TRANSACTIONS AMERICAN PHILOSOPHICAL SOCIETY HELD AT PHILADELPHIA VOR PROMOTING USEFUL KNOWLEDGE MEDIAEVAL ARABIC BOOKMAKING AND ITS RELATION TO EARLY CHEMISTRY AND PHARMACOLOGY MARTIN LEVEY Yale University THE AMERICAN PHILOSOPHICAL SOCIETY INDEPENDENCE SQUARE PHILADELPHIA 6 Stream, 1062Copyright © 1902 by "The American Philtophical Soclety UNIV siguiorvets LEIDEN Library of Congres Catalog (Cand Number: 6216117PREI Very little effort, in the past, has been made to study the relationship of Arabie chemistry and alchemy to the truly original and #lmarkable development of its con- temporary, pharmacological science. ‘To this end, the ‘materials of a significant text on chemical technology hhave been studied together with those found in pharma cological texts, both in manuscript and in print, Where possible, names of botanicals and other materials of the technological text have been traced in the literature of chemistry and the materia medica from the earliest literate times down into the Arabie period and later, ‘The etymology of these terms and thefr goographic di tribution are of interest particularly for study of the paths of transmission of science from 3500 nc. ot. Further, this study from source materials was made to assist the student of mediaeval science in his under- standing of the scarcely known technological aspect of Arabic culture. The translation, as much as possible, is riven with the view that it is the techniques and i terials used which must, above all, be clarified. [tis for the professional Arabist to cary on further detailed ‘work in the philological dificulties of Arabie techn logical vocabulary exhibited in this text, as well as in the peculiarities of North African dialectal expressions of the eleventh century ‘The major manuscript studied, fike most ofthe others used, is frequently lacking in diacritical marks, thus waking it dificult to ascertain the reading and meaning of rare technical terms. In transiterating Arabic words, the Library of Congress system has generally” beet followed. In the case of the diphthongs, au and aw have been used interchangeably. The same is true for ai and ‘ay. For simplification, the plurals of raf! and mithgal hhave been anglicized but leftin italics, The word ditham, since itis so common, has not been iealicized. ‘Value of weights. The grain is a unit of weight. The cearat equals 4 grains, A dicham equals 16 carats and is slightly Tess than 32 grams, Seven mithgals equal 10 PACE dlishams. An ounce equals 12 dithams, A raf! equals 12 ounces. One danig equals 1/6 of a disham. One ésar equals 4.5 mithgas, Where a reference book or article has been divided nto sections and each section numbered, the reference given refers to this mumber. Otherwise, the reference is to the page, eis a pleasure to acknowledge the many Kindnesses and the expert assistance given to me by Professor Noury Al-Khaledy. Mile Berthe van Regemorter was kkind enough to give me helpful suggestions in regard to the art of bookbinding. To Professor G. K, Bosch, 1 owe thanks for allowing me to read her manuseript on the twelfth chapter of the ibn Badis text before its publication. Professor Bruno Kisch shared some of his expert knowledge of weights with me as well as his library. Dr. Jerry Stannard was very kind in reading the typescript. To Mary MeGlinchy Levey belongs the credit for many ideas which are now unidentl cause of their complete absorption and throughout the work. Tam also grateful to my col leagues in other than mediaeval science who in many ‘conversations and in onerespondence offered assistance jn many fields upon which this work touched and in other tangential matters, I am indebted to Temple University for assistance, and to the American Philo- sophical Society for grants for research which always seemed (© come at an urgent moment in the course of the work. Completion of this work would have been very difficult without the support of the National Science Foundation and the National Institutes of Health (RG 7391). Finally, I wish to thank the Ins lute for Advanced Study fora year of quict study where Tthoughe about and commenced this work. 1 dedicate this work to Susan Levey and to Peter Levey. M.L.CHEMICAL TECHNOLOGY IN MEDIAEVAL ARABIC BOOKMAKING Manny Levey CONTENTS Introetion 1 Teentaal work isan 2 The ery lalanie book 3. Manuerpts ured Blac ink, . Coloret ink 3 Mitte of dyes aad coor & Menlic and sere inks 9. Krasares from paper aad farhiveat 10. Gle adherenee of gol an vers plishing 11, Manufseture of paper and te Unting 12) Bookbinding and its tone coring af pape, gon leather erape (On the importance of the pea and writing. 13 (On the prepiation of rot inks 15 On the preparation of glaut sks ® (On the preparation af sinating inks and plates 21 (On the preparation a 2 (On tinting of dyes and colors 2 ‘On gilding and ee use of ale, capper ad in inks” 32 (a recording secrete Ss On eran Be On the manaiaciaee‘f gla, dlreace of gold and Ever, poling inetroments a ‘On the! manfaceare of pape sd ite dng » ‘On the art of binding books in leather and the fools.) 1 in: Tansation of al Says of Bokhnding od 13, Chemial apparatas ad poses, oy tein st 14, Chimicals in Arabi echtology and their sourcon--. 31 tibia 5 15, Testing the purty of inter 12 Closary 38 stalation a ee tnntseron of ibn Ui, 13 Iden oe INTRODUCTION {CHNOLOGICAL WORKS IN ISLAM. Study of the technical arts of mediaeval Islam has received scant attention compared with other branches of this rich culture.t One af the major reasons for this circumstance is that historians of technology are often insufficiently versed in the necessary range of languages ‘and philology. Another cause lies in the difficulty that relatively few works have survived from the Golden Age of the Muslims, approximately ninth to ewelfth ‘Much of che Arabic chemical literature is alchemistic in nature. Because of this, the student of the manu- scripts is given a distorted view of the actual chemical knowledge of these people. There is, however, a small hhumber of texts, in sharp contrast to the alchemical writings, which are devoted to the erafts of the time, These deal diroctly with or are tangential to tech- nology and are of importance comparable to that of the alchemical works. Owing to their highly praetical dis- position, a much clearer view of the extent of Muslin chemical knowledge is thus imparted to the reader ‘The latter type of literature is represented by the presently studied work of Muza ibn Badis, 22. a. 1025, on bookbinding. Although the treatise is deficient in some aspects ofthe subject, it is, nevertheless, a rich repository of practical chemistry in the fields of tanning and dyeing of leather, manufacture of glues and their Tora general darusson ofthe fac of eukvaton ofthe study of he history of technology, ef. White, Lys Ir Techaalogy and invention inthe Mite Ages, Sprelua 18: 141-199, 1940 uses as adhesives and vehicles for paints, and the prep= aration of inks of many types for application to diff ent writing materials ‘Another work is given in translation in the appendix, eis by a master craftsman and is devoted largely t0 bookbinding, Since the ibn Badis manuscript has little fon the actual art of bookbinding, the addition of this work should prove to be complementary to the former work. Its author is al-Sufyani, a North African? It was written in a.b. 1619. In addition to bookbinding, there are included descriptions of covering of the boards with leather, solution of gold and its application, manu: facture of glue, dyeing of leather, and engraving of leather. The eodex form gf book (mushaf, from the E ‘was known in early Arabic times. a fa i that during Mubarimaul’s lifetime, the Koran pages were kept between wooden boards’ (lauhami ot daf- fotani). Later Zaid ibn Thabit, before the end of the seventh century, copied it into book form. Fortunately, the Arabs in Sa'da, South Arabia had Gf reviwofP, Rian tex in Reowe Ajriine Ot: 183-154 12h Arnold, W., a A. Groban, The Filen bok, 30, New York, 192 Erpctius, Th, ed, AL-obte, To'rakh at-actintn, 18, Lag, Hatavy 1625) Sars, lola bookbinding Landon, 1925, Adams, B, ‘Turkish, "Arabic, and. Pesan. bookbag Archie far Bucbindere, 190 Mh Gray Ey, Llama Bate Bede Usps, 9246 LEVEY: MEDIAEVAL ARAB BOOKMAKING fan excellent and flourishing leather industry! Large tanning works, a necessary concomitant for a book binding industry, were also to be found in Kharran, Jurash, Sana, Zabid,* Bulehara,* Egypt? Maghrib. and Spain.’ It was in San’ where the white and yellow + striped Cordovan feather avas produced to rival the famous Morocean leather of alvTa'it, ‘Taf leather mentioned in-one of the texts t0 be discussed.” Not only was leather a major product of this city but the region was known also for its excellent bindings. Tt was recorded in 985/6 that al-Muqaddasi, the bookbinder, received two dinars for a binding of the Koran in Yemen. In the Muslim Empire, bound books ‘were very expensive although copying i supposed to hhave been done very quickly. Bookbinders, book- sellers papermakers, and others who relied on the book trade flourished in this period. The bookstores were frequented by the intelligentsia just as in earlier and Tater times, ‘The Fihrist, in 987/8, mentions bookbinders who were well knowa.! The famous practitioners of the art Tisted are ibn abi alHarish, who bound books in the library of al-Ma’man (early ninth century), Shi alMiqrid alUjaifi, Aba esa ibn Shirn, Dimysna abA‘car ibn al-Hajjim, Ibrahim and his son Mubam- mad, and al-Husain ibn al-Saffar. The bindings of ‘these men have been lost. Milions of volumes probably existed in the Golden Period of the Muslims. In Cordova alone, the library boasted of 250,010 books. Owing to the depredations of various groups many libraries were burned and other- D. Hy ey AFHomant, Sila Jatat ab-sArab, 113, Leiden, 1884-1891, “Grohmana, Ao, AUgemcine Rinfkrung in die orabichen abyrt be Corbas Papyrorune Rosner, Series Arabic I pat Ty Ste Wien, 1974. In Sane alone there wre at Feast thirty-three famercy at the en of te tenth entry iTAmetton HF and D.S, Margot, tease, tbo Misha swat (1080) Kid tae obama, in eis of thee ABBE (aliphote 42228, Oxford, 1920/1 Pecker, C,H, Beige aur Geckichte Kgyptens anor dem Islam V 182, Senssburg, 1902/5 Tunes, Ex AlSaiiw’s KR&b abistias' Hakbie duwval almogiib sls, Mision Seetifque Marecaine 1: 9, Pati, {8d6/1: Sprenger ‘Ay Die Post aad: Rederouten des Orient, hndlnger sd. Runde d. orgentinder 3¢ 149 M186, Grohmann, Ar Bibliothekeo und 1ibllophilen im Islamischen Corint, Pesan su Zutbnrdtihriqen. Jdsu des Base lance des Getouies der National-ilatet ie Wien, 431-482, Wiens thn dis in chapter 12 gives the method of tanning of feather in THA, de Gorjo, M. J, Biuthecapographoras trabicoram, 122, Leiden, 1870. "Aout Quin Hosni M, a-RSghib o-ffahios, Auda derahebndgbt we muboonratoskshaar® 1270, Cato, 1287. A fin binding of Ku vellum in two boards done at THU fs mene lone ve de Gow, op i 3: 100; Pritt: 26, 2 Fit 121. Stor te famous caligeapher and bookbinder, Abu'-Hasen ‘att Hill of Taga (413 9.3/8.0. 1022), 0 Rice, D. Sy ‘The weigue tal Bowed manascrpt in fle Chester’ Best) vary, Dublin, 1985. wise destroyed. The library of the Fatimids in Cairo swas sacked in A, 1068, Ti was not the first time this library was mutilated, Te had been done a number of times previously by Christians and Arabs. The library at Tripolis was burned by the Crusaders, that of the ‘Abbasids in Baghdad by the Mongols. The library of the Grand Master of the Assassins in Alamut burned jn Ax, 1257 as did that in Medina in 1237 43. SOME MANUSCRIPTS USED IN THIS WORK “The manuscript (1) upon which this study is mainly based is in the Oriental Institute, University of Chie ago, catalogued as \12060. This is a copy made in 1908, by M. Sidi, a scribe in the Kutubkhane Khedive, fof a’manuseript then inthe brary of Ahmad Beg ‘Taimar and now in the Egyptian Library in Cairo. Tt swas purchased by the Institute from Dr. B. Moritz in Berlin in 1929. Tt is equivalent to MS Landberg 637 in Berlin which is dated 1228/1813 and i called Umdat abeuitab wa’uddat dhawi abaibad. Its author was al-Mu‘izz ibn Badis (ca. a.p. 1025). The full citle is “Boole of the Staif of the Scribes and Implements of the Discerning with a Description of the Line, 1 Pens, Soot Tnks, Liq, Gall Inks, Dyeing, and Details ‘of Bookbinding.” Only the first ninety-throe pages are relevant to the title. There are other copies of this manuscript," in whole or in fragmentary condition Those examined were (2) Gotha 1384 (67 fol.), (3) Gotha 1355 (56 fol), (4) Gotha 1356 (1 fol.), and (5) Gotha 1887 (13 fol.). Some of the difficulties have been clarified by explanations in a variant manuscript, (6) A29809, of the Oriental Institute. This copy was completed in January, 1671 “The author of the text, ibn Badis (A.p. 1007-1061) a royal patron of the arts wat born in alMansGrivyah, near Qairawan, of the North African Dynasty of Zirides. He was a powerful and high-minded prince, a friend to the learned, and prodigal of gifts. “The other manuseript of which a translation is given is (7) Sinotat tasfir ab-kutud wo-bill at-dhahab by abo alAbbis Ahmed iba Muhammad alSufyini. This ‘text in 1919 was published in Fes (19 pp.) and a second dition in Paris in 1925 by Prosper Ricard. The manu- script is dated 1029 Ax./a.p. 1619. The author, Hammer-Pargaal, J. v, Grcickle der Hebane, Darmsta, 1842; len hie Ubersiehe der Literturgschicte der Arab, Denkec 6. Ke Abed d Wasonch. 4 Wien, Phl-Bit Ke 2 asst Gab S178, 963. For physical deseription, of Levey, M. M. Keck, and H Hadad, Some motes on chemical tcislogy ia uo eeveath ean tury Aiabic work on bookbinding, Zs 47: 299-243, 1986. I hae been mentioned by Bosch, G. Haas botbindings tefth to Ebenfoonthcenaree, Univ. of Chicago thei, chap. 2, Chicago, 1962; and Karsbcth, J Das arabseke Papier, Wie, 1887. MedeSlane, B. MacGuckin, ed, Zon Khalliten’s bigrophical itonory 32 386-588, Paris, 1838; same coe, Ton Kheldum, iste des Berbires ot des dynasties Musndmanet AL 201, Alger 1857 Haast, Rend, Reawe Aficaine Ot: 83,1920.‘vols $2P14, 198), fortunately, has not been able to procure a copy of the 1925 edition, The 1919 edition has been used in this atudy. Further manuscripts have been examined on this subject—(8) Berlin 5565 (Sprenger, 1939). No tile is given nor is the author Fisted. Siggel believes that it is a fragment of a “manuscript of Zain ad-Din *Abdur- tahman b. a, Bakr ad-Dimashgi al-Jawbari,” and is similar to MS Berlin $563 (MS Wetzstein 1656) en- Uitled Kitab abmukhua fe kashf atasrar wa-hath al-astdr ‘and Gotha 1374: The latter is called Kitab al-mubiuar {Se kashf dbasrar and is by the same author, (0) Berlin 5567 (Werzstein 1375). The title of this work is “Uyun alhaga'ig wa-idah alara'iq by abi Qasim Abmad allraqh: Copy is dated 963 a.t/a.p. 1556, (10) Yale 1379, I¢ is entitled APnujam al-shavigat by M, ibn abi alKhair al-Urmayani, [eis of the si teenth century but the copy is dated 1715. A variant of this manuscript (11) Landsberg 379 was also con- sulted. ‘The following fragments which include descriptions ‘of the preparation of ink have also been utilized: (12) Gotha A 1327, (13) Gotha A 1388, (14) Gotha A 1349, and (15) Gotha A 1162. (16) A manuscript which proved to be of value be cause of the large number of plant substances men- tioned is that authored by al-Kindi called Agrabadhin, ‘Aya Sofya 3603." (17) Another text similar in value to the preceding is the Cod. Or. $76 Leiden, Minkaj al-bayan fima ‘yasto%miluha al-insin by ibn jazla (d. a.v. 1100) (18) ALdustaral-bomaristant by Abs al-Fadl Da‘od b. a, alBayan al-lera'li (13th cent.) Munich 808, Gotha 2031, and text published by Sbath in Bull. de L'Inst. @'Bgypte 15: 13-78, 1933. Translation and ‘commentary of this work are being prepared for pub= Tication by the author. References are to the page num- bets of the printed text of Shath, (19) Fe aladwiya al-mawjada fe hull moban by M. ibn Zakariytal-Razi, Not foliated. Cushing collection, Yale University Other manuscripts used are given in the notes 4. BLACK INKS Tn Badis divides his recipes for black inks into soot inks (chap, 2) and tannin inks (chap. 3). ‘The former include the preparation of Chinese, India, Kufic, Persian, Iraqi, and Nafuran inks. The major difference ‘among these inks is the material from which the soot Sage, Alfred, Katalog der arghschen alcemisschen Hon crf Dowtchondss Hee der Offenichen Weseschafiichor ‘Biknthey PaikerStotsbiotck Bertin, 125, Beri, 189 Shee, Ay Keats dar leh Hiss. Devtsck: Hes. der ehemats ere bili om Gath, $6, Belin, 1980. ‘fam indebted to Professor Fuat Sensi of Istanbul Univer- sity for eling muy atetion eo thie imporeant work. Te Se beng Dprepared for publication. INTRODUCTION 1 is propared. These are generally obtained from various botanicals, In the case of India ink, the important is gredient is a black sublimate from a mixture of vege table and animal oils, Gum arabic isa common additives sar is also used particularly in Traqi ink. Very mildly acidic solutions of dilute vinegar or yoghurt were used to arrest or slow down formation of mold. This must have heen a very serious problem to the Arabs in North Af 'No mention is made in the text of the more refined Indian and Chinese method in which plants were ured with a limited access of air and the smoke ‘conducted through long tubes of paper. The soot de posited at the end of the tube farthest from the fire ‘was collected as the finest product for ink. Ina few ‘eases later on, notably with the heating of sulphur for its soot, recipes call for the pot on whose bottom the s00t is t0 be deposited to be placed very close to the fire 0 that a minimum of air is circulated under it. ‘The most common black pigments are not men- wed. ‘These are lampblack of various sorts and a natural black earth, Their preparation was oo well known to be discussed.” ‘The gallnue and ferrous sulphate inks described. are still used today. This type of blue-black was highly developed in a much earlier period for papyrus. Tbn [Bade describes the preparation of many different types fof tannin ink. Tannin is obtained mainly {rom the gallnut of terebinth and tamarisk. The vitriol with Which it is used comes from such distant countries as Egypt, Cyprus, and Persia. Gum is generally used, sometimes with glair. ¢ ‘A number of specialized inks include an ink which ‘can be used immediately after preparation, a dry ink and an ink for travelers, a cheap ink for the common people, an ink which does not require fire for its prep- aration! and inks for religious books. In one recipe, pomegranate rind in addition to gallnut is used to ‘prepare ink. 5. COLORED INKS Black inks were almost always used by the Mustims for writing. Colored writing fluids for pen and brush were employed for rubrics, capitals, flourishes, lines, line finishing, embellishments on page borders, and pic torial decorations, Some of the colored inks were sed ‘on leather. Although some fine miniatures are to be found in Arabic manuscripts, there were not many since the pictorical art was not only discouraged but repressed to a large extent among Muslims. There can bbe no doubt that many of the colored inks described in, this chapter served mainly in the early illumination of the beautiful Arabie seript and decorative designs in @Thompton, D. V., Je. and G. H. Hamilton, eda De arte “lund (ah anonymous Fourteenth century eatin), 2, Newt Haven, 1955. 1 Wocd and other fuels have been scare nd expensive in some parte of the Neat East for many years8 LEVEY: MEDIAEVAL ARAB BOOKMAKING the Muslim book, 1t may be inferred that the brush primarily was meant to be used with the paints in this chapter. ‘They eould not have been used with the fig preparations in the next chapter, Colored inks, according ¢o ibn Bact, fall into three rroups, ved, yellow, and green, Although ather colored Inks are described such as violet, white, blue, and pink, these three were evidently considered the’ most im- portant. Peacock blue inke made with gum is men- tioned. Blues which are transparent tend co be lean and ‘opaque when laid with gla, There is nothing in the manuscript to indicate that the author was aware of this. In Latin texts of the eleventh century and later, the well-established practice was to temper blaes wit lair. Gum tempering was less generally recommenced than tempering with glair In later mediaeval times, gum tended to displace lair. The gum was largely used for brush work while the glair was for tempering pen colors. Not many glair recipes are found in ibn Badis, The use of some type of um was much more common. The compromise of the tase of glair plus gum is more apt to be found in iba Bids than glair alone. Some of the other pigments used are of interest. One fof these, “yellow arsenic,” is orpiment. Although orpiment, As, is found in nature, its preparation was ‘well known to the alchemists, Cennino in his work, T Librodall Arteo Trattatodella Pistura (carly fifteenth century), states that orpiment is artificial, meaning that it was made by the chemists of his day. Other grolden colors are deseribed by ibn Badis. ‘Verdigris was a very common green pigment, i fact, it was one of the basie materials of illimination in the carly mecliaeval period. In ibn Bais, this isthe favorite green in spite of the fact that botanical greens are much better since verdigris is much more reactive with, the commonly used orpiment2" Holmyard® has shown, that Mary the Copt in Egypt (ca. third or fourth century) knew that vinogar and copper produce the pigment verdigris. An exact procedure for its man facture which would control the variation in the color of verdigrs is not provided by the ancient literature. ‘The two most important red pigments were einnabar and, rod lead. Classical writers as Pliny and Isadore used rnin for cinnabar as well as for other red materials. (Minium s the source of the Latin and S Heriggham, C. Jy, The look ofthe av of Comino, Cons’, The Lek and Seockholm papytl ate conesrned with dyes Many af hese were intended to imitate the colors of gold ad Slver esthrloty My fat Pete dele chine et ontens ‘neyen-dge, 1-13, Piri 1889; Herthclot, Mey Ler onigines de Foackemte, 0-88, Paris 1885. These pany arc cr 30 ‘2 Thompson, D. Vr Jes and G. H. Hanlton, eds, De are ittaminan te 6, New Haven, 1938 ‘= Hoimrd, EJ The ler of the crown and the nature ef eatin, Arekion 8: 161-167, 1927, Thomo, DV Jr Ae ficial vrolion im the middle agen, Tecbweal “Sac 2: 0468, 1938 ltalian miniare, "to miniate,” “to rubricate” manus scripts. Miniatura then gives the English "miniature," ‘Much confusion is found i the Latin terminology for innabar. The preparation of red lead, PbO, is well known in many manuscripts. Tis orange color when pure is very difficult to preserve" It is of further interest that some recipes contained lac. Gum, however, is always present. It seems to have been used partly for its rich Iustrous finish. The pur pose of a solution of gum or oil in ink is both to hold the writing in a state of suspension and to act as an adhesive, This was not always clearly understood $0 that gum is found in recipes for inks which are active chemically and so do not require an adhesive, In the case of papyrus, parchment, and certain sized papers, the ink frequently acted as a paint. In this event, the zum was essential, Less important properties of um are that it retains'a certain viscosity for a time when proper cate is taken and that it serves to protect plant derived matter from more rapid decompesition ‘Some ofthe ink recipes inthis chapter contain gallnut in spite of the fact that the tannins have a deleterious effect on the colors although a small amount prevents, the formation of mold. 6. Hos ‘The figs, ink-soaked wool or felt wads, were meant for use with the pen. They wore made’ in a greater variety of colors than those pigments prepared for the brush. The inks for fig were prepared in essentially the same manner as were those used for the brush, Gold-colored inks were very common. ‘These were prepared from the yellow pigments of various botani cals There does not seem to be much reason for the in sgredients in some recipes, For example, in the prepara tion of a white fig, to white lead and mica are added gum arabic, gum tragacanth, and fish glue. Tt would not only be difficult to use but almost impossible 10 keep. Another recipe has the two gums together with la. Te may be recalled that gum tragacanth swells enormously in water so that when ic is used as a tem peta the colors should be bound with a minimum of it ‘The proportions in the recipe do not bear this out. Gum tragacanth contributes little to the optical effect but is effective as a binder. It is ikely that ibn Badis himself was not a practicing craftsman in this art 1, MIXTURES OF DYES AND COLORS FFor mixtures the basic colors are given as white from white lead, black from soot ink, red from cinnabar and red. lead, green from verdigrs, yellow from orpiment and red from realgar ‘The text is concemed not only with the mixing of these so-alled basic pigments but also with cheir tint Gf ote A, Thompson and Hamilton, eb eling by the use of white lead “to give a multiplicity of dyes,” or by adding yellow arsenic or indigo litle by Tittle, Mention of bono-white is not made a all. In the Middle Ages, it was sometimes used in place of white ead since the latter was so reactive with orpiment and also verdigris, The anonymous author of the De arte illuminandi staced, “but it is not a good plan to lise orpiment on parchment, because by its odar it re- duces white lead, red lead, and geeen (0 a sort of metallic color..." Bone-white, however, is a poor pigment in covering power and is bulky to tse. ‘A medium is not always uscd in the tinctures de- scribed. This may possibly be due to the fact that ums would tend to mack a slight change in coloration 8, METALLIC AND SECRET INKS For calligraphic writing, the color and luster of metals is frequently desired. Metalic inks are prepared in two ways, (1) by the use of actual metals and (2) ccoloring matters to which a metallic luster is imparted by special treatment. Gold ink was made by ibn Badis by using finely pulverized gold, from leaf or filings, ia various media Which do not detract from the metallic luster. Gum ‘ragacanth is an excellent vehicle in one recipe Silver ink is made with silver in essentially the same way. A substitute for silver in a recipe is given as tin (or lead). The amalgam is formed and is then pul- verived; the gums are then added, Another recipe for a silver substitute includes unslaked lime and glue, The best metallic inks in the nineteenth century were still made with pulverized gold or silver in the same way. Tin the mediaeval period there were countless rules for gilding.® Gold size is not mentioned by ibn Badis nor did he know of work with a mordant whose purpose iis co lay a determinate shape in unburnished gold ‘The text contains a number of recipes which are un- related to metallic pigments and belong to an earlier section ‘There are two recipes for copper inks. Copper inks, ‘of course, cannot retain their color for long in the ‘atmosphere. Sympathetic inks are generally defined as those fluids which when subjected to a certain treatment, tither change color, vanish, of appear. ‘The recipes given by ibn Badis belong to the last category. They Include the use of yoghurt, sal ammoniae, milk, and ‘white vitriol as the primary’ inks. The secoudary mace- Fials are gallnut solution, ashes of paper, and boxthorn. Heat i sometimes required. These inks are of litle practical value ‘Thompson & Hanillon, 9. et . eer The mawagetere of nk 4S, Phil, 1892; David, ‘The mr of xb, Nem York, 196 ‘a Chaper 18'of De arte minona thd chap 3 INTRODUCTION ° 9, ERASURES FROM PAPER AND PARCHMENT ‘Many of the recipes in this section of the text are for merely covering the spot desited in the manuscript Vinegar solutions, yoghurt with salt in wool, and salts tare used to remove inks, A rough eraser is made of “qlbmiya scum from a melting metal” with the sharp- ness of citron, This is then employed to rub out the writing. ‘Most of the ink used by the Arabs was soot ink which «id not react chemically but penetrated the paper physically. ‘This inke is dificult’ to remove as is the tannin type. Since carbon inl was so difficult to dis- charge, the Arabs simply covered it, as they die with ‘other inks with a type of paint preparation. A manuscript gives a recipe for erasure fluid. Was is melted and then saturated with inosnss. This i wed when neces, Thes, sehen you put icon the writing, smear FeAs often as the spot is whitened, retien to aather spot tunel a trace of writing docs not remtin This was simply a covering procedure, not actual ‘eradication, Another one different in effect is, Take Yemenite alum, galt and sulphur in equal, parts. Soak them in vinegar until dey. When dry, it eke dough. Work ion in layers, Leave it inl ies wiped. Armonia had been tel earlier ‘Then the layers on the ink are removed. There doesnot remain & trace of the ake® 10. GLUES, ADHERENCE OF GOLD AND SILVER, POLISHING. ‘The two main types of glue used are fish glue and snail glue, In mediaeval times, it was not enough to tuse glue on the gold leaf itself. "The gotd size from fish fand snail ghies has sufficient gelatine for adherence to parchment, However, it may not be sufficient co insure against any chipping off under the burnishing. There- fore, gikling experts applied adhesive to the parchment or paper. Tn some recipes throughout the text, honey is em- ployed. A little of i is sulicent to keep the binders, as gum, size, and glair, slightly moist in order to avoid fexceasive brittleness when dry and to maintain a slight flexibility. "This helps to prevent eracking. Sugar is a hygroscopic substance which can be employed for this purpose. However, in this text, itis fairly certain that ‘sugar is used only for the formation of its tiny crystals which when dey give a sparkle co the ink Tho Badlis does not give definite instructions on the making of fish glue. This is because it was so common. * Tt was made from the skins, bones, and entrails of various species of fish” Gluc was also obtained from scraps of hides, The detailed procedure is given in the MS orl 5865, fol. 13h = Ts Gf Conn, op ity ea. 108, STheopie sce noe 30, ‘Thompson and Hamilton,10 text, An elaborate description of the preparation of slue is given by a craftsman, alSufyani. See appendix. For polishing Cennino# used haematite burnishers ‘The teeth, he says, of dogs, lions, wolves, cats, leapards, and of all clean carnivores are also good. ‘These were well polished to round off any sharp exiges. 11, MANUFACTURE OF PAPER AND ITS TINTING Paper is manufactured in the text from lax. There isa fairly full deseription particularly showing the care exerted in the operations. It is one of the earliest de scriptions in Arabie:® Paper, however, was. known much earlier, Originally, paper came from China over a caravan route through Central Asia and Persia. At Samarkand, the route divided, one branch going to Kashgar and the other to Serinde, At the latter, paper from the sixth century has been discovered. Paper. making was later developed fully in the Islamic world when, in 751, Kao Hsien-chih was defeated and several Chinese papermakers were captured and pat to work, Samarkand had! abundant erops of flax and hemp as well as sufficient water From here paper came to the West although the transmission took about 500 years. ‘What may be the oldest sample of European paper, although there is as yet incomplete proof, isa dct ‘ment dating from 1109 in Palermo, It is aa order in Greek and Arabie concerning a salt mine near Castro Giovanni issued by the wife of Roger Taf Sicily. According to ibn Badis, the flax is soaked in quick lime, rubbed with the hands, and spread out in the sum to dry. Te is then returned to fresh quicklime, This i repeated a number of times. Then it is washed free of the ‘quicktime many times, pounded in a -mortan, ‘washed, and introduced into molds of the proper micas. ture, Care is exerted so that the thickness of the paper is regular. Ie is then left to dry. Te is treated with rice water or bran water. Starch is also used for this pure ‘pose. [also helps to glaze the surface of the paper 12, BOOKBINDING AND ITS ‘TOOLS; COLORING oF PAPER; GLUE FROM LEATHER SCRAPS Part of the text is concerned with the binding of books and the necessary tools. ‘There is a brief de- scription. The leather for binding is declared to be more desirable when well tanned and soft. Procedures are siven to correct improperly tanned! leather, When the leather is dyed, alum is used as a mordant. Tannin and iron compound are used 10 color leather Hletngham, oe chap. 135,16 » Karabatek, Jy Newe Quellen aur Ppiergeachchte, Mit ons er Samvmluns der Pepys Bsr Rusach 6:99, AS ise, {pitam As On the oitn of paper, 19 ts New York, 1936, “The Aisinah (canonized ca. 300) metans Roper abich may be paper. Mish Sat. 8,2 fi) ‘ LaMantia, Gy It prima documento in eorta (Contes Ade Inide) eset in Sci, Palme, 108. {For tools wed in decoration, ‘Vf. Fache, J, Lo dorve et la decoration de wlinves, 78. Pas 1988 EY: MEDIAEVAL ARAB BOOKMAKING black, Carthamus is employed together with galt, a ‘mixture mainly of sodium and potassium carbonates, ‘The coloring of paper was practiced in the time of ibn Badis. The text outlines a simple procedure. In a later manuseript, it is given in more detail: On the dyeing of paper. If you wish to dye paper red, then take ten dirhams of Iudt and the sume ammount of soda. These are kept warm, Sweet water is poured on the sal, then cooked until half of thas evaporated. Te is elaifed, then the 2k is added tot. A. small amount of baa is aided, then dint Si 2 ad TRANSLATION OF MANUSCRIPT OF IBN BADIS| 1s ink. Take fasward" tar soot, gum of seammony, gum arabic," and soot’ of sap of the pine," of each one a part. Knead with water of the gum, It can then be sed. (8) Description of India ink, Take com's butter and any oil—as much as the cow's butter, and the same amount of oil of the ben-nut tree," elove,* violet, the Jagat" andl whatever oil iis, Then you put iin a vessel iacoard, apinlazl. ‘This stone wae known {0 the carly Sumerians (aA, 385-385) and Egyptigos (habla middle tian). Ta ada, st was wellknown nasal a fers (Gy, 186). The Arabic tnnalaton of Diocores gives lasuerd 4s arin showing what waa generally mupposel 10 be the ‘origin of this stone. Galen (11-225) considera Iaeward a9 = tinea with deterive proper “Laoword ie desert ina Ras Sit abate “There ie only ‘oe type Tea dae blue stone in which theresa Ile edad Possessing shining golden cyen” The lster, of course elets to ny spangles of intlued pyres Cf. Ruska, J ALRist Buch Gcheimnis er Gcheimnase, Queen. Sludon | Gach. Natur whsrnchjlen und dr Medici 6286, Neri, 1987 Tn Bact, apis lat is ifereaiated from lapis arenas. Hiller, Ie Die mineralogic Analaia Boctins de oot, Quelle a. Stadion Guich d. Noturotsenschafon wad der Madiciy 9: 131719, elo, 1941. Boetius aye that lapis lazuli sede An fo Gree Ia Latin, ceralos Topic He ile ae of many ol sources in his stineraiony. dubia sganga, This ete gus resin obtained by inci son fom the root of pnt found im Chinn and Sy Tt Roo important place in the Muli pharmacopoeia aes cathartic (Rinse Us S86"889). Cel (IIT: 20, 6) ue meamnony ieee of Iumbrioes, Resin of seamen was known in anit Meso tai as coming from miley juice of the roa Me is gree Jay or rowaish green Le was se a8 8 pugative (of BAB, 1 Fh). Does (1:10) peseribed ita exper wih four or om pesiary of wool i the uterus ta al the embryo, of lpeory nd rrache ™ fom arab. Thin the gun ofthe fl In Egypt the later is the eaca sperocarpa Hoctst = Mmeas gummifra Forse Ta southern Morocco, iis the Acacia gummera Wills ia ths Oriene, eis the Aetia sea Wild, = Afimora qloica A grabica Wild, (fat abba, 396) sijenaslor = pine. The pine vas very common in ancient, Mesopotamia (#2 or #E1.P4R in Sum. and bureshy of sith in‘ Aki, Levey, 128; DAB, 288). "The burasha ves ac fori eae al drugs, Turpentine from the ne nas wad at ex Pectocant for tho eVey feet, beat, lange, anus, an swellings ‘The Arable word ins teanaation from the, Grech evay Za 112498). Is found in Theoph. (IT 9) sho new the distin tion betes ‘the tale and female nee [tie also Knows in iow (F 69) and Serapion (488). Ie wns ths well know te ‘Mustns via «Abd. atsRazatq (520) and a LD, (1817, 1381) and inthe Tabje aida (238) "bia Cf. a-ChAih, 294-286 I ip Aforings abies Perm se ardingeo Leelerc in IB. (226) iv my nao be 2 ploygospori Gaert. (Bone, Ey Rami cidenriestion dev plates mi tinales’ mentions par Dioscoride-y Jone ‘82 288-284) iow (IVE 181) clined that ie resembiedtaavsk: Galea (Xt 845) used tae for akin tineaen, In Greely i eal idee mai or in Latin’ glans wvguentaria or glondlae “AK Thee type of lows. RAP is als the Persian mame: ‘Maim, (G08) states thatthe Egypte call al-anthdr, Tee slag called absvedma end ob-babaea. The Arabe wed this 2a Antgpastctic and dioeie (Tht abahlal 422). I, he (39) “otes Ghat who wed i with vinegar for bad ssh "logs. Perhaps ol of the leanings of 8 grain plant or fee (ometimes dates) fallen froma tree. (CJ. Lane, Doay)16 LEVEY: MEDIAEVAL ARAB ROOKMAKING Over it put another vessel? Light a fire under the former vessel whick contains oil and fat or whichever cil you wish until it becomes like vapor, all of it aly, and has risen into the upper vessel. There is a subliz mate on the under side of the cover, I is gatherel and used with this oi] as the first ink was used. This black substance is good for dyeing the hair black, Description of another adia ink. ‘Take two parts of cedar or dried fruit of the pine,® or of them together, Put it into a new clay vessel® and put it into an oven! tuntil it becomes charcoal Ie is taken out the next ‘morning and pulverized a day on a stone.” It is soaked with water of cooked myrtle! and a litte of vitriol "ar. Prom the Persian name of « mountain near Hamada, in Pers, about 180 league west of Ilehun (Steigaan) whey the eee geome "tame absntar agate. Sanutar = fet of the pine. I ia well own in Sie Neo Ss = a baking oven, atm Sas, Myris comminis L. 0 ancient Mesopotami, oem was emplayed as a aroma astringent A nfion of the ‘eri hah aa, waste Tor eucorea ad prolapse lene In pode fou wus tel for rane msl ers (DAB, 300). Myrtle was ik wedi ets ey fumigation I approximately the ats century nce ie mee well own in medicine (Lewy, (28,150). The olde mada te own, inthe Stern cir scrip sven restos wtich inhaded the akia of = water aiuker tmenechdallerhel, plant, pulses allay barey, pone eat rot fesrie! Sum. 61 SPR) Alt ole taptins Thos es lui sete, Dios (1: 112) meations it gon, to dye he bai, for eye inlfamatione, for eisypeayy an thers. Ch 1.0, (@) end al Razeay (1) for nae ste In the Arable Dtiod. The Tabforabahtah (11) saya that it's azo allel of otha (alain al-Razeta, 1). Synonyay are mere in Tare, nar Pee (ag 9). Mai, According (0 a-Rist (100 century), thre ace Sve nl Bick itl gts, gman sr, 26 alan (Ch alRid 81.) ‘Those are described chewiere in the tome to (op, 87-88) as laos (sald)” “alas whieh whe sel {pita which i reen visio, and srt, which ss Ye va” ‘There i'a confusion of tems for vittl In alla aed other Avabic writers, The tema comes from the Pesan a ole Line) lat: etamontin o atone alertam) ‘The white virial (abst) aby) peotedly the double gulpce of stuminium and potas, Tt was wel ke tte Grace (os erern) andthe anatase Te te Arabic shabh. Foray 2480, 110 is known 6 white vit (ates (xansra) is epaced according taal a oon “Take white pure alum. Diolve and purify ie Dial weed and veri. Mix them with water othe piel etd ieave int beak ‘uigan (yaar) is eupicnlpate or blue vito. This was equal conta et green vil, coe aint. Pa vas probably’ de co the fac tat the vcr ae Wes th ease with ahmoxt all other cents tin antigulys were impones ‘The methods of reperaton ox gen iy at Rae (8) ate this, For example gaint wea prepara folows? “Disco ‘viol in water. Partly i, Throw on i copper ing and et Unt ee green. Pury. Pur ina spp vee Dawley i Mer you hve put aba iam f Sranmonae ee ok nha made according to the mentioned description. It is completely pulverized with water of myrtle, and puls verized with water of gum in such quantity that there is for every rajf of pulverized charcoal ink two ounces of water of gum, If a little more is added, ie ts not harmed. If it is too hard, take the gum from i and koead it. Pat it in layers and leave it in the shade. Te ‘comes out beautifully, Description of Kufic ink. Take the tind of pomee franates” and procure wood to buen it. Take the ash and knead it with yoghurt! and a little of the moist ened gum, Then make it into cakes and dry it in the sade. This is then the best type of ink. Description of another Kufic ink. Take Greek galle ‘nuts and burn them until they bocome charcoal. “Then pulverize i¢ with water of the summer gum, (9) Make it into cakes and dry it in the shade, It comes out well Description of another Kufc ink. Take what you wish of the seed of dates Then put it in a vessel and 1 ie better when vitro a disgolved that ite paved, put into copper vest and disoved afte «hal dirham of aie slum chloride hs been pati ten diam of nl sl Another type, Take yellow vii, het ral puny Aad the same quantities of verdigrs and vt, Leaver ome dag ‘aul ie dso and is een. Puy it. Let come sol "To prepare acta take vical at Iya purify te At the sme quantity of romsalron, Cookie vigor hl puny fe Outzair,oFcoeothar ia Paracelsus ix probably not a vttiot bout iste prwiet ofthe ealention ef blue vito, or pork Deroide of ron. Finally, the colors given muy tiene te oe Dustes and no the major eutances themscives (Main, 10, Pabfat abated, 18), “Throughout the rest js probably meane 1 he grees vitriol saleo Dine (11:8) und Galen (112258) ‘rama. tis found in Galen, Ras, Serspion, ibn Sins, and in other materia media as 9 stormatie,for far, bumowsy, aed far other almenes (See Main, 78; Levey, St, 108, 12). The rind of pomegranate ism asiingent. Ie phasmaenogsea oes tree many, It was used in ancient Mesopotamia als the dpe ig of purple with Murex and ion alte Tompuom, Re Gy our, Regul Asiatic Saity BL, WS: Layardy Ae thy Nine and is romans 2298, London, 1849, Two hain spose of tone sranate Sum, NU.'OR. Ad, ARK, moma) were knows The Tore common was Pics pronatm Li was called immo Hele. iow, (1: 10) poe the Creeks po. hh eos feoa the Indosur stew 1-1. (1058) gives cently the sae ses (Chala Cayo 234) ‘iatem dais, Yogurt, an importane milk prduct io a. hot climate fas bean Known allover the Neat Eas for thousnads of das. ft has adhesive proper “Sify ra Grovk gull Te was well know in Babsooian induscy as shocmul's yall and alsin tscine (DAB, 208, 272). Tn Canning, it oocupied an important pace the aoe incrave of goo eather for religious parpowes (Levey, 10, 11,7, 112). Cf Serapion (210), ab-Razebg (658), 1, Be (1964), and Main (295) -"af these f Dion, (1 104). Ie as wed a fetvifage and intestinal aatingene by the Arabs: Ae to Quetee Snfetorte D.C ie all contain wp 0 6 feet tae a The dr cami (om Parsan) was made from gallu aed arowatie drugs as muastle (Tabft aba 360) "tame. [ese oan stringent sae for sows lets and fn colin for eve leer Cf eB (224 fl, ein.lute its mouth, Puc it ina warm furnace” a day and a hight until it is burned, Then take it out. When it is tooled, open the vessel and take out the seed which hhas become fike ash.® I is well pulverized and sieved* with the thick burned material. ‘Then gum is taken and kneaded with ic twioe'every day. It is made into cakes and then deid in the shade, ‘Description of Persian ink, Take the soed of the date that has been ripened in vinegar. Put it in a clay. vessel. Take as much as you wish. Lute the vessel with cay of the art" The luting is done after a cloth hhas been put aver the mouth. It is set down until it dried a little. Then, if it is desired, the firewood is Fit, Te is shaken” from’ morning to night, If desired, it is introduced into the furnace for the two kinds of glass.” When itis taken out of the fie, it is set down until ie is cold. Then it comes out black like charcoal, tis then ‘made into cakes as desired. Description of Iragi ink. Anemones! are taken and stuffed into thin vessels! and busied in the dung™ of ‘asses until melted, watery, and dissolved. Then paper sheets are burned. What has been burned is gathered twith the liquid and semoved to dry in the shade, Then 2 dicham of itis taken, a dirham of gum arabie, and ‘amd, Cf. 1.8. (1061). Sheil ft late with lay fin ek jubmch cy of the art, 1 was commonly used by ‘Arabic elchemisty atl cheniste Co mle apparatus a and ‘Rrteright Rina! mentioned i frequently ia hs book on the repuction of perfumes (OLKGind? 27 88, Sy 35,39, 82, 835 Infect this lay was une st Himes o coves am entire vessel Dee fove placing itt the oven. [one fora al Kige fvended the ‘ay with dang, bar and ine, Most frequent sth elay 0 be fou to texts dealing vith sinlation where the alembic and Sih must be tightly scaled together belore the operation. Cf al aa (6) ‘Marat = to shake orto ste. inthis may be = spec type of las furnte. °C gingdig sng. shi) sometimes the mane is made move etnies shagtagobmurmn (Dione. 1: 170). Thi probably “tne corner which x widespeead i Palestine and Sri. ‘Theoplrastus (VIe8, VI: 7) mentioned ta did Serapion 27). Te noportant ses ne 0 dnt see described in 1 By (0529), and in Tubfot etahiai (441). Cf alo al-Razzaq (106, 941) an Tocw {itty 118), Other Arabic names are sari, lai, lt, Konnue eldauah; and fegtigav-nasmin o-mdtath In AE, WCE Ryeanda aad Marta, cognate co the Syne rtht — trembling Cle Da(14). Ty Babylon and among the Arab rap we for head pain, disnses of the ulerus, stoppage of ruin wom, and dysmenorthes. gout dgag. Thin wee was 8otancant ¢o be heated, was hi enough to cou the surrounding heat othe solation, va ifns he sponcancows oxidation ofthe surrounding Tung pve off enough Ia forthe esetion eared This was one way Br eekieving a cemperatare within.» cesta range before the fhermomeree was invented. The thos common tethor which find been in tava cary athe fourth millnsiunt mc, n Sumer tres by using diferent typen of ovens a farnaces. The early hemi were well aware that these were cape of yielding ‘iterent degrees of Rent, Cf. Levey (20-29) fora descipion of ‘any Heating aparatas and their developmental iporcnce in ‘ing the growth of eat. ‘TRANSLATION OF MANUSCRIPT OF IBN BADTS, uv one-half dirham of pulverized gallnut. These are pul- Verized together with white of the egg. Tt is made into ‘ball. Then it is dried as has been mentioned, (10) put into the inkwell as needed with water of sorel.% This, is the best wator for it. Description of Nafuran ink. A large apparatus is constructed without holes of openings. Its middle is made as a square shelf, On the shelf is placed sanda- trac and barley. Then the fire in it is lt. The open- ing of the vessel is stoppered. Tei let until all of i is ‘burned, [eis left €0 grow cold. The door is opened and, the soot is gathered with leather sieves."” This is the Teather that is not utilized for parchment used in writing. This is the sieve of the miller. Then itis put Into a pot. Water is poured over it and it is set over a fire. If dissolved, then it becomes a liquid like, the acacia." "This would be the gum of the acacia." ‘When itis ripened, a bie of vinegar is poured on it and. {eft until ie is completed. Then a stone is smeared with water of camphor and it is spread out on it untit Desig, sorte or beet. This word js derived fom the Grosk wera, Latin seul, "Siclan.” Cf. Trophrasas, (VIL TE) and Dioes (ile 118) fr allied plants, Im Abe iti 0 aR Cy. Tabjotobebbeb (171, 37, 397); ai-Razzta (12, 313) ww (1388-860) Serapion (273) nF. 18 (698) anerfatemad, irate, its given a sorrel (atoll) or docket (gatence) It Jyes known by Galen (HL: 56) dba Mssawaih and fbn Sin. C. Daa (St and Levey (8) andar Te Be (1238) says that t wae wed by in Sins sad other a an emnenagoa, «dle for the eyes for fae {stn and internal Bemortages. J aleKindT (308) ad espe TaN ad fy eRe (821), eT (LD). ‘tnt, Tha was the most comin cereal ean a Babylonia. In che ceatsjt occurs ity timex more often than wheat cr emmes Te ens used medically for poise and gs a stomachie (Dy OP-T01): Darcy wae ao ase in Bafta fn fanning saltions {lavey, 109) eas known im materia mica alo tothe Gres {Dinu 185). For Must sage fT, D. (1321, 1322), Tut Aebbad (380) ant Mat (270) ose i ets kom als 08 al Som the Al st, Sho ealso a old Semitic word. anata rage 2 pani ‘grin pot wich cn be heated vera fie "0 fagigd oF agapil a the Saie of the acu. Te i noted ia Dione Es 101) a0 beady i "Theophrastus ((: 2) 8 bene, Serarion (6) knew tras tid 1. By (1138). Cf Mai. (12). Bebylona, cae bar was ased in tanning. (Levey, 112). Cf. ao DAB’ (238) Ibm Batar cosidred gap at the ume: tracted trom the poas. (C-. hy HTS8). “Spm egurd Ch Ly (1788, 1955), Maio. (278, 12). By gordo aoually meant tv eit of the acacia, Cf. Toph. (IVE BG). Dione. (Ills 13), Tuk abastad (io), Serapion (6), teeta 19). Te ie an Egyptian tree (M. By na) dene trabica Wil, srs notice Del. Other spies are to be fod a ‘fe Sudan It foam atingent ad hasbeen use 0 othe green ey. i aaa leo called gfe, Obsnind from Cinnamomun cam phos Nese. {labin IV: 108, 1081). See al-Kindt 242-216), fiticve i, 1868) sae tat hie te i grown in India. and Chinas The best ace the quitut and right (CY. Sontheimer TH: 130) “The bars campo from the cast comet of Sumatra tras the st brow tothe Wiest Some also probably came from Floren. J, Main. (208). Fora lng time camphor ae been in {hein jodi by the native jetioners ho peesribe it extrsally18 LEVEY: MEDIAEVAL ARAB BOOKMARKING both are dey. Then as many layers as desired are made, Teis wonderful AA special ink essence is made for the king from soot of rehined storax," soot of the sandarac, and soot of taudanum™*—cither together or separate. Its soot is a Yery strong black. Another ink is made irom soot of bitumen" and also from soot of sulphur." If it fe des sired that the fig in the inkwell not be spoiled and ‘ec touring in Jegen, Formos, and Cental Chin) fein iene a Camper occurs ina wiriety of ements teh anne Tplemary, sage, and others There ae alae the Bena thyme, and buch eaunphors, Camphors are taiey cece fea dtllaton of the botanieale then sere sea factional dtilation, GJ. Agathe (1105) for wee ne, fom the Sori atts. The Arar diingulhed tees stom (com Strat oflcnal.) and liquil terse (ear gee, agian gris Mill) Steer, 0, Ayre and Slater ee, JR PAB, 385, Vide Tuiat ab abinh (8.238), Dees Ose Ba ey oe, 209; aRanasa 15, boyy ain ey 9), He was cued a a aromatic for thoes ra adam ox Thon. Ie ste resin from the plant Cu ladon fore elt, al other specie, It was know age, aoe to Dios. (1:97) 1 st be found inal Ranson GOO) ah, (GQ). Tabfotababtad (261), and Main (208): fers seit Bag, He setnsent antidyentra and in calla Ce DAB, 33S S44. Of leo 1B, (1990) and Play Gaye ar go ‘rigin of tdanon is Semitic (Catnoy, Sep 1s Dt cena contusion in he Geek (Dios. 1:12) ‘and Arabic leratre in regard to the bitumene, Coote edt halts Thi ie dscuse inthe Tubjatab-edbdb (SO) Cy Tce 48) ant at Razatg (276, 388, Gf Meim, (102, beta al Kind (138)5 1B (1114), Zt wa wae fa ary Segoe, ‘epartions as wal asin the bung of gull Saige at ‘aly cleo ond on tects aan sealant. or ne ee Babrlonin of, Levey “16, DAB (239), aad Por ae" t Bitnmen ond fetrleum i antiity, Leste, 1986. tn tka nad, 2, 170) bicamen was probably ebtsinal fom Balaceoee a imported to the indus Valley $00 yes ag Jit Salphar was wellknown in ancent Mesopotamia, ewe {38,127 128) (ore preparation and ures Retna, pharmacology. ‘Aristorle, Galen, ad el Rast anon ae oe i Dione, (V) danse ana simple, Suhr see oc fusion tines a ent deal for uur it was uoed meek ae wy India and sarler for itch and cuteneous ease Hippocrates and Calais ale used alps Cf Alster 210: Ray, passin, In Aleune (4) ‘cular Se deen hy ature is deacibed alike the nate af the areca When Tas ile to mercury and then dle, the auteer oot innabae, Ta the same way, when tered with cooper eae fepee (ove) was obec. "What fe dadeabe sie a buming and ts oilinens and whiteness dippeat oa with aie Aggh LP slobur i mentioned. Sulphur dneweey eh (asso) an le {here not be a bad odor, then take the ink and put it in a vescel. Then enough clear water is poured over it 1 cover it, Te is then filtered from its solution, Tes water is changed three days. It is then put into the ‘mortar and sorrel water poured on it, yoghurt or a bt of table salt and gum arabic. Then it is beaten in a ‘mortar until it has the consistency of glue. It is thes ut aside until needed. If it is desired to write with it some of it is dissolved in water THIRD CHAPTER OW THE PREPARATION OF BLACK GALLNUT INKS (11) Preparation of black shining ink. Tea parts of fallout are taken and pressed. On itis poured sie of the same water. It is then cooked until a sixth of the gallnut solution has disappeared, It is then purified. te is cooked in one-sixth of its weight of gum arabic, then boiled in a mild fre until one-thied has disappeared. Tt is then brought down from the fire and cooled, One can write with it Description of another ink. An ounce of acacia gall- hut i taken and pressed™ with an ounce of gues are ‘They are mixed and there is poured on it a measure of ‘water equal to eight times it, Tt is put ina flask in the sun for three days. Iv is filtered after that. Four dithams of Greek vitriol is put into it, and an ounce of the Ira if the Greek cannot be found. If itis summertime, it left in the sun four days. If it isin the winter, fe ie let ‘twelve days. It can be used to write with Description of another shiny ink. Two parts of gatle nut are taken and pressed. On one part pour six parts of water and on the other two parts of sweet water, On the first another six parts of water are poured, It is soaked a day and a night. The two are gathered to ether in a new pot and cooked until ite fourth die, appears or its third. Te is then taken down trom the fire. It is purified. There is taken for it two ounces of scrapings of gold. (12) It is pulverized and sieved, then sprinkled on. Tt is returned to the fire un boils, then removed from the fre and purified. Two ounces of pulverized gum arabic is sprinkled ‘on it while hot until ic is nicely melted. Then it ix put in a alas pot and used Description of instant ink.'® Gallnut of the tere- Anni atlotm. Many subwances were called sls by the Arab (Mam. 221), ALKGndt (718) awed alt fegsenehy be es "esis, Slt discus in 1. B. (2161) al-Ranatg (832), Dina (5 300), and Serayion (258) among cra, Salts ve sige ‘tocol in Alnune (St, 80-81), The table mt toed eG ‘mediaeval period in most places was obtatnel large oss fhe sea. Thit which was mined waa more expensive Recast ie ‘ransportation cose Slt wae generally pu haweur, CJ. Lavey (13) for Babylonian inortare. Many type of mortars ani verms relating fo thes wee knvnsin he eoeed ‘ra. aie ‘gif, Fern gull. Pousibly the coloration on the surface of impare gold expowed tothe ntanophre ie otabinth!*\—yellow green, is taken, Greek vitriol, and gum arabic—of each a mitigal. Iv is all pulverized and put into a vessel which is wide-mouthed. Two ounces of salt water are poured on it. It is well beaten. Tt can be used for writing immediately on paper and parchment. ‘This is the description of the Iraqi way. Desctiption of a black ink. Three ounces of gallnut are taken, an ounce of glass," and one and a half ounces of gum. The gallnut is pressed. On every part of it, tight parts of water are thrown. It is soaked init a day’ and a night; if more than that, i is better. Then it is put on a low fire until a third has disappeared. When the gallnut has deteriorated, then itis well cooked. The ‘gum is dissolved in water ‘before the cooking of the gallnut; itis completely covered until all of it becomes viscous like honey. When the gallnut is cooked, the gum is thrown on it. Tris left a fitele while until all of it is dissolved in it, After itis pulverized, the vitriol is put on it. If it is not enough, put more’ on it. Never ‘throw the gum on it unless it has been soaked. Preparation of a dry ink. Green gum is well pul- verized until it becomes like collyrium, A part of iis taken, and a part of the gum arabic, The gum arabic is dissolved with water. One half part of vitriol is taken. (13) All of it is gathered with glair of egg, gall- nut, and gum arabie until it becomes Tike dough, Te is ‘made into a ball and put into a vessel. He sure that no wind and dust reach it. Tt remains for a long time. When it is needed, it is put into a vessel. Drip water fn it from another vessel in a needed amount until it is dissolved. Then one ean write with it Preparation of ink for the common people. Green gallnut is taken and pressed in quarters and thirds. It is put ina narrow mouthed flask.” Then water is poured on it. Te is then placed om the fire, A low fie i8 used. ‘When half of it disappears, itis clarified, To waite with it, for every raf! of water of the powdered gallaut use five parts of the solution prepared and one half ounce of green vitriol." Write with it. "ts a-bufm. Teeth was used a. detersive substance in Babylonia Levey, 120). Cf. DAM (288). The but tee usualy the Piaacie Toren Les Samm "LA Gd EAR Batata = Syr betta Heb, for. wos wed nly foe rheumatin’aitd focal pains, Hippocrates use the frit by fand vera. Of. Theoph, (II-V), Dose. (1, Tula aba (298), Maim. (66), dabie (VE ota) 2 When dy, the glass gives sparing appearance to ink, = From gar. "game, Tila ea flask which can be heated. It may have a saeco moth, nj otha. Green viol = wieol of Cyprus (obj ak suirug). Cf. Ducroe (188) Te was unknown t9 Discord. See also FB. (1080), Mim. ({40). Te was wal nwa tothe Baby Tonians (D4, 169 11) who works ix meat and estes. The sitrolof the lather worker war alled komme arp, In Ping, i ie etromentu satrium, ln Syl, it chan. Cf Ray (113) for ealubactory, sulphate of ion, in. Rasarancsamnch haga. In Duero (183), 3) agar is shabrak in presen iy rug commeeee The latter term i alo one aed By Jd hia Kush at Surhaw ft gure Si amis, Cp. 3, 98 inf ‘TRANSLATION OF MANUSCRIPT OF IBN BADIS 19 Preparation of ink of the myrobalan.® Yellow myrobalan is taken and pressed with seed. It is pat into a thin vessel after it has been measured. Then pour on it two-thirds its weight of water. Tt is put in the warm sun for four days. ‘Then it is purified and gum arabic is put into it. It is returned to the sun and Jeft until dissolved, ‘Then a little water of yellow iol is added and a bit of pulverized green vitriol. It is stired and then used to write with, Preparation of a sunny ink without use of fre, Ten nna Full Most of the ine athe Arabic pero it was antimony traulphide (Sb), slbite, with many and vacying typos ok linpurties. Tala waa not ony true with the Arabs i ie te Dabylonians, Egyptians, and Grocer before them f.'B. (18, 1898, 1899, 1900) cates that bull oFdtimad, as Known by che ‘Muslims, wasa collet forthe este toys tering hemorshage asa suppostory aad ie desssiesulecrs One of ts ue es ros as conmaric for making the eyebrows and lashes black Some believe that dul was tative antinony (Matin, 27) Tn ancient times, antimony” was Trequeatly confaed wth ea ‘Abbudy nthe mediaeval period, became ideaifed wit the ‘intestence ofa substance, ad tus apts of wine orale38 Te is used in the polish with moisture on the middle finger between the gold letters, then with ub! after that List ofthe polishing agents of goki—the burishers For this art, there ate three pulsing agents of jum dre stone: the blve rounded feathered one? that which is rectangular inform, proportionate inthe face ‘hich i at the head of the feathering since the sides {ve not used; and the thin! smal, pe toe in shapes With a proportionate face, The Tati for the polishing OF thin Hines an its complications in fine works Its fine ‘edge isnot pointed but it has a sight width in omer ‘that its purpose may be accomplished. litle pice i Shaped for is much as the quantity of silvers Far uch gold, put the stone in the middle and lower into the lit A cover fs made fori either of ser or copper. It is made tight so that it will pot shake be. cate of the fore ofthe work For He gol, thee fe pendicular pieces atthe hel of whieh ate the stone ‘ne perform wih it au withthe fst Then fh the ase of jumdhwn, onyx is us in its place Description of the polishing tablet. ‘The polishing tablet forthe god is tquare inthe thicknes of one finger. It is made from the willow” or the walnut for fineness in che work (88) 11H fal, en a table of another type of wood is used. Description of the knife for gluing the gold kal. 1¢ is an Indian knife whose lengeh with ite handles the span of aking ot two thinds: Its bared bla is wider than its handle to eu leaf of gold or something the. ‘The second side is indented; its mile section i wider than its extremity. Te god for softening of the pig Camere, sires camel ren arden sre re shoals ghee Poe all Gath Dis A msc le a Cn Sent Gc ats a Ta LEVEY: MEDIAEVAL ARAB BOOKMAKING ‘ments after their occurrence on the leaf and after they: have died. Description of sponge to push gold leat in the pressing. A piece of sea sponge is made round with scissors and put in a reed head. It is inserted with the fingers. Take some away from its head later. Description of the quill pen for writing and so on ‘The part of the wings of eagles, thick with feathers, is taken. From it, the hard thick place is chosen and the quill plucked. The pen is eut off with the selasors since the knife docs not do it entively straight. A short cut is made for the pen, The fat is removed from it to make it thin, Ic is good for drawing and writing, The scissors used to cut off the feather pen are short at the head The blade of the scissors shoutd be thin, Description of the brush pen. ‘The hair of a weasel is taken and the thin part bundled, all of € to one side. ‘Then Indian aloeswood™? or sandalwood” or some. thing of ivory or chony is ehinned out for the hand ij a-babr. Dio. (V2 120) sae sponge, exéyven, for ounce, to repress eentata, and to open contrac cer a India (Ainslie I: 401-402) it was conahdered to have saeicdl propesties o be a tonie nd decbstrunts ad to be goat foe herpetic eruptions and seophulons ating,” Galen wed ‘burned sponge (X11; 376) Tor hemorshage after incisng, Te sat lope into igi pith (l-Ghagt 204) In Persian and Tusk, ‘he word for sponge ie pronouns fan. Mam, (3) roe sae it was alo called subd a-ha gb athe Maghrib now se nashaigfa oe sat o-babr, Ie (78) wrote that he ‘Aan thought he spoage should be wed when res while ll retained properties the ss. The Tuhfe of eB60) (42) alls ‘abafele, The sponges the Easpongi afiinas [and others ‘id hint. Main (296) sy chat i e"that which the phoee ‘ans cal peta wood. 2" Wath wellknown fumigation wd Wis called sé abmadd, abd ob-Bhamm, aloud al jaf aioed sons, al abana I ancine Greek i was Eyadions” Dione [0: 22) used i Aiserfow agllchum Loar. (2) when ewe for mveet neath, [twas also employed aaa stomach for dye, tery, and for other ailments nf .(108) itis mentioned sae Perfute and as a help to.end urine inooninence, The sacs Species of aloeswood knows to the ancients is mill wcetahe (ecer’s note p. 488). The loeeyood iaften found contoonicd with the legume sometimes beating the same name, Al Rie eed agllc in bis petumery races, The Tulft alata (368) states that there ae thirteen types of alocsed, che beg twine from Inia; then comes the wf Simendie {a village of Sofala of Tia near Bombay); and then the equa (esa region of India called Inline, The slocewood itil sl olay byedruggate (Duro, 13), ‘yandel. From Persian somdal which is from the Sanskst anda, Ni-Kindt (113) Used sandalwon in many of his por, fuser recipes. It wasalso considered sea devs Tabi (VE Tet) siscunsel evo typ the white and red sendalwoode. I. B.(1418) ques at Arabie author as stating that this wood wiveh omee feom China is of thre kibde red, yellom end whites The ese Soniaton album Ls the moa favors bu Sh ts quoted ae Iving tae it forthe heart and stomach, ‘The Tada ef r8000 (207) lve cree types as did 1D, The whe sandal ge sll grown in Pein and fe cle sondelfaftd Te daed Perfumery and in maicine fo it wimulative and antiseptic ‘acton in the genitourinary tact. Dacron (140) state tt the hive and rel sandalwoods ae sill sed in medicine. = abnas, Mentioned in Dios, (I: 98), Wows, it was a rare ‘but fel welt known snp in he cen materia methVo 8,94 196) so that it may be light for it. On its head is made a place for the attachment. ‘The hair is prepared around the head after fish glue has been smeared on it, (37) ‘This is to hold the hair fast, The thinnest pens have four hairs. They are made thinner than that but this is stronger. It is titd with a silk thread. Then fabri- cated Chinese oil is taken with buttery gum sandarac and is pulverized and sprinkled on the oil, The silk tread used to tie the hair is oiled and put in the sun until dry. Te becomes like marble, hard and elegant. If ic is washed with water, it is not changed and is not dissolved. OF it, there is made the thick and the thin, Tis necessary to prepare two pens for every dye, chile and fine; for black, five of them, four for thin and one ‘between thick and this. If this hair fails, then its substi= tute is prepared as has been described. Hair of the ext ‘or squirrel tail is tied in a bundle resembling the other in hardness and fineness of the head and shortness. Tt takes its place. Like the compass, itis essential that it be light in weight and delicate. It is demonstrated to ‘be proper if, when it is opened a Title and then closed a litde, it covers without changing. Then it is good. One head ‘of the pen is used to split it and tie the pen in a necessary manner. It is for delieate and fine work and what is wonderful in this art If gold is not available, then use a substitute in gild- ing. A rail of gallnut is dried in the sun, then pow. derized well. It is pulverized in a mortar and put in a cloth similar to a sieve. Tt is hung up. Sweet water is poured on it s0 that its purified water goes drop by drop without being changed. Then itis put in a woolen cloth. ($8) The ends are brought over it. The cloth is pressed from the ends so that its water does not remain in it. If any of its water remains, then it will he cor- rupted. Te is then spread on the leather. Four dirhams of dyes’ alum®™ are poured between the hands s0 that they are reddened, a red usual to the hand. Ie is returned to the cloth which is then spread out with the hand until al its parts are collected. Then sweet ‘water is dropped on it, little by litle, and the sides are taken care of so that itis filtered. The filtrate is col lected. Its quantity is haf of the residue or less than it On the filtrate is poured water of sour pomegranates in the quantity of one ounce, or sharp distilled water. It is distilled; that which is distilled is purified every time. It is left until it is settled. Tt is repeated until the essence remains. When i i like the viscesity of honey, fno.third of an ounce of red gum arabic is thrown on i (0) mates hae the Arabs used i for pustules and a a stomach, ‘The Tubjo abahtad (24) says tia asim, The Gunther edition of Dion. gives ebony as Dipyras metanargion Roxb, or Eb “plow serum. Te ebony i own in many types Te 8 wncetaiy Which type abnas Lo ler than four har The hed of the ea holder is smeared with gl, then the aie king up the ine brah are applind to the wet, esd ‘Probably the alum used asa snordane in dyeing (Levey, 7m) ‘TRANSLATION OF MANUSCRIPT OF IBN BADIS 9 ‘Then itis spread on a stone, When it is dry, itis ree moved when needed. When it is desired to use it, a solution is prepared with water and a litle vinegar. (Ono writes with it. It comes out a pretty ruby’ color Ih itis desired to inseribe on silver and on tin, then it comes out like gold. Half of the dry mass from the filtering of saffron is put in a copper pot. Tt is put on the fire until a thied remains. Tt is tested with the pen fon a finger nail, Tt becomes like honey and its color is golden; i is tested during its cooking s0 that it will not stay longer than necessary. The fire may be heightened fr changed since the secret of this process is in the cooking. It is removed! in a glass container. (59) When iis necessary for the operation of gluing it to silver or tin, then rub it on, It comes out like gold ELEVENTH CHAPTER ‘ON THE MANUFACTURE OF PAPER, IMPARTING OF DYES BY THE PEN, SOAKING OF PAPER, ITS DYES, ‘AND TIS BEAUTIMICATION Description of the manufacture of paper. The best white lax is purified from its red. It is moistened and combed until it softens, ‘Then itis soaked io quieklime a night until morning, It is then rubbed with the hands and spread out in the sun until all of it dies in the day- ight. It is then returned to water of quicklime, not the first water. It is s0 the next night until morning. Te is then rubbed a night as in the first rubbing and spread ‘out in the sun. This is done so three oF five or seven days. If the water of the quicktime is changed twice a day, then it is better. If its whiteness is brought out, then cut it with the scissors little by litle. Tt is then immersed in sweet water for seven days. The water is changes every day. When the quicklime has gone out from it, then ic is pounded in a mortar very finely while it is moist, ‘Then, nothing will be left of the humps. Other water is put on it io a clean vestel. It is dissolved until it reaches a silley viscosity, Then it is introduced into the molds inthe desired size. ‘These are made from straw used for baskets, nails, and the walls are collapsible, Under it isan empty sib, The flax is beaten with the hand vigorously until it is mised. ‘Then itis ‘thrown with the hand flat ia the mold so that it will not be thick in one place and thin in another. (60) When it is evened, then its water dries away. Tt is found proper in its mold. When the desired is attained, it is adjusted on a flac tablet. Then it is bound to a wall and straightened with the hand. It s left until itis dry. Tt wparates and falls off. One may take a powder, shining white, pure chalié® and starch®™” in equal ‘uma. Cf. Levey (81) forthe wes of fax in Mabyfoni The Hibs consebnus I. (sroding to Hooper, called ft in Taq and ptson to Hindi, i il grown today tn naan tea Boa fore Bb ih A sol or mold ‘a fuser, Kpown in Babylonia, i¢ was also well knows to Dioss, (Vi 182) a8 good for eye ulcers. Diose called i ‘yeharrrs he mathe40 LEVEY: MEDIAEVAL ARAB BOOKMAKING (quantities. The powder and the starch are macerated in cold water until there is no lumpiness, [tis heated to the boiling point. When it boils iis filtered on that powder, It is stirred until it settles and it becomes sheet. Then the shoct is drawn back and glazed! wit the hand, then put on ® reed. When all the sheet is elazed, the sheet is dry. Te is glazed from the other side, then returned to a flat tablet. Water is sprinkled fon it lightly. Tt is then gathered and stacked. Tt is polished as one with a eloth, Write on it Description of soaking of the paper. A very white kind of rice is cooked vigorously in a pot or in a slazed pan.?® There is no fat in the pot. It is washed, then the water of the rice is fered in a sieve or it is drawn through a clean cloth. Ie is then spread out on a clean cloth. It is 4o until iti dry. Some people cook the husks and take the water with which it was soaked. Some people wet tragacanth or soak it with starch, ‘This is after it i boiled with water and soaked as de- scribed. Description of beautifying the paper that has been tested. In a copper pot, ten rails of sweet water and food clean starch are cooked on the fire, Te is boiled ‘more than once until the water is diminished by two fingers or more. ‘Then there is added a little saffron in ‘2 quantity to strengthen its (61) color of its purty, ‘The solution is poured into a wide basin, The sheet is immersed in it lightly with care so that it is not tora, Tis spread with a thin flax string in the shade, One must be careful that it is not reached hy the stn else it will be spoiled. It is examined every hour with a turning over so that it will not stick, When dry, it is polished with glass burnishers on a board, Another description of it. Old straw is moistened in water for three days, It is then boiled until a third of the water is lost. Starch, in the mentioned weight of the first description, is thrown into it. The operations are carried out as in the first procedure, It comes out improved for pen coloring and drawing. Description of white writing on a black surface by pens. Sea reed growing in the meadows or the reed ‘watered by rain or the one irrigated from time to time which is growing in free places, or the hanging vine—a large quantity of an arm’s length is cut up after it is found smooth, hollow, and clear of knots. It is washed clean. Already wool alum has been dissolved in water When its color is shown, then the pen is immersed in that water all over. Tt is thin and does not show to0 ‘much on the body of the pen. The pen is dried in the sun, When the white dyes, it blackens. When it sticks on quickly, then it is black, Te is shiny and it Probably Orgeo catty L. (aLGhGgh $8). Rie i & food eropthousindsof years alls Nesopotamis (Levey, 46,47)> Diows. (11295), fyetay speaks of fee mulicinal. and mation value, ‘Morya, an mali. stands out. Its whiteness is glittering and shiny—not at the same time, When it is rubbed, the second rust comes off. The black does not stick. There is no form of it as was first described. (62) Ifthe water of the alum on the pen dries, itis thought to be good. Tt is pulverized very thinly on a stone After proper pulverization i is cooked with good Vinegar. Pach time, it is well pulverized until ie re sembles ink. ‘Then ‘one writes with this pen with a mastery of the art that is desired. Whatever coloring is desired is dyed in it. Writing is not made wide ot thick; it is a plan of the middle of the pen, Then take ‘wo pots Jane enough for enough material for the length of a book that is to be written or a litle more. Both are introduced into the fire. which is blown on strongly. Tt has previously been in contact with the sulphur of the fire. It is broken up and pounded to ices, The two pots are removed from the fire with pincers and tongs. The material is placed in the hands and a little of good quality sulphur is added. A narrow fine tike the pen is made. ‘The end of the pen is taken With the hand and suspended in this soot. Te is brought close to it if there is not flame on the sulphur, If there then raise the pen to a small height so that it does not reach the flame, When the flame has died «down, ‘hen the pen is lowered closely to the pot. The green soot is followed with the pen. That makes the effort successful for that which is desired, If is evident that the sulphur has not burned and had not produced green soot, andl the pot has become cold, then itis re- ‘turned to the fire. (63) ‘The other pot in the fire is then removed. Sulphur is added to the fire. The pen is then retumed to the soot. This is done until the pen turns quite black, Then it ie believed that it has been well dyed. Else the por is returned to the fire with the sulphur to be heated. The white, black, and yellow places are followed by the pen without hurry, If it is achieved, it is stopped at the end, It is left a while. One may write for a short period. If the redness is dissolved while writing, then it is washed well or rubbed in a hair clos, kis then taken out and wiped. It is examined to see whether certain places are not dyed with the black. The writing is repeated with the red on the place of the white. It is hung on the door. The work is begun as it was first described. Te comes out beautifully. The cor- rect and the complete then comes out. This is an art. Depend on the directions of the burning of the sulphur the pot. [t should not be burned on the fire else there is a fame to it with only a little soot, and it comes out Tight and is not useful ‘Description of black writing on a white body as de- sired. Rely on awit of which you take two parts, ‘You also take of red lead one part. Tt is well pul- ‘This a description of the alersate wae of 0 pots upon hich the eo: is deposited. The penis dipped dirsay dato the “esd soot on the bottom ofthe pote, * gulht. Unksown, Voalization uncertain, saga,verized on a stone. Then dough of wheat is dissolved in ‘Rood vinegar. Te is sieved and then brought together swith the red lead and aveili, which (64) is well done to the extent the pen is rubbed with it. Tes dried in the eun. When that smear is dry, one can write with the nib whatever if desired and whatever it is desired to color. Then it is suspended in the soot of sulphur as ‘was first described. When the soot ink is attained at the end, it is thrown in water and washed well, Tf something remains in it, do not blacken what is de- sied but oil ic with that well made preparation on the white of the pen and i is lefe in place of the black, Te js then returned to the soot. This is done until the result is satistactory, Another description of the coloring by the pens. Red arth is well powderized, mixed, and pulverized, One ean use it co write, Te dries, Then ie is smoked with sulphur in two good clay beakers. ‘The writing is wiped away from the pens. What is under the writing comes ‘out as black, the second as white “The good pens ate five in number. ‘There is the pen for the decorative letter, the pen of the quill, the pen of the two-thirds, the pen of the half, and the pen of the third which is the lightest. ‘They’ are used in the prefer the weight of the two-thieds pens to that of the decorative letter pens although they are made simi- larly. The quill pen is heavier than the half pen by a sixth. Its understood that time is the essence. If the master of the decorative letter pen can write a letter ina certain time, then a master of the two-thirds pen ccan write it in two-thirds the time. The master of the half can wrive it in half the time. ‘The master of the ‘third can write ie in a third of the time, (68) As co the duill pen, its time is long. However, the line is very good for these five pens. Others are inferior to it Cthe quill pen) such as the lightness of the two-third pen and the smallness of the one-half pes. There are also ‘the multicoloring and the sign working, and the line in the spread dust of the fenugreek 2 ‘TWELETH CHAPTER ON THE ART OF BINDING HOOKS IN LEATHER AND ‘Tie Usk OF ALL ITS TOOLS UNTIL IT IS FINISHED WY THE BOOKBINDER. As to these, there are the slab, the whetstone, the parer, the knife, and the awl, the shears, the mallet, the needles, the cutter, the pross, the screw press, the rulers, and the compasses, As to the slab, itis necessary that i be of white and black marble, the best, or some other, Tt is smooth on its side so that a ruler can be passed ever it It is good for seraping or binding. ‘As to the whetstone, iti essential that it be smooth par alfalton, The dust was sped on paschient aad ‘then blown ofA thin fn remdiacd on which the design wat {gu Tew ae Soke ‘Compare Appendix, chaps 2,3 4, RANSLATION OF MANUSCRIPT OF IBN BADIS 4a ‘on the surface, Tt should not be so soft that an iron scratches it nor s0 hard that it harms the iron since hhardness may dull it, Some craftsmen straighten the sharpening stone, make it exact, equalize it, according ‘0 their wishes up to the handle, Tt remains overnight jn a pot to absorb the oil which ia best for it. As to the parer, itis necessary that it be of good iron, not soft and not hard. Its measure in weight and light” ness is according to the measure of the hand of the craftaman. This is also true for the leather shears, The allt is used for the gluing process. The aw is very fine ‘The shears are very straight, of the best iran, to cut leather and other things ‘There are two types of needles, one that does the paye sewing and one for binding the book. (66) ‘The fone used for sewing should be perfect and thin in body, ‘The one for bookbinding should be shorter and thicker, ‘The cutter should have a length of ewenty or less than that. The width should be good. Ie shoud not be spotted on the body and be of the best tempering, Some craftsmen do not appreciate the use of the cutter. Its hhandle must be adapted to the fullness of the hand heard that some poople of this art do not use a cutter and do not beautify the art with it. They do not use it well since they have a long iron blade and eut with it in the way to which they have become accustomed. As to the press, there are two kinds. One is the press which has a cord. The Iraqis use i¢ as well as the people of Egypt and Khorasan. The other press is the serew press. It is called by the bookbinders and by the carpenters, "Solomon's binder.” ‘The Greeks call it tun." All the people of Iraq use it, As to the card pres, its length should be related to the section to be tied. Tf it is halieMangit™ size, i¢ is proper for the ‘operation that the press be longer than the book. The book should be in the middle of the press, That is easier for the erafteman and safer for him duving. the pressing, The cheeks should be of good width and perfect in form. This is so that when it is desired they be closed, they hold a paper sheet firmly. ‘The cord should be of hair newly cut when it is twisted. [t should be fine and fully black, with no odor except a goad one. (07) There should be no defect in it. Tr is seen in the work of the tanners in depilation. It is necessary that cord of the best hair, as has been mentioned, he used for this press. It fs fine, finer than flax, and its length jg enough to go around the press on all sides four times, Ione adds to this mumber, then ie is less tiring wif. A cutting ineeument D1 Uaia not given Probulbly Ggers cach equivalent 0 ap proximately one inc, sar This is also the term used forthe wine prea and oi pres elated to unduly, mse Cf snd, spiral sl els ose, . Ke man excelent article ine Oriewaia4t 1-13, 1961, refers toaljawhaie who sates that Many an Egy paper of largesse having poled suracc,‘| . 2 LEVEY: MEDIAEVAL ARAB BOOKMAKING te tema ne fe as sn ite i i a ay se iB heh tre hte we ih aot fete timer Sh Ch ieetcacy reap ais me te Il wees Pate es sieve At ie Hai ta a i Fie Ftd nny a te soe te ga ale intitle Pa pace £7 hon i coma te i Sei aie "Hs de a apn yt tad mle es fies a nie ine ng Ao et ce tema i i ee ie Ene te tet yn (iv Ati hyhctme ey Itt TH ete eae Ica so fae fs a Giger iy Is itr nat a sPpotecnn naires ta [oat dee gk pean aetna, Ph enh a a iui ean st ity bh ite i ler a werk ape hay ape (tee eld ne AI es i cited iecPd colt Hs the goer a Sa seg ab Sen he uti Ft asian stamps. ‘The dots for impressing will be mentioned in their place. This is the total of instruments: Its cone plete. (69) One who socks this art should have quick under- standing, good observation, dexterity of the hand, aed be certain without being hasty. The latter is a food manner of getting along and it has the elegance af attracting others of grace and good character ‘The first thing to do to hogin this art is to place the Part to be sewed beside you on a slab, Iti put to yous left. A quire is picked up with the left hand. Ie is opened th the right hand. Te is put down on the slab and ‘pened. Then the folder is passed over its center whee the bieding thread is to be. Then it is folded ant the end paper is cut properly. This is a double shoot’ one page is pasted on the leather and the other rematie oe the quires to protect the hoole from harm and dis ‘Then this is done to the remainder of the quires anil the last, When finished, the thread is then twisted for tying. It is in three strands according to the measure of the fineness of the thread. Tt is best if the throat! & fine for then the twist is best. If itis coarse, this part {s damaged since i¢ turns in every sheet and proses extra bulk, Tf it is coarse and the book is bound, the press will fall on the ene of the thread which romaire and will leave a mark. It is similarly 90 if one winds 5 thread on his finger to the end. Thus ie cause ere thickness in the interior of the bool, ‘There are ways of bundling (gathering in sewing). ‘Some are used by craftsmen for ease and quicknney, (70) It is that the needle penetrates two places, Othe work with two needles or three. T saw the Grecis des te but I cannot approve of it. I cannot describe it, When the section is tied together with string, the place where it is bound is then pound! with the folder previously described. Ir is then put between the knees, The prove is taken and one of the cheeks is put against the left knee and the other against the right, ‘The book is in the middle between the knees. The end of the cord is put in the left hand and wrapped around the press, Both ends of the cord are tied together. Then it (the book) fy kaken from between the knces while it is in the prose, ‘The protruding spine is put on the sab, of the sections are pounded with the fold sewn until even, There is no difference between where it and where it i not sewn. Then it is raised from the Knees. ‘The two sticks, called the marawhy are tcl these ate tied Fightly, but not too much, since, if the tying is too strong, the spine of the book is twisted ara] harmed. The paste is then dissolved loosely. A small Pot is taken and a little water poured into it. In fete thrown some paste. The paste™ is beaten and stirred swith the middle finger of the right hand. Iti loose, rot 2" A-Magudast states that in South Arabia, asin Egypt, the and the volumes cast wit wheat {ACh In Palestine the asphodet paste asbrs) wat ec he Heres ly what starch paste (wash) was asede de Cocke Bibs rots arab 3100,You 52.29.48 ‘TRANSLATION thick, It must be fast in drying. ‘Then a leaf is taken, folded, and cut in the middle, Each balf will be the Width of the spine or more than it by two fingers. (71) ‘The glue is taken up with the middle finger, the rest of the fingers hanging, and the spine is smeared lightly, letting the slime of the glue fall om the book. There does not fall inward a bit of it from the spine. ‘Thea the shect is applied so that the excess width is on one side, The spine is smeared again. ‘Then the other half sheet is pasted in the opposite way. ‘The reason I say. the opposite is because the excess falls on the other side. Then a sheet is placed over the spine. It is grasped! with the lefe hand and smoothed because, if the folder is put on the moistened sheet, it will be pulled and spoiled. This is from the mysteries of this learning, When this is done it is left in the air ot, if desired i the sun, If there is any haste, it ie put next to a low fire. Te i not pulled until itis dried out evenly o else it will twist. Be careful. It is necessary that a measure hhas been taken of the book before iti left in the press ‘The pot is put beside you on the slab and the paste is applied as desired. Then the sheet is covered by ane other. It is lefe over it, It is rubbed with a cloth and then the folder. Then more (paste) is cooked as it be- comes necessary. The Iraqis paste the book cover to ‘the pages without the end papers. It is called the tagasei. Others who have seen this believe that it pro- tects the book and it ike eloch and board in strength When the book is dried, the board is strong. It is taker ‘ut from the press with eare. (72) It is putt on the slab ‘and over it is folded the excess of the two shects (hinges). Then the boards are well smoothed after Which the straightedge is put on its edge and a’ Bne drawn along which it will be pasted. Tt is stuck to- sgether in part, that is, by removing the sheet that was pasted at the lower part and then putting the board. fn the book. Then itis pasted. When itis pasted, ie is done on the two sides. A long narrow sheet whose width is two fingers is pasted on it from the ether side {0 prevent it from being opened excessively. When this stage has been reached, the leather is applied to it As to the leather, it should be unspotted, and, is imported, Yemenite. It is made difterently ftom the ‘Ta’if and like the one made in this district. It isessen tial that it be clear and preity of color. Tt is nicely tanned so that if it is subbed in ehe hand and appears soft; then ie is the best. If is not like that, thea it is not good. It should be washed in a warm bath for ‘warmth opens the pores and makes it soft Tn the case of imports from "Ta'il province, the water should be sally since they tan with salt water, IF it is washed with ‘warm water, its oil comes out to enhance its beauty AAs for the leather which is Egyptian tanned by the method of the Yemenites using gallnuts, it is washed with sweet water because it is tanned with it. Tf the leather is for tooling, then it is flexible, light of weight, and is less than two pounds, It is of good tanning. If it is to be plain, its weight is two pounds and itis grained MANUS CRIPT OF IBN RADTS. 4 fon the (73) surface. If i¢ is of this description, then it is washed in a clean place. It is necessary to use caution, 0 that anything that blackens it Bike iron or a nal will not be in contact with it. When the gallaut leather is ‘washed, itis rubbed well on the surface with a potsherd to get ‘id of what remains of the gallnut and the gnawed. It is pressed out well and pit face to face ‘Then it is opened out until the above has disappeated, Its ends are cut off. Ie is then eut according. tothe ‘measure desire. [spread out on the slab and rubled with the straightedge previously mentioned. If any thing separates, then the outer surface of it is scraped! off ‘The best seraping™ is done when it is nearly dr the knife does not pull i¢ as it does when it ia di When it is scraped, it is necessary that there should mot be any scrapings under the leather, It should be cut on that place. When the scraping is finished, then comes the washing. It is washed until the water comes out very clear. If i is seem that the water stays in spots on the surface of the leather, know then that there is an excess of fat, It will not make a good job, If it is desired to re- move the oil from it, two ounces of powdered gallet are thrown on every’ layer, The piece is stretched be- ‘tween the hands. The gallnuc is spread and all of i is moistened over and over again. The leather is returned 10.4 pot with water in it and itis covered with more water, Its made heavy by something so that it cannot float, and itslef ina nighe or a day until late at night, Tr is then removed from the water and rubbed well. 1f this can be done with a bit of bran, itis better (74) If the leather lacks proper tanning, it blackens and is oily to the touch. Carry on as has been done with the fat. It is good for it As to the nature of che gallnut in the leather which is supple, it hardens it; if fe is hard, it softens ft. If there is fat, it removes isif i is without fat, it provides some. Understand that. Then dye it Description of dyeing leather and paper. The red in dyeing is of many types. In one, the best possible spanwood is taken. There are two types; one is the itle” and the other is the “princely.” An ounce is taken of the powder. It is immersed in water a night or a day. Tt is then put into a copper pot, a clean utensil. On it is poured ten rajls of water and the best powdered, sieved wild galt. It is then boiled on 1 good fire until half of the water is lost. The essential of the process is that a rod is left init. Drip it on your thurubs If ie remains and does not drip, then it is successful is taken down and purified. If desired, this may be repeated on that type which is sold. ‘The first is the better of the two. It i lefe until it cools, Then dye with it. For dyeing, paper is put in the solution with eare and then spread out in the shade, For leather, put sapanwood in a vessel to which has been aclded water of sapanwood. It soaks it up. A hair brush is put in the water of sapanwood, or a piece of felt is wound on =A paring onetation,a“ LEVEY: MEDIAEVAL ARAB BOOKMAKING the head of a rod ancl immersed in the sapanwood, then rubbed on the leather. This is done twice or thie. ‘Then the leather is pressed and the dyeing is repeated, (78) Wool is dipped in the alum. Te is necessary that the alum be moistened immediately before the dyeing. ‘There are varieties of alum; the best is that which is sour when tasted by the tongue. If itis salty, then it is not good. It js then soaked in whatever is desired: i it is sharp a Tittle water should be added until it is corrected. Then the wool of the brush is immersed in it and it is passed through the sapanwood. Te is rubbed well and left, soaked and then spread. ‘This is repeated until the depth of desired redness is attained, Tt is then spread on the slab and the end of the straightedge is passed over it. If one is at hand, a piece of cloth, a hard woolen rag, a haircloth, or some other thing is used. Ie is suspended until itis dry. If desived, it can be dyed black. I doos not beautify it, Tt is wetsdyed in the process of dyeing it black, Description of dyeing black. A vessel glazed! both inside and outside with the best glaze is used to held nail beads cleaned of rust. 1 is filled with vinegar and left two or three days until it has reacted. It is better if pomegranate rind is used. When this is done, then a small stick with a piece of wool or felt wrapped tightly about itis dipped into it. The dye is applied with it ‘Take care not to touch the hand or it will turn black. If it does, then to remove it, dip the hand into lermon®™ juice which also removes sapanwood. (76) It is r= peated once or twice, It is then rubbed, washed with: ‘out delay else it may be burned and thus wasted. When ‘washed, itis then scraped and returned to the washing, ‘The dye goes on that which was traced. If it is desired! to make a prettier black, then it is necessary to use yellow myrobalan™ juice or pome > Fimtn. The lemon has not aa yet bee identifi in Baby: Yosa In Arabic imes, three parte of were wae the ind pulpy fd soe Ut had various uses inthe Arabic mavera mie ac ‘oning to ibn Jala, No mention ie mad of any athe part of the plane being usd The juice mention is probably rom the pulp, Te let i Cirus Lnonie Oxbeck hatte. There are four kinds of myrobalan, yellow, Indian (black and small, Chebelc tack and large). sd the Chase (0, 2201). Hala or sha comes frou the Persian hale hich ’may, come from the Sanslot Aartalt (abGhanag, 264), The yellow kin is probably Permit cine Roxb. (hare iva stage in th wowth ofthe Chebule myeobalans ose the ‘other myrobalans, The belle myrobalan (7 ellricn Ran) ‘nko (MG 128, Tada el-ebbn 43, 122, 120). Erie iyrobalan, aml is teated by ai Ghatigh (13) "These were un Known to the Greeks but were knowa carly in iia (Atnai 15 De ait ‘The “three traits” of the myrobalan are distinguished ax fol toys: when very irimatur, ii called Ladion, when all macore and atl yellowish Cheat, and hea yellow al quite mate, Chetole! The untipe trues contain 20°30 pee cent allie sed tani acs and a greonish clo rain, myrebatanin, Phe mo. balaninsare sil so¥t (Dueros, 1, 1, 18) ay intestinal stings and puratives av well ay tanning agents, Actordng fo Dursos, the Chebute and Tniien types come frou Termvelis Chelle es, while the yellow fs fom T. string Rony AE Rind knew ‘aml the elie ayrobalan i muck seine. Meyerhot (Maton, Ff (TRANS. ANEER. PI, SoC franate juice which was obtained by dipping it in water until its color has come out. Te is immersed in the solution while i is wet. Ie is lefe until itis dey. 1 itis desired to dye it yellow, then there ate two of these colors, orange and yellow. /As to the orange, the ‘abkar goes with safiron, Leather is dyed with it. The leather, however, should be all wet or completely dey 0 that it is not spotted. If it is desired to dye with ‘abkar alone, then the result is diferent. If itis salleon alone, then it is yellow, This color, all of it, is im. ‘mersel in water of yellow myrobalan. When itis soaked, the leather is softened, The hair brush is used to go over it if itis to be multicolored, If itis Indian spike nard, then the fibrous part is prepared in two ways One way, of Raqaah, isto clear the color of the hair Another type of this is the Antiochan which has thick baie and is dark brown in color. If isto be green, then it is dyed with hirda, The firagi is a ower of a species of the cucumber. It is a greenish blossom. A twig of cexdar is rubbed with it. Then it is suspended on baskets under which old urine has been left. It it is desired to ddye with it, the twig is put into the solution which will come outta beautifal blue. His tested with the finger ficis pale, add birag. Iie is deep, then water is added, It is used to dye as the yellow was used. Tt comes out beautiful blue. (7) Description of dyeing with suber. As to the kar, in the beginning of the procedure, the best Carthamus, which is soft and penetrating, is dried and pulverized in the mortar, and sioved with a hair sieve. Tt is then put in a vessel and water poured over it. Phe hand ix left in it and itis stirred well. Then a woolen handker- chief is put on a wooden frame and the Cartharmus is poured onto it until the water lows out, Iris returned. ‘The hand is introduced into it after the water is poured in, That water comes out from under it. Te is thrown away. Then water is poured! on ie and the hand im mersed in it until the hand is lefe clean, Then the hhandeloth is removed and tied up firmly and left on a stone. Another stone is laid above it, or a heavier stone Which is sat on until all che water init has ram out and a dry residue remains. The handcloth is untied. Sit and stretch your legs. Then your left hand is put on the handeloth. A Tittle Carthamus is talen, then the hand is opened. Te is so done with all of it watil no more is left. That which was opened is returned, Tt comes out this way. Then thirteen dihams of the best wild galt are pulverized and ready beside you. Te is thrown on five dirhams of Carthamus and itis all mixed with the hand. ‘Then the same thing is done with five. more parts. It is all rubbed until the dye comes out in the hand. If the hands have been reddened by it, th know that it has reached its limit with the galt. (78) SU) seyothas thin the uit of Pipuadbae Ene Iya Buphor- ‘iaen which has no relation tothe Terminale ‘ie A amous ty of Avabia ¢f. Vag, brag (vocalization 2), Te isthe grevn Hower of the megaté ol. fngas. Te agg (B16) the cucumber