[103] Recherches, p. 133.
[104] P. 13, recto et verso, in the undated fifteenth century edition of the Abbreviatio.
[105] Ibid. pp. 33 verso, 34 recto.
[107] La Chimie au Moyen Age, Paris, 1893. One cannot praise too highly the interest and value of this monumental work. I am greatly indebted to it for many of the facts and conclusions here repeated.
[108] The Mappae Clavicula (Key to Painting) belongs to the tenth century; the Compositiones ad Tingenda is of the age of Charlemagne. A MS. of the eighth century (not the ninth as Berthelot says) is extant at Lucca (Bibl. Capit. Can. I. L.). Muratori has printed it in his Antiquitates Italicae, ii. 364-87. It contains receipts for the colours used in making tesserae for mosaic, for dyeing skins, cloth, bone, horn and wood; for making parchment; for various processes such as gold and silver beating and drawing, and the gilding of iron; for chrysography and the gilding of leather; ‘quomodo eramen in colore auri transmutetur,’ ‘operatio Cinnaberim,’ a perfume for the hands called lulakin, and for certain amalgams of gold and silver called glutina.
[109] See Chwolson, Die Ssabier und der Ssabismus. The Egyptians extended this correspondence to the members of the human body.
[110] Σπουδάζουσιν ἐκτόπως περὶ τὰ τῶν παλαιῶν συγγράμματα, μάλιστα τὰ πρὸς ὠφέλειαν ψυχῆς καὶ σώματος ἐκλέγοντες. Ἔνθεν αὑτοῖς πρὸς θεράπειαν παθῶν ῥίζαι τε ἀλεξητήριοι καὶ λιθῶν ἰδιότητες ἐνερευνῶνται.—Bell. Jud., ii. 8. § 6.
[111] Roma, Vincentio Accolti, 1587. My copy is the one presented by the author to the great Aldrovandus of Bologna, with whom he seems to have been on intimate terms.
[112] See the Paris MS. 6514, pp. 133-35.