 164r - first mention of smelting is this translators being inconsistent? Quand tu fondre de
• 166r Dragons blood, one of the few if not the only recipe that mentions imitation in a gold recipe. . Only others are those concerning enamels. I think this might actually be an enamel recipe
• 166v - caput mortuum dissolved in distilled vinegar
• Dragonsblood        165r        imitate lacquer
• Softening gold        166v        dissolve caput mortuum in distilled vinegar
• Improve the color of gold        166v        This may be a nice one for comparison to the effect of gold
• Enameling thin gold        169r        Just in a list, I think this is sort of like an incomplete or beginning table of contents. or maybe its recipes he still plans to record?

Anonymous author in early modern writing article

• First person vs third person in actual french
• Diverse materiality of gold - what are the colors
• Shifting concept, not as stable
• Glue gilding vs mayerne oily based gilding
• The complexity of the meaning of ‘gold’ for the author practitioner through the lense of matte gold recipes
• Development of gold color prior to this moment
• Not necessarily bringing in the experiment or reconstruction unless truly relevant to the question or argument being made
• Just in footnotes reference to field notes
• How does your thinking change upon reconstruction even if it hasn’t been too integral to the historical research you’ve done