Thanks to Jake and Elinor to post this links.
And to Renato, for the interesting ECHO web.
I have a spanish translation of the text by Kircher. With the help of the google engine, I have traslated it into English. I hope that the many errors that this method has, will give a certain "latin charm" to this old text.
Excuse my audacity.
The mode to dye the paper in Turkish custom.
You must immerse tragacanth gum in pure rainwater for three whole days until they formed a white liquid. Then this fluid is filtered and put in a tank of the size of the sheets of paper, but of two or three fingers deep. You must ensure that the fluid used is neither too thick nor too diluted, therefore if it is very dense, colors will not expand properly, and when it is not sufficiently dense the colors will not retain loyalty the figures made.
As much the colors are lighter, they will be more suitable. The lacquer for red, Indo, as they call the color blue, seem to be the more suitable colors. If you mix some white to the Indo it loses its excessive depth. You can use orpiment for yellow, and white lead for white, albeit they are heavy in nature, if you don't find lighter colors. Colors must be crushed in small quantities on a marble table and must be mixed with water, egg white, bile and oil, which they call petrol, and stored in small pots, not too dry, not too much liquid, but fairly balanced. Efforts should be made to deposit them with a brush in the liquid prepared in advance so that the drops spilled will spread evenly over the surface of the liquid. If this does not happen, you must add a little of bile and mix it until the desired result.
The colors have to be spilled one by one without a particular order, except that one the experience should teach is the best. When the surface becomes covered completely by the colors, you must stop dump them. In addition, another indication of this is when the colors appear tight with each other, and could be seen with his natural brilliance, nor diluted nor off. However, it is not uncommon for a color that occurs, by its very nature, or by the effect of excess bile that has been mixed with it, to loose its lustre. If the liquid is loaded with too much color, or when the colors sink to the bottom and ruin the liquid, they will not respond well when you'll make drills with a pen or a comb, and they will show less smooth lines and less defined, on what it depends the entire splendor and beauty of this painting.
Thus, once the colors are discharges and the surface of the liquid is full of color drops like a marble, if what you want is to paint the paper so that represents a marble, then you must introduce gradually in the water a sheet of paper starting by one of its edges until you reach the opposite. Slide slightly across the color, which tends to remain in the area of the ends of the paper, to the sides of the container pressing it with a finger until it would be impregnated in the paper, unrecording anything. Finally, you pick the paper from the edge, which will be removed gradually from the surface of the liquid and will be dried flat. But if what you want is not to paint a marble, but other figures such as tourbillons, feathers, or similar, then sliding again and again, up and down, with a pen, cut all the drops from one side of the container to the opposite , calmly. Once this is done, you will pass a bristle's comb regularly, from the top of the container, to the bottom, to cross transversely the lines of colors that will be cutted perpendicularly and will represent leaves or feathers; finally, with the help of a pen you can make circles or spirals or other irregular lines, as many as you please.
Moreover, the execution of this work requires an experienced craftsman, because if the colors remain long in the liquid or whether the rest of the colors are left to sink gradually, this will break the liquid. How much the liquid can last only can be ensured with certainty depending on the experience. If it looks ruined by the colors and very muddy, then discard it and make another again, after carefully cleaning the container.
Anyone observing carefully the manner described will find undoubtedly open the door for other infinite varieties, but I leave these for the investigation of the curious reader.
----- Original Message -----
Sent: Monday, April 07, 2008 8:02 PM
Subject: [Marbling] Re: Francis Bacon's and Johann Beckmann's accounts
Thank you Jake and Elinor for posting that!
I just want let you know that Francis Bacon's 'Sylva Sylvarum' images
(the whole book) can be viewed with great resolution at European
Cultural Heritage Online.
The texts are quite the same as the ECHO volume of Sylva Sylvarum is
from 1669 and the one in your post is from 1628.
Bacon's account of 'Chamoletting of paper' is here:
If the link doesn't work search for Sylva Sylvarum and go to page 190
which is the image relate to the book's page 156
There, you can also find the whole Athanasius Kircher's 'Ars magna
lucis et umbrae' (1646) including his acccount of 'Chartae Turcico
more pingendae ratio'.
If the links turns out bad, you can search for 'Ars magna lucis et
umbrae' then go to page 939 and 940 which is the image number related
to page 814 and 815 of the book.
Unfortunately it is printed in...LATIN! Does anyone have it
All the best,
--- In Marbling@yahoogroups.com, "Jake Benson" <jemiljan@...> wrote:
> Greetings everyone,
> I've just uploaded a PDF version of Francis Bacon's account of
> from his Sylva Sylvarum. The images were made available courtesy
> Bruce Bradley, Librarian for the History of Science at the Linda
> Library in Kansas City Missouri. Special thanks to Elinor Eisemann
> making the request for the images. The file can be downloaded from
> group web site, in the files section, inside of the Historical
> Accounts folder.
> I have added a text transcription from a later edition in the
> of which I've also provided a link to the account of Johann
> whose Beiträge zur Geschichte der Erfindungen (1780-1805) also gives
> an account. This work was translated into English and can be
> Googlebooks. Unfortunately, the German version does not seem to be
> available at this time.
> Click here learn more about Bacon.
> and for Beckmann. <http://en.wikipedia.org/wiki/Johann_Beckmann>
> Jake Benson
> [Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]