lazward, cinnobar, verdigris, yellow arsenic, Asfahan antimony, red lead, red arsenic, saffron, indigo, tūtiā, mica

Africa
11th Century
Source: Martin Levey, "The Manufacture of Inks, Līqs, Erasure Fluids, and Glues—A Preliminary Survey in Arabic Chemical Technology," Chymia, vol. 7 (1961), pp. 57-72.
Recipe Details

Ingredients

cinnobar, verdigris, yellow arsenic, Asfahan antimony, saffron, red arsenic, pomegranate rind, myrtle juice, indigo, red lead, borax, lac, mica, honey, tūtiā, vinegar, mercury

Preparation Steps

Pigments are prepared via several methods: 1. Red ink: Pulverized cinnobar stirred in a mixture of sour pomegranate rind, green nut rind, gall apple, and Asfahan antimony (p. 61). 2. Green ink: Pulverized verdigris stirred into the same base (p. 61). 3. Gold substitute for parchment: Pure red arsenic pulverized and mixed with pure saffron (no oil/fat), wrapped in a clean cloth and soaked in pure water until the bundle moistens, then squeezed onto the arsenic and mixed with gum water (p. 61-62). 4. Ruby red: Saffron washed and pulverized to a salve, then beaten with water of crushed white gall apple (p. 62). 5. Silver substitute: 4 parts Indian tin dried and mixed with an equal amount of mercury, powdered on a rubbing stone until it looks like antimony (p. 67). 6. Tūtiā (Zinc oxide): Used for silver-colored effects on mica (p. 65).

Original Recipe Text

Pigments are prepared via several methods: 1. Red ink: Pulverized cinnobar stirred in a mixture of sour pomegranate rind, green nut rind, gall apple, and Asfahan antimony (p. 61). 2. Green ink: Pulverized verdigris stirred into the same base (p. 61). 3. Gold substitute for parchment: Pure red arsenic pulverized and mixed with pure saffron (no oil/fat), wrapped in a clean cloth and soaked in pure water until the bundle moistens, then squeezed onto the arsenic and mixed with gum water (p. 61-62). 4. Ruby red: Saffron washed and pulverized to a salve, then beaten with water of crushed white gall apple (p. 62). 5. Silver substitute: 4 parts Indian tin dried and mixed with an equal amount of mercury, powdered on a rubbing stone until it looks like antimony (p. 67). 6. Tūtiā (Zinc oxide): Used for silver-colored effects on mica (p. 65).

Evidence

"Chapter 4 describes colored inks in various shades of red, yellow, green, blue, purple, and others. Most of these colors are achieved by chemical reaction, some by simple mixing. ... Put in one of these flasks pulverized cinnobar and stir it with the pen. This is red ink. Then take pulverized verdigris and put it in another flask and stir it. This is green ink. Then take pulverized yellow arsenic and put it in another flask and stir it. It is yellow ink."

Remarks

The text provides a clear color theory where white is white lead, black is 'dirt', and lazward is the color of the sky (p. 65). Lazward is identified in footnote 6 as a green-blue copper oxide, though often a substitute for lapis lazuli (p. 58). Arsenic and lazward are specifically noted as pigments that 'do not mix with a thing' (p. 65). The author notes that 'red arsenic' refers to realgar (As2S2) while 'yellow arsenic' refers to orpiment (As2S3).

Scientific Analysis
Chemical CompositionHgS, Cu(CH3COO)2, As2S3, Pb3O4, ZnO, As2S2
Certainty Level
Confirmed
Instrumentally Verified
Not Verified
Metadata
Material Type
pigment
BinderAcacia gum
ColorYellow
RegionAfrica
Approx. Year1050
Source Information
AuthorMartin Levey, "The Manufacture of Inks, Līqs, Erasure Fluids, and Glues—A Preliminary Survey in Arabic Chemical Technology," Chymia, vol. 7
Collectional-Manṣūriya, near ḳairawān
Language
N/A
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    lazward, cinnobar, verdigris, yellow arsenic, Asfahan antimony, red lead, red arsenic, saffron, indigo, tūtiā, mica (11th Century) | Islamic Ink Atlas