006r - - - - - For laying down and setting burnished gold and giving red or green or blue
Ceruse & lead white is not appropriate for polished white nor for burnishing because it is fatty, but it is quite good for or mat that is made with oil by mixing it with yellow ochre & mine po & by tempering all of it with oil. And this or mat thus applied keeps in the rain like gilded leadwork & similar things. Therefore for burnished gold take good chalk, quite white, well ground, & soaked with distemper glue, & make four layers of it, one after the other, on the wood. And once the last is dry, rub it with prele, which is a plant otherwise called horsetail, to render it well polished. Next take fine Armenian bole & sanguine, as much of one as of the other, lamb tallow as large as a bean or a pea depending on the quantity of bole, and a little of willow charcoal or as much as the tallow, & half a walnut shell full of half—burned saffron. Some put in a little candi sugar. Grind all together with water, & apply it without gum or glue, & let it dry, & rub the place that you want to gild with a piece of white cloth to better make even, & when the rubbed place is a little shiny, it is a sign that the gold will carry itself well. Having rubbed, wash with a clean pinceau soaked in clear water the place that you want to gild & immediately apply the gold, which you will burnish once dry. And if you want to lay in rouge clair & glaze with it de, grind Venice lake platte on marble with walnut oil or linseed. Once ground, mix turpentine varnish or spike lavender & apply on the gold with the pinceau. Brazilwood & lake ronde die. For green, temper verdigris with walnut oil or linseed & grind, next mix in turpentine varnish and not of spike lavender, which is not suitable for verdigris. If you want to glaze with azure, it needs to be set on burnished silver and take azur d’esmail, &, without grinding, temper it with turpentine varnish & apply it.