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UNDER the same justification that I spoke to you in the preceding chapter on crystal and some other gems, I can now speak much better and with much greater reason of glass, since it is one of the effects and peculiar fruits of the art of fire. Every product that is found [41v] in the interior of the earth is either stone or metal or one of the semiminerals, and glass, as is seen, resembles them all, although in all respects it is dependent upon art. Therefore it seems to me that before coming to the discussion of the arts themselves, I must treat of this very beautiful composition created by art and number it with the semiminerals. Thus in this chapter I shall speak to you of glass, not as a proper semimineral, nor yet as a metal, but as a fusible material that is almost made mineral by art and by the power and virtue of fire, born from the speculation of good alchemistic savants, through whose efforts it imitates. the metals on one hand and the transparency and splendor of gems. on the other. Certainly it is a very beautiful thing and one that should not be left buried in silence, in consideration first of how great a thing art has been, able to discover, and then because its beauty makes it such a pleasing thing for making drinking. glasses and an infinite number of other ornamental things that satisfy the desires of man. I shall begin, then, by telling you, to the credit of the alchemists, how I believe that this thing was found through their desire to make gems; for when they could not bring them to perfection (as also happened with the metals) they made this beautiful and attractive product, glass. However, Pliny says that it was found by chance in Syria at the mouth of the Belus River by certain merchants who were driven there by the fortunes of the sea and forced to stop and disembark there for a time in order to eat. In cooking the food they saw the rocks of that place converted into a flowing, lustrous material. And as they thought about this, it seemed beautiful to them, and when they went away they carried some stones and plants with them. Thus they gave beginning to glass making. But now leaving this discussion it does not matter how it may have been discovered, whether by merchants or by ingenious alchemists. Art is that which has given it being, through many experiments and by addition

Jan 1, 1942

NATURE produces iron ore abundantly in many regions of the world, especially in Italy where not only is there a great abundance of it but also there are various kinds. In these our Tuscan parts it is a very familiar thing, since we are situated close to the island of Elba which is so overflowing and rich in this ore that it surpasses every other place where it is found. Thus not only do the regions of Tuscany share its great quantity because of their proximity, but more than two-thirds of Italy as well as Sicily and Corsica are supplied, and perhaps some more distant place. In addition, this ore is of such perfection that it

Jan 1, 1942

OCHRE is a semimineral composed by Nature of earth and a tincture of yellow caused by a fumosity of lead ore. By itself it is a material without any [38] metal, although when it is used in smelting it helps to melt the harsh and sour ores of metals. I do not know that it has any other use, except to painters. Bole is also a red viscous earth which has a very astringent and drying nature. It has no very apparent smell or taste, and I think that the cause of its redness lies in the fumosities of iron ore, for it is a companion to this and is found in its mines. It is an efficacious medicine against any poison and in this capacity has an action like terra sigillata* or perhaps better. In

Jan 1, 1942

MANY are the salts produced. by Nature in various regions and parts of the world, as Pliny shows in his History. Likewise, many are the differences among things that are salty and from which salt can be extracted, as, for instance, all the lyes from any kind of ashes and the urine of all animals. But because these are not things that give men the useful elements necessary to life, I shall omit speaking of them in detail with the exception of some of the more notable ones, and I shall tell you that I find that men proceed in only two ways in order to have a sufficiency for their needs. One is that of extracting it from the salty waters of the sea itself, or from springs, with a certain technique [34v] adapted to the places, either by congealing or by evaporation; and the other is that of mining it from the earth. The latter salt is clear and beautiful, and it is mined from mountains, already made by Nature in the form of stone without the aid of art. All these salts have more or less efficacy* according to the fineness or coarseness of their earthy elemental mixture, and according to the provinces and places where they are found generated. All are of an earthy

Jan 1, 1942

By G. Vibert Douglas

It has long been recognized that there are considerable difficulties connected with the physical and chemical explanation of shoots of ore. The literature of Mining Geology has frequent references to this subject; but the reasons given for the actual location of primary ore-shoots have been very tentative. In practice, the geologist or miner depends to a great extent on sampling and assaying to determine the boundaries of profitable ore within the mineralized zone. An ore-shoot is a portion of a mineralized zone which has a sufficient concentration of valuable minerals to make it ore. Ore deposits have been classified according to many schemes. There are classifications based on morphology and on genesis. However, it is also possible to classify hypo-gene hydrothermal ore-bodies in terms of ore-shoots or vice versa. A.-Ore-deposits in which the whole of the mineralized zone is ore, which is the same as saying that the ore-shoot extends throughout the mineralized zone. An example of this type of deposit would be the pyritic mineralization of Rio Tinto. B.-The second type would comprise those deposits in which the ore-shoots bear some relation to the geological structure of the area: all deposits in which 'bonanzas' occur in folds in the zone, at the intersection of veins along certain fault (or joint) features and other such controls. There are a great many examples of this type: (a) The Rhodesian copper lodes, where Bancroft and Gray have pointed out the association of the shoots of ore with drag folds. (b) A similar association has been pointed out by Faribault for some of the gold veins of Nova Scotia, e.g., Mount Uniacke. (c) The great bonanza of the Comstock lode in Nevada. C.-Deposits in which the localization of ore has been effected by the chemical character of the wall-rock. Examples of this type are the Fahlbands of Scandinavia, and the 'indicator' deposits of Ballarat, Australia. D.-Lastly, deposits in which there is apparently no structural and no chemical control.

Jan 1, 1934

PASSING over the derivation of the word as well as the description of the alum that has been written of as a liquid and that was once called natta, I tell you that the alum that is commonly called rock alum today is a congealed earthy substance, clear and transparent, of a hot and dry nature, and of a bitter taste with a certain unctuous saltiness. It has an astringent and corrosive property and is drawn from mineral stones by means of art. All that I have seen is of the same nature but of two colors,

Jan 1, 1942

By F. W. Bloecher, A. M. Gaudin

Using an adsorption-column technique the partition of dodecylamine between quartz and water has been determined at concentrations ranging from 0.5 to 4000 mg per liter. The adsorption varies as the square root of the concentration. Attachment of dodecylamine to quartz is reversible. The amount adsorbed in a flotation operation giving almost complete recovery is under 5 pct of the amount required for a monolayer.

Jan 4, 1950

AS I have told you before, "alloy" here signifies nothing but the mixture of one metal with another in friendly companionship. Whenever you wish to do this, you should consider the purpose that moves you, whether it is to increase the quantities, or for corruption. Then you should choose whatever has by its nature more affinity with what you wish to alloy, or whatever is best for your purpose. Give it in the melt the proportion that you wish or as much as it can support without being entirely removed from its first nature, as [73v] water is in wine or white in black if too much is added. However, you must make the proportion with a definite ratio by weight and not by chance in order that you may bring your work to the degree of perfection that you desire. For he who, proceeds with his eyes closed not only stumbles many times but frequently falls. Therefore you must know first that gold does not join in an alloy with any metal other than silver and copper. Thus if you wish to make a work of gold or to have it made, and begrudge the expense of having it fine, or if you find that you do not have enough, or if you do not care about such fineness, you must decide exactly how many carats less than perfectly fine you wish it to be, or by what weight you wish it to be increased. In order to do this accurately weigh the fine gold that you have and accompany it with silver or fine copper in the quantity that you wish to give it, and melt both these things together very well. So that you may understand the procedure better, let us suppose that you wish your gold to be 23 carats. You are to imagine that the whole quantity is twenty-four parts because this is the final limit at which the gold can be perfect. Now if this were the case, you would put in one part, which corresponds to one twenty-fourth of the whole quantity. You will have taken away one carat of the value of its fineness and increased it another in quantity. In the same way it will happen if you put in two or three or four or six. Up to the limit of one-half, you will always have gold according to the denomination of the lesser virtue and the greater quantity. Surpassing one-half, so that there are eleven parts of silver and thir-

Jan 1, 1942

EXCEPT for the material, the same method that you used in alloying gold is used in alloying silver, but its alloy is fine copper. Just as the silver does in gold, so copper in silver diminishes and lowers its fineness and increases its quantity. If half the value is surpassed it is no longer called silver but copper containing silver, as I told you of gold. But in my opinion one could also say silver of 5,4, or 3 leghe or even of one. How- ever, these terms are of no importance for our purpose. It is enough that you suppose that the whole quantity of silver that you have is twelve parts. If you put one part of copper in h with the melt, you will say [74] that you have 11-lega silver and that it is in weight thirteen of the first parts† and so on, when you add two to ten and four to eight, always naming the quantity of the fine silver just as you did with the gold, either

Jan 1, 1942

A GREAT labor, surely, is that of the coppersmith, since his every work must be hewn from the mass of copper by force of the hammer. At the beginning, middle, and, end all his works are inconvenient pieces and unpleasant to handle. If the work is done on the forge with the fire, it is done in order to refine or compose it into masses again, for drawing these out while hot with the blows of some heavy hammer, or in order to put the works in a condition that allows them to be drawn out while cold and worked. In this he puts all his labor and industry. He who works at this art often makes use of large hammers, sometimes of small ones, and sometimes of those that have a long iron head and a short handle. With these he is obliged ever to proceed in one of these activities, either extending the work lengthwise, narrowing it, or widening it. This is achieved by the manner and direction of striking and therefore it is sometimes hammered on the inside, sometimes on the outside, sometimes with the peen, and sometimes with the flat head. For instance, when he wishes to close it up he strikes it on the outside with the peen, and if he wishes to widen it he strikes it on the inside with either the flat head or the peen. In this way he proceeds to shape it with constant patience, and to make all the vessels that he works graceful. This metal, as I have told you, is soft, flexible, and tenacious under the hammer. It yields with a certain toughness, provided, however, that it is fine and without admixture of a trace of tin or other metal. That craftsman is a good master of this art who best makes every desired work

Jan 1, 1942

HAVING told you of the practices of the arts involving other metals, I wish to tell you also of the practice of that of tin.* Indeed, since this is an easily melted metal, in common use for the utensils which are made for human needs, it is an art known not only to skilled men but also almost to children, wherefore I could proceed with- out telling of it. However, besides the production of plates and bowls and many other dishes for eating from and keeping things in, this embraces two other arts, both of which you should know about because they are useful and beautifid. One of these is the art .of making the letters with which books are printed, and the other is that of making the sheets from which organ pipes are built. The vessels, as perhaps you have seen, are cast one by one in moulds made of white tuff. Several pieces fastened together are then put on the iron axle of a wheel rotated by hand, and [138v] they are turned with a slightly bent tool which has a cutting edge. In this way they are made thin and of a good shape. Then they are polished with a piece of linen cloth and a little powdered tripoli, and thus they are finished. The letters for printing books are made of a composition of three parts of fine tin, an eighth part of black lead, and another eighth part of fused marcasite of antimony.t The desired quantities of these metals are melted

Jan 1, 1942

THE task of the smith who works in iron is very laborious, indeed far more so than that of the coppersmith just described. For he also handles heavy weights continually, and stands constantly erect be- fore the fire of the forge, since the hardness of the iron cannot be softened except by means of heating and boiling it well. In this place he continually moves his body, now thrusting the iron into the heart of the fire with large thick tongs, now removing it to look at it and to put sand, tuff, or other earth over it, now putting on fresh charcoal, now moistening and slowing down the fire, and now cleaning it. Finally, while the iron is hot

Jan 1, 1942

BEFORE I go any farther, I wish to show you the different kinds of guns, as I have been able to understand them from the finished works, for no one is found to have written or spoken of this. To my knowledge, it is not universally known who was the inventor of this horrible and fearful instrument. It is believed that it came from. Germany, discovered by chance at least three hundred years ago, according to Cornazzano, * from a crude and small beginning like the printing of letters. I believe, .indeed it seems to me certain, that guns evolved from the effect of powder, and then the forms were varied and changed according to the desires and different abilities of those who made or wished to use them. †

Jan 1, 1942

IT may perhaps seem to you that I have deviated from sequence by having entered into the narration of this arrangement of the bellows, but, although they are not furnaces or vessels for containing the melts, they are essential agents for bringing to port the bark of your labors. Returning to our regular pathway, and supposing that, besides making the moulds, you have melted and cast not only statues and bells but also guns, it is true that a certain procedure is required in order to finish them. For this you should have the moulds full, and they should have come out very well, for in truth reason does not allow that they turn out otherwise for one who uses precaution. [II2V] Then you have taken your casting from the pit and have freed it of clay. Since I have told you nothing beyond this, do not be dismayed if you see the castings so rough and in a form that scarcely shows what they really are, for I wish to open up part of the way into the great labor of finishing them so that it may seem to you that you have been somewhat helped by me. Therefore, when it is a gun, first see that the iron spindle that has been placed in the middle of the core is taken out. You can do this easily by striking the heel of the core, especially if the spindle had first been covered with ashes, hemp, or a little rope. Then saw off the feeding head above the mouth, using either a dun steel saw with tiny straight teeth that has been tempered with oil or some other fat, or a hay sickle whose edge is gently hit by a little hammer. Then have the clay that is attached to the curls or other bronze parts lifted away with a chisel. Then with a scouring brush and water uncover the emblems, coats of arms, borders, and cornices that you made as ornaments. Striking it with a hammer, push inwards every superfluous bit of bronze. Finally, having cleaned the bronze by washing, scraping, and cutting away every bit of clay, strike its surfaces gently with a large hammer and thus make it very smooth. Likewise finish the mouth and all its cornices as exactly and completely as possible with files and any other instrument that serves best. Then take a long, powerful tool that has some steel on the point, made like a chisel and somewhat bent, or with three points like the iron blade

Jan 1, 1942

I AM sure, that you understand that of all the things created by the most high God Himself or by Nature at His command, not one-even though it be an atom or the smallest worm-has been produced without some particular gift. And if we do not always discern this in every thing, the cause lies in our defective vision, in our little knowledge, and in our lack of careful thought concerning the necessity of seeking hidden things. Certainly those things that have such inner powers, like herbs, fruits, roots, animals, precious stones, metals, or other stones, can be understood only through oft-repeated experience. [37] Others do not need so much knowledge and belief for their, powers are obvious and shown to us at all times by their effects. They reveal themselves to us through the sense of sight by their splendor and variety of colors, through the sense of smell by their odors, through the sense of hearing by the melody of the harmonious or unpleasantly discordant repercussions. of the air. They likewise manifest themselves by. their softness or harshness. As you see, all those things, according to. their limits, are conveyed .by the ordinary senses to the mind, by whose distinctions all their species, both harmful and beneficial, are discerned. Then they are reviewed by the judgment in all their degrees of perfection and imperfection, so that whoever seeks them with careful study or with experience often finds them. Now, in order to shorten this discourse, since I wished to speak to you of lodestone and its properties, I tell you that it is one of those things that show their apparent effects to our sight by a particular virtue hidden in such a way that its cause, as far as I know, has never been known to the very wise natural speculators who have spoken on every other subject. Thus one who considers its actions carefully must surely marvel, for it appears that Nature has put into this stone a certain spirit of vivacity, so that it seems to have-I would like to say-hands, although they are not seen. For I see that it not only attracts iron but also takes hold of it and keeps it attached to itself. This action is certainly great enough to bear certain witness to the virtues possessed by other created things that do not manifest their powers to the external senses. In order not to prolong this discussion, I tell you the following. This stone is found in various places and of different colors and properties. The

Jan 1, 1942

AS you have been able to observe, I have up to the present demonstrated as, well as I knew how in writing the art of casting- and the methods of making moulds and of baking them; then the arrangements of the furnaces for melting the materials, including those made for melting by reverberation of flames or with bellows and charcoal, and the hearth, basket, ladle, and other similar instruments customary in such operations. Now I wish to show you how to bring to their conclusion the works for which these instruments are made, and show

Jan 1, 1942

HAVING told you about steel in the previous chapter, it seems to me necessary to speak here of brass for the same reason, for it bears the same relation to copper that steel does to iron. It is the opinion of some concerning both of these that they are true minerals because Pliny in his Natural History calls it aurichalcum and says that it has its own ore; he does not say, however, where it is found, and I have not heard from anyone else that it has been found anywhere, and, surely, if it had been found when he wrote, it would also be found today. Since I have no knowledge other than that gained through my own eyes, I tell you as a certainty that just as steel is iron converted by art into almost another kind of metal, so also brass is copper given a yellow color by art. Surely it was a splendid discovery, for which we must praise the alchemists,* although perhaps whoever discovered it was deceived, thinking that he had made gold from copper. Now, in short, this work requires infinite labor, and is carried out in various places, for instance, in Flanders, Cologne, Paris, and in many other countries, and also in the city of Milan in Italy, where I have seen a

Jan 1, 1942

THE assay of all metal ores is made by means of fusion and they are brought to their fineness in the same way as if they were a large quantity. However, I have told you of lead, tin, copper, and iron in their own places, that they are smelted in order to obtain a good assay so that one may know from its weight whether the quantity justifies the expense. This is their assay, for it does not matter whether it be done with great exactness. But the eye is turned with much more care to the assaying of silver and gold, since they are things of value, and one tries to have a more exact knowledge of them. Thus, when you have found the mountain and the vein of ore in it, and have also uncovered it or extracted it from the mine, it is necessary to make an assay of it, for though it is often apparent to the experts what kind of metal it contains, nevertheless they do not know for sure what virtues or evilness it may have unless the light of the assay itself shows them. Therefore it is necessary to extract a quantity in some way that is as free from rock and as good as possible. To a part of this, without any addition, a smelting fire must be applied in order to see whether it can be smelted easily. If it does not smelt by itself, you must consider and try to understand what causes this, for many times it comes from the rock which accompanies it and which contains much dryness and earthiness. I do not believe that one can know this with other judgment than by experiment with powerful and strong fires. Therefore, if the efforts of ordinary methods do not succeed, it is necessary to try to soften them by means of the company of fusible things-now with marble, now with ground glass, now with lead, galena,* or litharge from lead, or with iron scale, or else with the slag of other ores. With small operations even borax, saltpeter, or ochre is used and similar things, as I shall tell you in detail in the discussion of the preparation of ores for smelting. In short, try to see whether they can be overcome by adjustment of the fires or by virtue of the means

Jan 1, 1942

ALL the ores of any kind whatsoever, even though they be semiminerals and may be perfect in their qualities, have to be recognized by experienced and good sorters. These men must have a detailed as well as a general experience of the metals so that in this first preparation, which is most important, they may know how to distinguish the good from the bad, and to know what is rock and what is ore. They must use patience in this, breaking and cutting and king the ore from the earth. They must separate the good ore from the bad, avoiding as far as possible every occasion for poisoning it by traces of other ores, evil stones, or other things inimical to its nature. Finally, with the judgment of the eye and with tools, and, in the end, by roasting it with fire and then quenching it with water, or by washing and re-washing it, the ore must be made as pure as possible in order to join it better with the companions that seem to be the most beneficial for its needs. Ores would be useless stones without smelting. Therefore, when it is certain that such ores are of divers elemental mixtures, aid must be given to each one according to the evil ingredients [47v] that harm it. But because such evil qualities are things that are often not apparent to the eye, such as too great a burning, or too much earthiness so that when they are alone the fire burns these ores before it melts them, it is necessary to temper them with other materials. To do this it is necessary to have the ability

Jan 1, 1942

ALTHOUGH I have already described to you the procedure for making assays of the ores (a thing that is not very different from what I wish to describe in the present chapter), I shall repeat it in substance, with the addition of the method of assaying gold, in order to tell you certain rules for weights which are very necessary to know, and above all in order to demonstrate to you the method of refining a small quantity of silver by the use of a cupel, and in order to tell you how there are (I find) only two ways that are customary for bringing silver to fineness. One is that of the cupel [copella] and the other is that of the cupeling hearth [cenneraccio], one for a small and the other for a large quantity. But although they are called by two names and appear to be two methods, the aim and the procedure of both is actually the same. Nor do I know of other difference between them than the carrying out of the method and the large or small quantity. Cupeling is a very useful thing for anyone who handles gold or silver to know. Indeed it is necessary, because it not only throws light on the work that is to be done but it also shows the truth [55] and the correct weights in large quantities. It is a quicker and easier way of bringing the work to the desired perfection than is afforded by the method for large quantities. Therefore, as you have heard, it is used in making assays in order to know exactly what quantity of the substance of silver or gold is in copper and lead or in ores, as well as in that melted material which remains among the charcoal and ashes. In short, it is the measure by which you have the certainty and safety of knowing that you have not been deceived by art or by your workmen, who had no other interest than their simple wages. Many workmen are found who are so untrustworthy that they no sooner get control of a thing than they think up some fraud, and even though some know that they must give an accounting they do not restrain themselves, although sometimes they would perhaps act with greater security and more deception than they do if they did not fear detection. For, truly, since silver is a valuable thing and every bit is worth much, a man should not enter into refining it with closed eyes. If for no other reason this pro-

Jan 1, 1942