Editorial note — INDEX

In the fourth section of the second treatise the author speaks of ‘azurro della Magna del quale si tinge il vetro.’ There is also a section at the end of the first book on the preparation of azurro fine from pietro d’azurro ultramarino, but I do not think that this has anything to do with the colouring of glass, as it is associated with recipes for dyeing grey hair of a blonde colour and for preparing the acqua virgine by which the face is rendered beautiful. It is difficult to understand what relation the Acqua di Philoseophy (sic—there are several sections so headed at the end of the treatise) has with the preparation of glass. But all these old formulists are only too ready to run off at a tangent to discuss questions of alchemy.