522 SAC 
have been pulled up; for they want time to harden, and 
cannot safely be left unstopped. Having reached the lower 
part of the mould, they are formed into small stony sub¬ 
stances of the nature of candy, and when the stoppers are 
withdrawn, these small stones remain near the point of the 
mould, and form what is properly called bastard grain. 
Bastards and pieces are usually clayed but twice, and 
when dry enough, are knocked out of the moulds; their 
wet heads being cut off into a large mould placed to re¬ 
ceive them, and they are called bastard-heading, or smear; 
in another mould is preserved the grain, which usually forms 
a stratum about two inches broad, beginning about four 
inches from the point of the mould. The bastards and 
pieces are then put into the stove, and in five, six, or seven 
days, will be found dry enough; for they must riot, like 
lumps and loaves, be rendered perfectly dry. They are 
then taken out and piled in a room, as near the mill as pos¬ 
sible, and ground all together; or the brown tip is cut off, 
and the other two parts, called the middle and face, are 
ground together: or sometimes the bastard or piece is di¬ 
vided into three parts, which are ground separately, and sold 
at different prices. 
We shall now close this article with a short account of 
the method of making over scums, and the application of 
their produce. The refiner extracts from the scum of his 
sugars, every particle of sugar which it is in his power to 
obtain; and after he has reduced the scum to such a state 
that it appears to be a mere earth, resembling garden 
mould, he sells it to a scum-boilei, who again tries it over the 
fire, and extracts a small quantity of sweet liquor out of it. 
The scum of fine treble or double loaves is often put into 
the pans again without any process, and mixed with raw 
sugar, for the production of inferior goods: but, in general, 
the scum of each day’s work is made over in the same day 
after the boiling of the sugar is finished. The method is 
this; the panman, having put about three quarts of spice 
into his pan, draws lime-water until the pan be four-fifths 
full without tire pan-brace; to this he adds about four tubs 
of the scum, each tub containing about three-fourths of 
a hundred weight. Having stirred the liquor well, he 
makes a moderate fire, and the scum will separate from the 
fluid and float upon the top of it: with a small iron scraper 
he prevents any foulness from adhering to the bottom of 
the pans; and then suffers the fire to increase, and the 
liquid, upon the verge of boiling, is seen through the open¬ 
ings of the dirty surface. Having kept it simmering for 
several hours, and having provided a cooler or receiver, 
over which is placed a strong wooden frame, and upon this 
a basket, to which a coarse bag, called the scum-bag, is 
fitted, he pours the contents of his pan into this basket and 
bag; and then the mouth of the bag is drawn up, and well 
twisted together, and a strong board, called a scum-board, 
is laid upon the bags, with several weights upon the board, 
to press down the scum. In the space of an hour, or an 
hour and a half, the bag should be twisted and pressed; and 
the liquor, which oozes plentifully through the bag, is 
usually taken into the pans the next morning: its thinness 
renders it useful in clearing the pans, and if any gross 
matter hath passed through the bags, it is drawn off with 
the rest of the scum of the sugar when cleared. The scum, 
as it is taken from the pan, is called fat scum, and the liquid 
matter drawn from it bears the same appellation ; in contra¬ 
distinction to the 'poor meagre liquor which is expressed 
from the same scum when they are made ever a second time, 
by an operation much like the former. After pressing and 
draining, the exhausted remains, under the name of rubbish 
scum, are either burnt in the cockell, or delivered to the 
scum-boiler at a very low rate. The produce of over-made 
scums must be used immediately, or it muff be shortened, 
i. e. boiled thick ; otherwise it will turn sour, and do great 
harm; for acidity is a constant enemy and destroyer of 
sugar. 
The liquor drawn from these scums is. commonly used in 
bastard boiling, or in the brownest lumps. There is a large 
SAC 
proportion of the fat scum usually left of every' refinings 
to be made over during the bastard boiling : it is common 
to set by the first or grossest scum for this purpose, and to 
keep separate the finer and later scums, which are made 
over day by day in the manner already described: the 
liquor thus obtained from the fat scums, being full of sugar, 
is very useful to the bastards, fortifying the syrups, and 
promoting their strength and adhesion. 
SACCHARUM SATURNI, the old name for the Plumbi 
Superacetas, or sugar of lead. 
SACCHETTA, a small town of Austrian Italy, on the 
Mincio, near the influx of that river in the Po ; 10 miles 
south-east of Mantua. 
SACCHETTI (Franco), a poet and novelist, w-as born at 
Florence in or about the year 1335, of the noble family of 
the Benci. After passing his youth in commercial affairs,’ 
he rose by different gradations of office in his republic, till at 
length he was appointed commander oi the Florentine troops 
in Romagna. During his travels and employments he be¬ 
came acquainted with several men of high rank, and with 
some petty sovereigns in the Italian states, with whom he held 
an epistolary correspondence, and who greatly esteemed him 
on account of his extensive knowledge and various accom¬ 
plishments. He spent the latter years of his life at Florence, 
amusing himself with literary composition. He died some 
time after the year 1400, and left behind him the reputation 
of being one ot the principal Italian poets of. his time. He was 
author of a great number of pieces in different kinds of verse, 
of which there have been printed only some lines following 
the Bella Mano of Giusto de Conti. He also collected, from’ 
the stories which he had heard, and the adventures he had 
witnessed, a number of tales, or “ Nouvelles,” of which 258, 
remaining in MS. in the Laurentian library, were printed at 
Florence in 1725. These, though not in such high repute as 
those of Boccaccio, are pleasing from their natural and simple 
style of narration. They are reckoned as of standard authority 
with regard to purity of language. 
SACCHI (Andrea), This celebrated artist was bom at 
Rome, in 1594. He was the son of Benedetto, a painter of 
little note, by whom he was instructed in the rudiments of- 
design; but he had afterwards the advantage of studying 
under Francesco Albano, of whom he was the most distin¬ 
guished disciple. On leaving the school of that painter, he 
improved his style, by an attentive study of the works of 
Raffaelle, Polidoro da Caravaggio, and the antique marbles, 
by which means ^e acquired a correctness and severity of 
design, for which his works are remarkable. He was favour¬ 
ed with the protection of the Cardinal Barberini, who em¬ 
ployed him in ornamenting his palace with several allegorical 
works, painted in fresco, which were greatly admired. Seve¬ 
ral of the public edifices at Rome are embellished with his. 
works, some of which have been ranked among the most 
admired productions of art in that capital. Such are his cele¬ 
brated picture of the death of St. Anne, in the church of S. 
Carlo a Cartanari; the angel appearing to St. Joseph, the 
principal altar-piece in S. Guiseppa a Capo le Case; and his 
St. Andrea, in the Quirinal. But his most distinguished per¬ 
formance is his famous picture of S. Romualdo, formerly in 
the church dedicated to that saint, now in the gallery oi the 
Louvre. This admirable production was considered one of 
the four finest pictures at Rome. The composition is ex¬ 
tremely simple ; it represents the saint seated in a solitary 
valley of the Apennines, surrounded by some of his order, 
explaining to them his reasons for retiring from the world. 
Every thing in the picture breathes tranquillity and repose. 
The expression in the head of St. Romualdo is admirable, 
as is the attention with which the monks are lis¬ 
tening to his discourse. The surprising effect that he has 
given to a group of six figures, all habited in white drapery, 
without the appearance of monotony, is the wonder and 
admiration of the artist. 
The admirers of Andrea Sacchi regard him as fire greatest 
colourist the Roman school can boast, and he ranked also 
among the most correct of its designers. 
Though 
