diff --git a/texts/fr640_3r-3v-categories.xml b/texts/fr640_3r-3v-categories.xml new file mode 100644 index 00000000..95648a00 --- /dev/null +++ b/texts/fr640_3r-3v-categories.xml @@ -0,0 +1,1623 @@ + + + + + msfr40 + + +

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+ + + + + + + denotes an animal + + + denotes a human body part + + + a known coin or currency + + + denotes where the author-practitioner defines or explains a term + + + reference to a physical space or environment, such as workshop space, room, mountains, forest, etc + + + a named physical material (e.g., "rose" but not "plant"), or a verb that implies a physical material, such as "to gild." + + + medical and health-related terms or phrases in an entry about some other topic. Medical recipes are categorized as such, but not marked with tags. + + + units of measurement, including temporal, volume, mass, length + + + musical instrument + + + a named plant or part of a plant, not including plant gums + + + place name + + + a name, including authors, mythical personages, or reference to a specific individual or entity, such as God, King, and "the one who taught me to mold" (110r) + + + denotes both a recognized trade, such as goldsmith, but also a social status or identity, such as peasant, or "rustic" + + + use of the five senses to make a qualitative assessment + + + tool, including any instrument, and physical or material object used to perform a process, including body parts and verbs such as "piler" (to pestle) that imply a tool. + + + references to time, including hour, day, season, holiday, span of time, time of day, etc. + + + word or phrase referring to arms and armor + + + + + making of molds for casting, and/or casting into molds + + + painting, paintings, or painters + + + a process involving metals not being cast + + + varnish making or application + + + arms and armor + + + medical, health, and healing recipes + + + household management or ornamentation, daily life, and quotidian subjects + + + cultivating plants + + + significant references to precious and semi-precious stones, and their imitations + + + significant references to wood and/or the coloring of wood + + + references the use of a specific tool, or describes the making of tools + + + sleight of hand tricks and practical jokes + + + making of a material or object that is used to decorate + + + raising, care, and feeding of animals of any sort + + + making or use of glass + + + making or use of corrosive substances + + + preparation of dye, or the dyeing of other substances + + + preservation of flowers, candles, foods, and animals for future use or ornamentation + + + process involving wax as a main ingredient, and/or the manipulation of the properties of wax + + + objects or processes that cause optical effects, such as perspective construction, reflection, and magnification + + + text that is arrayed as a list + + + merchants or merchant practices + + + references printing processes or printing tools + + + refers to entries titled "La boutique" (the workshop); see fols. 162r and 166r + + + processes that pursue the making of gold + + + structural note (fol. 170v only) + + + + + + + + +

+ + Counterfeit coral + In this period, counterfeit does not necessarily connote a deceptive practice of imitation. See Lores-Chavez, “Imitating Raw Nature.” + +

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One needs to first make the branches of wood or take a bizarre thorn branch, then melt a lb of the most beautiful clear pitch resin and put in one ounce of subtly ground vermilion with walnut oil, and if you add in a little Venice laque platte, the color will be more vivid, and stir everything in the resin melted over a charcoal fire and not of flame, for fear that it catches fire. Next dip in your branches while turning, & if any filaments should remain on it, turn the branch over the heat of the charcoal.

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Colophony is nothing other than recooked resin. To do it well, take a leaded pot & melt the resin, & boil it over the brazier a good hour, & until it appears not to be thick, but clear & liquid like water, & easily runs & flows from the tip of a stick with which you grind it, & test it. Then pour it through a coarse canvas or a very light tammy cloth, such that when pouring it falls into the strongest vinegar that you can find, for the vinegar gives it strength & prevents it from being so fragile. Reiterate this two or three times & it will be beautiful & well purified. For counterfeiting your coral, you can mix a quarter part of mastic into your purified resin to render it more firm and more beautiful, & if you were to take a single tear of mastic, it would be all the better, but it would be too long.

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Sulfur & vermilion makes the same effect.

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The coral made of gules red enamel endures the file and polishing.

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It is made like cement that is stronger mixed with pestled than of glass rather than with brick. Thus, here one mixes well pestled gules red enamel, which is red in body, with the vermilion. Thus with all colors of enamels.

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+ Varnish for panels +

Take a lb of Venice turpentine & heat it in a pot until it simmers, and put in half a lb of the turpentine oil of the whitest you can find, and stir it together well on a charcoal fire and take it off immediately. And elle it is done. But if it seems too thick to you, add in a little more oil. Similarly if it is too clear, you can thicken it by putting in a little turpentine. Thus you will give it whatever body you want. It could be made well without fire, but, when heated, it is more desiccative. It is appropriate for panel paintings and other painted things without corrupting the colors or yellowing. And it dries both in the shade and in the sun, and overnight, and during the winter as well as in the summer. It is commonly sold 15 sous a lb.

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A little more turpentine than turpentine oil is needed in order to give body to the varnish, which needs to be applied with the finger in order to spread it thinner and less thick, for when it is thick, it turns yellow and sticks. One does not varnish to make paintings shine, for it just takes the light out of them.

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But it is used to heighten colors which have soaked in and to keep them from dust. Mastic varnish does not resist rain, whereas that of oil and rosin does.

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+ Thick varnish for planks +

There is a varnish that takes a long time to dry & drips more than two months after it has been applied to the planks. But this one does not drip like that of times past, which was made of linseed oil, garlic boiled in it to extinguish it & rid it of grease, & with wheat. And this one yellowed & rendered greenish the blue color of paintings. This one is made like the other one except that one puts coarse common turpentine

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instead of fine turpentine. And you can put into two lb of tou common turpentine one lb of fine turpentine oil & do everything as with the other one. This one will cost you no more than five or six sous per lb & is sold for 40 sous per lb.

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This vessel is for making large quantities of turpentine oil, that is to say a bucket an hour, and no matter which turpentine it may be, whether fine or crude. One needs to give, as you know, a little fire at the beginning and always keep cold water in the cooler on the top. The lb is sold at xii sous, & at the bottom of the vessel remains the colophony, or pix græca.Latin: "Greek pitch" In this vessel, eau-de-vie is also made well, and there is no need to distill it again. You do not need a oven for this copper vessel, but only charcoal around it if it has a flat bottom, but if it is round, you will place it on a trivet.

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It is better to heat the varnish a little bit, rather than to put it out in the sun, because this makes the panel warp.

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Some say it is not good to distil in this copper vessel because it makes things green. However, when tinned, it is good.

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+ For varnishing +

Turpentine varnish does not need any glue because it is fatty & viscous & it is not absorbed in the wood like that of spike lavender & sandarac. Also, that of spike lavender does not require any glue on iron & similar things that do not absorb. But on wood & on colors which have do not have gum or distemper glue, it is necessary to lay one coat of the said hide glue & to let it dry & to varnish.

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