Magical Drafts and Potions

Magical Drafts and Potions (from myHogwarts.co.uk) Dear Readers— Whether you come from a Muggle or Wizarding family, you’ve probably been e xposed to various portrayals of potion-making throughout the years. Most of thes e images probably involved objects being randomly thrown into a kettle, loud ban gs, and a spectacular end result. You’ll soon find that, in reality, potion-making is a laborious, precise practice. Oftentimes, the entire potion can be ruined i f you do not follow the instructions given directly. On the other hand, there ar e hundreds of ways to come to roughly the same end result, and I do encourage ex perimentation once you have a basic grasp of the concepts involved in potion-mak ing. In this book, we have included the simplest methods, which are typically th e most popular as well. I would like to clarify that “simple methods,” does not mean that potion-mak ing is at all easy. A keen attention to detail is critical to this art, as is kn owledge of the techniques discussed throughout this textbook. However, the most important virtue in potion-brewing is patience. While some only require a few mi nutes and others require several months, a large part of potion-making is waitin g. Some ingredients may only be gathered during certain parts of the year, while specific potions must sit for a long while to thicken. These periods of inactiv ity are crucial, and must never be ignored. You will find that you waste even mo re time by not fulfilling these wait times, as you must then return to the begin ning. The study of potion-making is far more than learning mere techniques. To become a true master of the subject, you must understand how these potions shou ld be applied. As Edgar Moran (Order of Merlin, Second Class), once said, “Mixing up the potion is only a small portion of the whole ordeal. The quality of a poti on-maker is determined by how he uses the potion, rather than how he made it.” Man y potions may be used to benefit or harm others. Take, for example, the Draught of Living Death. While Healer Ren Russelburn modified the recipe to be administe red to patients during particularly complex surgeries, her co-worker Herman Quig ley used the same potion to render his patients unconscious while Quigley stole their money. Russelburn earned herself the Outstanding Healer Award, while Quigl ey was promptly dismissed and sent to Azkaban. Included with each entry is infor mation regarding the possible uses of the potion and side effects associated wit h that particular brew. Please pay careful attention to these warnings, and use the potion wisely. Also, note that every potion can and may go wrong, and weigh these possibilities for disaster against the use of the potion. The myHogwarts edition of Arsenius Jigger’s original text, while containin g most of the same potions, has modified all of these recipes to some extent. As discussed earlier, there are multiple ways to brew the same potion. Thus, disco veries are constantly made in the field which simplifies how certain potions are brewed. While the myHogwarts writer staff provided most of these modifications, a plethora were borrowed from a small group of students who attended Hogwarts w ithin the past century. Likewise, more uses have been found for older potions, a nd we have included them within our text. Happy brewing! Mallory Harris Adam C. (Ravenclaw) Hogwarts ‘00 Writer As a 2000 graduate of Hogwarts and a proud member of Ravenclaw House with a focu s on animated plants, I went on to become the proprietor of the most dangerous w alking garden in the United States. I maintain that the goblin came into my gard en missing that finger, and there are absolutely no refunds. Saoirse C. Writer

Stephanie C. Editor Andrew Dewar (Ravenclaw) Hogwarts - Currently attending Writer Even though I moved to the USA when I was six, my Scottish parents wanted me to go to Hogwarts, where they grew up. Only one of my four sisters have graduated a nd left the school. At home, I am always surrounded by magic, which I truly love . A proud Ravenclaw, I’m the top of my year in Herbology and Potions; the reason m y professors recommended I apply for this textbook position. It is absolutely th rilling for me to be writing for myself and my fellow students for this oncoming year at our phenomenal school. Some of my other interests include music, Quiddi tch, exploring Hogwarts, and playing with my Crup, Dash. Shawna P. Writer Sara R.. Editor Sarah Riffel (Slytherin) Writer for Hogwarts Textbooks Hogwarts ‘11; Texas Tech University - Currently attending As a Muggle-born and recent graduate of Hogwarts, I was quite impressed when the y contacted me to return and be a part of this fantastic new program. Writing ha s always been a passion of mine and I’ve always had an eye for facts and details t hat I couldn’t rid myself of. That’s why it’s sort of a no-brainer that I should write textbooks for the two subjects I loved the most in my time at school. Potions a nd Herbology go hand and hand a lot of the time and I enjoyed both thoroughly in my time at school, and now as a writer as well. Emily Vanderwell (Ravenclaw) Editor Hogwarts ‘08 A Ravenclaw through and through, I strived to succeed in all my classes, but Her bology and Potions were my best classes. It’s due to my love of grammar, instilled in me by my mom who home-schooled me before I attended Hogwarts, that I applied for a job editing textbooks. I’m the middle of five kids from a Muggle dad and a witch mom, so I used my academic success to try and stand apart from my many si blings. Since graduating from Hogwarts, I’ve been furthering my studies in Herbolo gy, hoping to become a Professor someday. I’m also attending a Muggle university t o get a degree in Psychology. In the future, I’m hoping to study the effect magic has on they psychology of witches and wizards.

TECHNIQUE

Ingredient Handling Your ingredients are what make your potions possible. It is essential, therefore , that you have a thorough understanding of the different techniques for handlin g your ingredients. The following topics will be covered in this text: storage and handling, chopping and measuring, and tools of the trade. All of the inform ation contained in this book will be useful as you embark on what is sure to be a promising career in potions. Storage It is obvious that all of the ingredients listed within these pages can be easil y and readily obtained. This means that most ingredients are not extremely dange rous to store and can be found in any basic potions kit. Depending on their stat e, most ingredients can be stored in simple glass bottles or boxes. Many ingred ients are somewhat perishable, so it is important to follow any instructions giv en by the apothecary regarding expiration date, storage temperature, recommended containers, etc. The storage instructions will be most important with perishabl e ingredients, though it is obviously important to keep the non-perishable items safe and sound as well. It should be noted that though ingredient storage can be left to the potioneer’s discretion, contamination can and will occur if ingredi ents are not stored according to the specific instructions given for a particula r ingredient. What is important for our purposes, however, is acquiring the ing redients and keeping them in a useable state. Measuring for Use There are a number of measurements listed in this book. While many measurements are done by weight, sometimes measurements of length or even simple counts can b e used. When “one beetle” is called for, you would obviously use one entire beetle. If a potion calls for a specific weight of beetle eyes, simply weigh them out us ing a set of scales (brass, copper, gold, etc.). If a recipe asks for two inches of daisy root, use a standard ruler to measure two inches of your roots. It is really very simple, and the writers of this text have made every effort to point you in the right direction in terms of measurements. The instruments used for t hese processes will be prescribed by your instructor. As always, it is important

that things are done in a standard way. The wizarding world weighs in ounces, p ounds and stones. We measure in inches and feet. If you have a firm grasp on wiz arding measurements, you should be able to work through any potion recipe listed in this book. Tools of the Craft The right tools are essential to the success of a potion. If your ingredient is supposed to be squeezed with the broad-side of a silver dagger, and you decide t hat you would rather use your mother’s best china plate to crush said ingredient, your potion will likely end up a disaster, and your mother might not be too happ y. When not specifically stated in this book, it is preferred that you use silver d aggers for your cutting and/or crushing needs. Your scales can be made of any nu mber of materials; most will not cause negative effects on the desired potion. Gloves (dragon-hide) are sometimes necessary for handling particularly nasty ing redients. Your cauldron should be made of either pewter or silver. Unless otherw ise called for, glass or crystal phials will be suitable for most basic storage purposes. Your wand is necessary for most, if not all, potion brewing, so be sur e to keep it readily available. A mortar and pestle can be used as well, and dar ker stone is preferred. However, there is serious debate over the legitimacy of the claim that the shade of the stone truly matters in potioneering. Using Ingredients When you are asked to crush something, the mortar and pestle is your best option . It is especially useful when a specific recipe calls for ingredients to be mad e into a powder form. Other forms of crushing include using the side of a knife to flatten or extract the juices from the ingredient. Juicing your ingredients can be difficult. As previously mentioned, you can crus h an object to obtain juice. Certain ingredients can also be cut and squeezed to release their juice. However, using this technique can present difficulties, b ecause some ingredients can be rather tough to get through with a knife. If an i ngredient is stubborn, it is often most prudent to find an alternative method. C rushing seems to be the easiest alternative, though ingredients can be juiced us ing another method, if one can be found. There are a variety of ways to cut your ingredients. They can be chopped either finely or coarsely. A finely chopped ingredient can sometimes be sprinkled into a brewing potion, though it can also be added normally as is often the case with leaves or roots of various plants. A coarsely chopped ingredient will yield big ger bits, and they are often added early in order to soften. They can be remove d before the potion is completed, though this is not necessary in every situatio n. Ingredients such as fruit and thick stems of plants are often coarsely choppe d. Additionally, ingredients may be sliced. When slicing is called for, the rec ipe will often specify the thickness required. Slices are often done lengthwise, though this too can vary. There are a number of other things that can be done to the various ingredients. Most recipes will specify what it is you are supposed to do, and it is usually b est to follow the instructions. If handling a specific ingredient becomes too di fficult, alternative methods or materials should be employed. However, it is alw ays best to ensure that the integrity of your resulting potion will not be compr omised if these alternative measures are taken. Safety The most important thing when brewing a potion is to ensure your safety and the

safety of those around you. It is imperative that you follow the aforementioned guidelines for handling your ingredients. Extra care must be taken when you han dle animated things. You should also pay close attention to known poisonous ingr edients. Remember, fire will burn you. Chomping cabbages will bite you. If you d ecide to gnaw on your Nightlock, things might not turn out very well for you in the end. Be sure you are using the proper tools for the specific potion you int end to brew, and do not hesitate to ask for assistance from your professor when needed. In short, you must remember to play it smart during all stages of potio n brewing. Stirring The act of stirring may seem simple, but in a potions class you are not cooking soup with your mother. The ingredients that you stir can be extremely dangerous, and the resulting concoction can be equally dangerous. Stirring is an art that must be perfected in order for you to advance in your potions career. It is one of the most basic and important tasks in the art of potioneering, and, if not do ne correctly with extreme care, you could injure yourself or others. As always, it is most important that you follow the instructions set forth in this book as well as anything your professor says on the subject. Safety is always the first priority. By definition, stirring is the act of disturbing the relative position of the pa rticles or parts, especially by a continuous circular movement. For our purposes , we will define it as moving the contents of your cauldron circularly. This ch apter will outline the various tools and methods that you can use to stir your p otion. Obviously, you have already acquired the most basic tools. A potion that is bein g brewed must be held in a particular vessel. Cauldrons have already been covere d in your list of basic supplies, but it is important to pay attention the mater ial that your cauldron is made out of before selecting your stirring implement. By doing so, you can protect your cauldron from damage and avoid contaminating the potion with which you are dealing. Additionally, by noting the cauldron’s mat erial, you can avoid endangering yourself and others. The size of the cauldron is also important. The smaller the cauldron, the smaller your stirring implement must be. If it is too small, you will not be able to stir safely. If it is too big, you probably will not be able to stir at all. It is also important to note if any heat is being used for brewing. Certain stir ring implements do not do well in heat, and you should forgo their use. Once aga in, safety is key, so you must be very mindful of what it is you are doing durin g all stages of the potion brewing process. Implements Wands You can choose to stir your potion with a variety of things. Your wand is quite obviously the easiest of options. No contact is necessary. You merely learn a v ery simple stirring spell, and you are ready for whatever you need to do. The in cantation is simple, and there is little wand movement required. A slow, circula r motion above the cauldron is all that is needed. The contents within the cauld ron will move to match your wand movements. This movement can also dictate the s peed at which the contents will be stirred, which is a very important concept in some brews. The second most obvious choice for stirring your potion would be a paddle or spo on of some sort. While these implements went out of style when the stirring spel l was discovered in the late sixteenth century, they are still important to disc

uss. Some potions require stirring be done by hand, while others prefer it to be done by wand. It simply depends on the potion in question, but learning about h and stirring is an essential component to any potions education. Spoons There are many different varieties of spoons - slotted or non-slotted, wooden or metal, long or short, wide or skinny. Each characteristic makes a specific spoo n better suited for one potion or another. Much of the decision depends which in gredients you are using and what your eventual outcome is supposed to be. For things that are supposed to be more viscous, the slotted spoon is the way to go. It allows the contents to be more thoroughly mixed. For the less viscous, t he wider, non-slotted selection is the most prudent. Obviously, a longer handle is necessary for many things and should be used most often, unless otherwise sta ted in the recipe of said potion. Selecting the material of the spoon apparatus in question is a very basic. If you are working with heat, metal might not be b est suited for the task as it is a conductor of heat. Therefore, the wooden var iety is favored. In fact, a wooden spoon is the most commonly used spoon in the art of hand stirring because it does not often interfere with potion ingredients . It is worth noting that wooden spoons have been popular for many centuries. When dealing with spoons, however, the most important issue is keeping the potio n safe from contamination. For example, you would not want to walk into the kitc hen and get a spoon from the sink that your mother used for dinner that evening. Nor would you return a spoon that you used in your potioneering to the sink aft er you were finished with it. These spoons are to be used specifically for potio ns and are often labeled by the manufacturer so as to avoid any terrible disaste rs that might result if they were used for a different purpose. That being said, most any spoon you purchase can be used if absolutely necessary. Paddles A paddle is much like a spoon and is therefore similar in handle length and mate rial. However, it should be noted that paddles are often favored only for extre mely large cauldrons. Larger cauldrons are typically used for potions with many ingredients and those that take considerable time to brew. Paddles are most co mmon in commercial potions manufacturing where a large amount of product is made and can be handled by more than one person at a time, depending on the size of the paddle/cauldron combination in question. Other If you find some other item to stir your potion, there should be no problems, pr ovided the implement in question is safe. In historical accounts of quick potion eering, a great number of things have been used including sticks and even hands in some situations. If it can be used to move the contents of your cauldron aro und, then it technically can be considered a stirring implement. Process The act of stirring is simple but can be done in a variety of ways. You can stir your potion with great speed, or you can do it very slowly. You can stir your p otion both clockwise and anti-clockwise. You can do it repeatedly or you can do it once in a great while. These rules are frequently listed in the potion’s direct ions or are set forth by your potions instructor. There are a few things to note , however. Frequency

When a potion’s instructions say that it is supposed to be stirred a certain numbe r of times, it is important that the potion is stirred precisely that many times . This means that you must physically or mentally mark where it was that your st irring implement began to move so you can see when the implement passes over tha t point, making one full rotation and no more. Direction Clockwise and anti-clockwise are two very easy concepts. To clarify for our purp oses, when facing your cauldron, if the potion calls for clockwise stirring, you r implement should move from the furthest point away from you to the right and f rom the closest point to you to the left. In comparison, when stirring anti-cloc kwise your implement should move to the left when it is at the furthest point aw ay from you and to the right when it is closest to you. Basically, the anti-cloc kwise motion is the opposite direction of a clock’s hands. Path Your implement should make a full circle around the cauldron. It should never cu t through the middle for any reason, as that would not create the accurate circu lar motion that is called for in stirring potions. Bottling and Storage Proper bottling and storage of potions are imperative aspects of your potions ca reer. While in your early years of study, you are not likely to make a potion th at needs to be stored for an extended period, but the bottling of your potions i s what makes it possible for your professor to assign a grade to the work you ar e doing in potions class. Certain potions must be bottled and stored for a certa in amount of time so they can age and mature properly. As with most things in th is field, bottling and storage must be done correctly or there can be grave cons equences. Bottling The Vessel If you are to bottle your potion, you must have something in which to put that p otion. Most often, this bottle or phial is made of glass, but they can also be m ade of various other materials. At one point, most storage vessels were made of wood until it was realized that the wood absorbed some of each potion into it, t hereby contaminating the next potion stored in that vessel. Therefore, wood is u nadvisable as an option. Certain metals can also be used, though at times they c an interact with the potion being stored. Prolonged exposure to metals can resul t in contaminated potions. For that reason, metal containers should not be used for potions that require long-term storage. A container can come in every shape, size, colour and type. It is important to s elect those containers that best fit a potion’s contents. Some potions need to be stored in darker containers while others need to be stored in lighter vessels. C ertain potions need room to expand during their ageing process and should be put into larger containers. Others can only be bottled in very small quantities. So me situations call for enormous bottles, but turning samples in to your instruct or will only call for very small phials. Your container (glass, metal, or otherwise) should always have a stopper, most o f which are made of cork. If you do not have a stopper, certain spells can be pe rformed in order to keep the potion from being exposed to the elements. These ch arms are difficult, and it is often much easier to simply locate a stopper. All of the potions that you will make in this course will need to be presented in st

oppered containers so your professor can evaluate them. The Means Most potions are viscous enough to be poured. Pourable potions can be funneled i nto your vessel. A simple funnel contraption is often used for this particular m ethod. While this method is simple enough to do, it can become rather cumbersome if a large cauldron is being used or if the cauldron in question is heated. In such situations, it is much easier to use a siphoning charm. If you use this sim ple charm, you will be able to siphon your entire potion into the correct bottle or phial. This charm is the most often employed and by far the easiest method o f transferring liquids from one vessel to the next. Storage Specifications Once bottled, potions must be stored somewhere. There are countless varieties of potion cabinets on the market including tabletop, wall mounted, etc. These cabi nets provide several racks of varying sizes in which to place your bottles. They come in handy but are not entirely necessary. As long as you have a space with the right conditions, your potion will be fine.

Light

Sometimes light exposure can ruin a potion or upset its ageing process in some w ay. You can combat this problem in one of two fashions. First, you can place you r potion in a dark glass bottle. The bottle itself will prevent light from inter fering with your potion. Another suitable option is to store your potion somewhe re dark. Closets, the special cupboards previously mentioned, drawers, etc. can be used for this purpose. It is important that absolutely no light be let in whi le the potion is being stored as it might ruin the potion, even if exposure is e xtremely limited.

Temperature

Some potions need to be cooled while stored, while others should be kept warm. I t is important to review the potion’s instructions before attempting to bottle and store. The temperature is perhaps the most difficult part of storage, as temper ature regulation can be quite difficult. Most potions do not call for specific t emperatures, but rather state that they can be stored at room temperature or in cooled or warmed conditions. A good rule of thumb is to always keep the temperat ure comfortable for you. Your storage cupboard should not make you shiver or swe at, but it should be right around the “too cold for me” point or the “too hot for me” po int. These differences in temperature will vary from person to person but are go od gauges when the instructions are so unclear. The method of temperature regula tion is widely left for the individual to decide. With so many different places to store and so many situations, it would be impossible to explain how to regula te temperatures for your specific situation. Most of your potions can be stored at room temperature, so you should be fine, especially in this course, without a ny special sort of temperature regulation technique. Other Things to Take Into Account

Some potions will need to be stored for a very long time. Longevity of stay ofte n dictates the place in which a potion is stored. If it will only be there for a day or so, it might be acceptable to put the potion in your sock drawer, but if the potion needs to age for a few months or a year, it most likely will need a place of its own. Some potions will need to be isolated when stored, while other s can be stored with a variety of different potions. Certain potions need to hav e different environments at different stages of their ageing process and will th erefore need to be moved at some point or, at the very least, have the circumsta nces changed. These are all very important things to note, and they are all regu lations that are set forth in a potion’s recipe. If there are any questions, as al ways, ask your instructor. Ageing Potions After brewing, some potions require time to age. This process can take a short t ime, or it can take a long time. Most potions have sufficient time to age while the potion is bottled and then stored for a specific amount of time before use. Some potions mature and become more potent as time passes, while others lose the ir potency as they age. Longevity Most potions, after they have reached maturity (either during brewing or by agei ng), can be stored for later use. Others must be used as soon as maturity is rea ched for the desired effect to result. Potions can eventually expire. Once this happens, they need to be disposed of properly. Expired potions can be dangerous if used, and the results of using an expired potion can be extremely different f rom the originally desired outcome. Timing Timing, as they say, is everything. In potion brewing, it is no different. The o rder in which you put the ingredients is important, but perhaps even more import ant are things such as the rate at which you put ingredients into the brew, the amount of time between ingredients, or even total brewing time. These are import ant factors in most potions, and while the potions you will brew in most classes will not take more than the allotted class time, it is important to realize tha t not all potion brewing is so short-lived. This section will venture to take yo u beyond certain brews and into a more thorough understanding of what timing mea ns to a potioneer. Some of this information can only be imparted through years o f experience, while some of it is listed word for word in the potion’s recipe. How ever, the theory of timing is simple to both understand and convey to others. Ingredients The use of most ingredients is staggered throughout the potion brewing process. Potions are not soups, and it is not advisable to throw everything in your cauld ron at once and just let it be. It takes time and careful attention in order to get a potion just right. It can also take a certain amount of time to collect yo ur ingredients as they may have to be collected at a precise time. Both collecti on and addition of ingredients are imperative to a potion’s success. Collection When it comes to the ingredients required, most potion recipes are very specific . If a recipe merely says that you need to add daisy roots, then it is not reall y important when or where your daisy root was gathered. However, if it specifies that a certain ingredient must be picked during the full moon, it is extremely important that you time the rest of the potion accordingly. For example, if ther e are seven steps before you get to the step that calls for the full moon ingred

ient and those seven steps take a total of two weeks to complete, it is a good i dea to look at your calendar and begin brewing two weeks before the full moon. T his way you will be able to use your new ingredient almost immediately, and your potion will be done in a reasonable amount of time. Timing is very important wh en it comes to the collection of ingredients for several other reasons as well. Some ingredients must be used fresh, whereas other ingredients need to be aged. These are important considerations to take into account when you look into brewi ng a potion because they dictate when you must start your collection and when yo u must start to brew. Without these specifics listed, it is very difficult to ti me the brewing and collecting processes correctly. Some advanced potioneers keep a specific brewing calendar for this purpose, though most of the potion making you encounter during school will not require you to do so. Addition Adding ingredients is another aspect of potioneering that must be timed perfectl y in order to correctly brew a potion. Some of the issues related to the additio n of ingredients have been covered, but there are still several issues that need to be addressed. First and foremost, not all potions are set to a specific time schedule. Depending on the type of potion, the recipe may not always require a specific amount of time between the addition of each ingredient. It may instead call for the potion to be a particular colour or have a certain characteristic b efore the next ingredient is added. For example, a recipe might specify that onc e the potion turns dark brown, the next ingredient should be added. However, it is important to note that the recipe may not state how long the potion will take to turn brown. It could take no time at all, or it could take hours or even wee ks to reach that point. It is important, therefore, that potions without specifi c times assigned are not taken on lightly. Most basic potions are much simpler t han this, and will give certain time limits, or, if done correctly, should all b egin to reach a certain point at about the same time. Potioneering is not the mo st exact of sciences though, so there is always room for change. It is important to listen to instructions and carefully follow the directions set forth in this book to ensure that all of your ingredients are added at the correct time. Order is also related to timing as far as ingredient addition goes. Putting the ingredients in out of order can have disastrous results and should be avoided. O rder also relies heavily on the directions given by your instructor and the book , so be sure to pay very close attention not only to the timing, but also to whe n an ingredient should be added in relation to others. Total Brewing Time The calculation of the total time it takes a person to brew a potion is very ine xact. There are too many contributing factors. If you calculated all the times b etween ingredient additions and the amount of time needed for the entire potion to brew, you would get the closest possible estimate. Such an estimate is typica lly referred to as ‘Estimated Brewing Time’ or ‘EBT’. EBT is the generally accepted amou nt of time it takes to brew a potion. If your total amount of brewing exceeds th at estimate by a great amount, it is often assumed that you have done something wrong during the process. However, your potion might still turn out alright in t he end. It is a very inexact art, and some of the most practiced experimental po tioneers still have a difficult time assigning a correct EBT to their new-found brews. Some potioneers and recipe writers find EBT to be so inexact that they ch oose not to include one at all. A famed author once stated, "A potion will be re ady when it is ready. You do not tell an egg when it is to hatch. Likewise, you do not tell a potion when it should be completed." There is a lot of scholarly d iscussion on the matter because waiting on a potion to finish for too long can o ften be a tedious and possibly failing effort. The assigned EBT makes it easier to know when you have done something wrong, and it gives you a point at which yo u should begin again.

The EBT for short-brew potions is much more exact than it is for long-brew potio ns. If a potion is simple, the ingredients are all pre-gathered and ready to go. If the potioneer follows the instructions closely, the EBT should be a good est imate of how long that potion should be brewing before it is ready. If a potion is extremely complex and its ingredients have to be gathered throughout the brew ing process, then the EBT becomes less accurate, especially if said potion requi res a more advanced knowledge of potioneering. It is a general rule, therefore, that EBTs shorter than one 24-hour period are recognized as standard, and all th ose exceeding that time frame are to be taken as very loose estimates. Maturity Deviating from Estimated Brewing Time, there are some potions that need to matur e for a certain amount of time after they are brewed. These are often stored and left until mature. Maturity is addressed more completely in the Bottling and St orage section of this book. However, it is important to address maturity in term s of timing. Like EBT, the Total Maturation Period (or TMP) is not the most exac t of sciences. While it is generally more correct than EBT and therefore less di sputed, there are cases in which a potion does not reach full maturity in the al lotted TMP. Potion maturity is a very serious matter, and each potion typically has a set of standards or characteristics that it needs to possess in order to b e considered mature. Such standards and characteristics are more important than the listed TMP. If the potion has yet to reach those standards after the allotte d time, it is a good idea to wait until it does or contact your instructor. Medicinal By now, you have no doubt realized that potions can be used for a great many thi ngs. You can create potions that will cause you to shrink, get bigger, sprout b oils, grow profuse amounts of hair, or any number of equally exciting things. Pe rhaps the most useful potions are those that do not cause anything to grow or bo ils to pop up in inopportune places. They are not potions that you would brew fo r amusement or sport. They are truly useful concoctions that provide remedies to a great number of ailments and other medical issues. Commonly referred to as th e medi-potion, a potion with properties for healing or bettering of the health i n some form or fashion can be called a medical potion. These potions can be simp le or extremely complex in nature. They may contain easily obtained ingredients or ingredients that are extremely difficult to retrieve. Medical potions can hea l simple wounds, and they can save lives. The field of medical potions is consta ntly evolving because there is always a new strain of a virus or a new way that people have injured themselves. The ability to brew medi-potions is an excellent one to have, and it is a skill that can be used for many years to come. History The idea for medicinal potions occurred at a very early point in Wizarding histo ry. Humans have nearly always had ailments. About the time that Muggle medicine began to develop, the Wizarding world took the same basic principles and quickl y excelled in the formulation of solutions to both normal and magically induced problems. Because many in the Wizarding world had a vast knowledge of ingredient s and the way they work together in ordinary situations, the development and imp lementation of medicinal potions was easy. Some early potioneers gradually shift ed focus, and apothecaries began stocking more medicinally powerful ingredients. Thus the medicinal potions movement was born. Many of the first Healers were ac tually converted potioneers who decided to take up arms against Wizarding illnes s and injury. Types

As previously mentioned, medi-potions can be used for a vast number of things, b ut there are a few categories into which they can be sorted. First and foremost, there are topical potions used to treat minor cuts, bruises and scrapes on the outside of the body. There are also core potions that deal with issues inside of the body such as viruses and minor infection. Next, there are the inhibitors th at can inhibit things like pain. Finally, the experimental and advanced potions are used to treat the more devastating injuries and ailments. Topical Potions A topical potion can generally be applied directly to the source. Topical wounds are visible to you or the Healer working with you, and topical potions are ther efore considered the easiest to use in such situations. That does not necessaril y mean that they are the easiest of the bunch to make. In fact, many of them ha ve special application processes that require a certain brewing process in order to achieve the correct consistency. The most basic of these potions can be used for a variety of different things, while the more advanced potions tend to have a very specific purpose. For example, Essence of Murtlap is relatively easy to make and can be used to treat a variety of different scratches, scars, and scrap es that occur on the surface of the body. The commercial “Billie’s Bruise Removal Ba lm,” which can only be used to treat bruises obtained in magical situations, would be an example of a topical potion that is extremely difficult to manufacture bu t has a very specific purpose. Other things that can be treated with topical medi-potions include boils created by a health issue, extreme acne, or a rash occurring as a result of an allergic reaction or other health problem. The less severe the skin irritation or issue is, the less likely it is that you will need to treat it with a medi-potion. As it stands, there are many potions used to treat minor skin issues that are not c onsidered medicinal in nature. Core Potions Core potions are so named because they are used to treat issues at your core, su ch as those that affect your organs or cause some other internal problem. These potions are slightly more difficult to master than topical potions, but they are often easier to use because most are simply ingested and do not have a specific method of application. While not all core potions are ingested (some are inject ed or administered in some other similar way), they do tend to be easier to brew than topical potions, though they are a bit more advanced in their ingredient c ontent. Certain brews, such as the Pepper-Up-Potion, have effects that are blata ntly obvious. Others are more subtle. Because they work internally, sometimes th e only sign that they are doing their job is improved health. The more advanced your symptoms and health problems are, the more advanced the potion to treat it can become. Some potions deal solely with symptoms and are therefore taken more often. A pot ion that deals with a cough can be used in any circumstance in which a person ha s a cough. A potion that treats the Fiberian Flu, however, would only be used to treat a person who has this particular flu. Taking a medi-potion that you do no t need can sometimes have devastating consequences and should be avoided. Inhibitors Inhibiting potions are aptly named because they inhibit things such as feeling p hysical pain. Inhibiting potions deal primarily with problems on the neurolog ical level and are therefore among the most complex potions to brew. Pain inhibi ting potions are some of the most commonly used potions, and they are also comme rcially distributed.

Experimental or Advanced Medical Potions There is always need for a new medi-potion. If you need to treat something that has not been dealt with before or of which you are completely unaware, the best course of action you can take is to check yourself into the nearest health faci lity and let trained professionals, such as Healers, take care of the issue. The se trained professionals may have to create a potion to treat your needs or dec ide which combination of existing potions would be best. These experiments and c ombinations are not to be taken lightly and should not be attempted in your stud ies. However, it is necessary to inform you that such situations may arise. A Note on Antidotes Though antidotes work within the body to target problems, they are not considere d core potions because they deal with different aspects. Venoms and poisons can cause specific symptoms and injuries. These symptoms and injuries can be treate d with medi-potions. However, the venom or poison itself is treated separately f rom the body and must be treated with an antidote. Since the venom or poison is not considered part of the body, these antidotes are not considered core potion s. They are not even considered medi-potions in some situations. Safety The medicinal potion should not be taken lightly. They are perhaps the most impo rtant potions a person can brew, and they have the ability to save lives. That b eing said, they can also be extremely dangerous or detrimental to your well-bein g if they are not made or used properly. It is extremely important, therefore, t hat you carefully follow all instructions given regarding these potions. The ing redients, their amounts, and the brewing times all become extremely important wh en dealing with a potion that will be used for medical purposes. Why Choose Potions? This section poses an obvious question: Why one should even bother with potions ? After all, most minor injuries can be cured with a simple incantation. The ans wer is simple: preferences vary. There are actually many things that can be done with just a wand and a few words. However, there are people in the world who s imply prefer methods that are more advanced, and the effects might even last lon ger if a potion is used. Additionally, potions can be used to solve problems tha t simple incantations cannot. It is nearly impossible for charms to fix an aller gic reaction or work within the body on ailing vital organs, so potions are ofte n used in those situations. Generally speaking, it is up the Healer and the pati ent to figure out the best course of action for a particular situation. Administration Potions can be administered in any number of ways. In fact, there are nearly as many ways to administer as there are potions. However, each potion must be admi nistered in a certain way, so be mindful of this fact as you read through the in structions for each potion. Simply following a potion’s preparation instructions i s not enough; if incorrectly administered, even the perfect potion can be comple tely worthless, or worse, it might even become dangerous to use. Each potion’s inf ormation and recipe will tell you exactly how it should be administered. This s ection offers a general overview of all that potion administration entails, thou gh not every method can be covered. If in your quest to delve out your newly bre wed substances you happen across anything of which you are unsure, ask your inst ructor for guidance. History

Potion administration was formerly considered a very difficult task because nobo dy could really be sure which method would work best for each potion. During a p otion’s creation, potioneers would experiment, and the potion would be administere d using many different methods until the desired results were reached. Sometimes a potion could do several different things depending on the way in which it was administered, while other times the potion merely varied in its degree of effec tiveness. Over the years, it became blatantly obvious that, in order to ensure p roper use, potion administration needed to be regulated in the recipe of the pot ion. In older books, there is often no mention of administration at all, and, af ter a few too many catastrophes, the Ministry of Magic began requiring that auth ors of published potions books include the steps by which a potion should be adm inistered. This created quite a stir among those in the potions community, but i t was generally agreed that these steps to regulate the administration of even t he most common potions would better potions as an institution. Tools of the Trade From the very basic spoon to very advanced injection tools, the implements used to administer potions are sometimes imperative to its success. Obviously, spoons can be used when administering a potion orally or even topically if the potion is administered by pouring a small amount onto something. Other tools include dr oppers, which can distribute the potion to its target drop by drop. Droppers ar e often used for medi-potions or other viscous liquids. You can also use needles to inject certain potions into the object or being that is in need of the potio n. Obviously, injecting the potion is the most direct form of administration. Ot her forms of administration require methods that are more advanced. Some are ta ken orally in capsule form; others can be administered without the need for any special tools. When dealing with potion administration tools, it is important that you use appr opriate materials. All injections will likely be done with metal needles, and it is important to be sure that the metal you select for your needle will not inte ract negatively with the potion. Most droppers are made of glass and rubber, but in certain circumstances, other materials will be required. As always, these sp ecifications can be found in the administration instructions. If they are not a nd you are unsure, ask your instructor. Administration Techniques Orally Some potions are administered orally. This means that the recipient takes them v ia the mouth. This can be done many ways. When viscous liquids are taken orally, it is common for the recipient to sip the potion or drip it from a spoon into t he mouth and then swallow. Other methods of oral administration include placing bits of a potion into capsules, which will allow the potion to begin taking effe ct once swallowed. Typically, medi-potions and some transfiguration potions are taken orally. However, this is one of the most dangerous ways to take a potion, as ingesting certain substances can often cause harm to the recipient. Therefor e, it is imperative that you pay particularly close attention to the instruction s and dosing information of all orally administered potions. Topically Potions that are applied directly to the surface requiring the potion are called topically administered potions. This method is a more direct way of potion admi nistration, and topical application will work in any number of situations. For e xample, you can rub a potion onto the spot you wish to affect, or you can drop a few drops of a liquid potion onto a ball you wish to shrink. You can also coat cloth that you wish to strengthen by dipping it into the cauldron. You can truly

do any number of things with topically administered potions. The process of top ically applying a potion is often outlined in the instructions, but if it is not , it is usually best to use the drop method, as it is direct and precise. Howeve r, if the potion is not viscous enough, other methods of topical application sho uld be used. Injection If you want to get right to the heart of the problem, injection is the best meth od to use, though it can be a rather finicky operation. The use of needles is no t as attractive to some as it is to others, and many potions that require inject ion will suggest alternative methods of administration. When using the injection method, you directly insert the potion where it needs to be, which is often ins ide something. This means that you have to break the surface of the object or be ing receiving the potion in order to get the potion inside. A phial of the potio n is typically attached to a hollow needle, and the potion is then pushed throug h a small tube and into its desired location. Other Methods Some other methods of potion administration include adding the potion to somethi ng that would otherwise be used normally, such as a food additive or cosmetic. S ome potions can be inhaled in gaseous form. Various other ways for getting a po tion into your system can also be used. As long as the potion can find a way to get to where it needs to be, it can do its job. Even though the methods for adm inistration may seem bizarre, they can still be effective. RECIPES GRADE 1 Breath Freshening Solution History In the early 1730s, Marie H’Aleine was born to a Muggle family living in Nice. Wh en her powers began to manifest, she was sent to live with her magical grandmoth er in Cannes. It was her grandmother who secured a place for Marie at Beauxbaton s Academy of Magic, located just outside Cannes. Marie was a mediocre student wh o showed prowess in potions, though not enough to secure a good job outside the Academy. After graduating, she found a job in Paris as a housekeeper for Pierre Fauchard, who was a pioneer in Muggle dentistry. She showed an interest in Pier re’s work, and, after a few months, he took her on as an unofficial apprentice. Sh e took what she learned during her days with Pierre and attempted to put a magic al twist on it. Using her knowledge of herbs and potions, she created a solution that sweetened even the foulest of breath for a period of time. After Pierre’s de ath, she was homeless and not much richer than she was when she started working with him. She used the last of her money to buy the supplies needed to make a la rge batch of the potion, and she traded it to some sailors in exchange for passa ge to England. After arriving in England, she sought out the fabled Diagon Alle y and set up shop there. Selling the potions was not a lucrative business, but s he made do with what she had. One winter in the early 1800s, she passed away on the street. Her body was discovered clutching the recipe and a half- filled bott le of the solution. To this day the potion is still sold on Diagon Alley, the ve ry place where Marie died for her art. Valentine’s Day is the most popular day for this potion. When combined with Amortentia, it is believed to make your kisses irresistible. Uses

The most obvious use for this solution is to freshen the breath in the mornings. As Muggle and wizard dentistry improved, the Breath Freshening Solution lost it s appeal, though it still remains popular around Valentine’s Day. It is also a use ful tool to carry in your bag for emergencies. There has been some speculation t hat if the solution is mixed with some Felix Felicis the user will not speak a w ord out of turn. They will become a sweet talker. However, due to the nature of Felix Felicis in its pure form, it is hard to prove this theory. Description When brewed properly, this solution should be a pale, pastel green with flecks o f blue shimmering through it. It should have the consistency of water and should be completely smooth. The taste can be tweaked once you have a proper grasp on brewing this potion. Both the original recipe and the one listed here taste of m int with a hint of rose. If the potion is brewed incorrectly the flecks will not be blue. A badly brewed solution has been known to burn through a cauldron. Warnings The recommended dose is a sip or two; it is potent and effective. Spearmint is a natural irritant, and if the dose is exceeded, you will break out in ulcers. I t can also burn your throat. It is rare that a superfluous dose of the solution is fatal, but in one such case a young witch hiccupped rose and mint scented bub bles for three months. This potion is relatively harmless, though after a year t he solution will curdle, and the blue shimmering flecks will turn black. If the potion is ingested in this state it will rot the teeth almost instantly. If the potion is left longer than a year, it will slowly become more and more acidic. A three-year- old Breath Freshening Solution has been known to burn through a wo oden table. This potion will not replace good dental hygiene. It is an archaic m ethod that only has a cosmetic effect - changing the scent of your breath. If yo ur breath is consistently bad, you should seek the help of a Healer. Recipe Ingredients: 3 rose petals 2 dill leaves 1 sprig of spearmint 1 pint of rosewater A dash of flobberworm mucus to thicken rose quartz (whole point) Grind three rose petals, two leaves of dill, and a good sprig of spearmint into a fine powder. Mix with a pint of rosewater and simmer gently for an hour. After the hour, mix in a dash of flobberworm mucus to thicken, stirring only in a clo ckwise direction. Tap the side of the cauldron thrice sharply to amplify the eff ects of the solution. Decant into a crystal phial with a rose quartz gem in the bottom. Place a stopper on the phial, and the potion is ready for use. Label you r potion with the date brewed so that it is not consumed after the year is over. Coughing Concoction History Though the Pepper-Up Potion has long been considered the standard cure for the c ommon cold, there was still a market for the treatment of chest infections. The Coughing Concoction was a useful tool because it contained an expectorant, but i t was more widely used as a treatment for asthmas attacks and smoke inhalation. Constance Tussis watched her Muggle mother suffer with tuberculosis toward the e nd of her life. In order to soothe her ailing mother, Tussis developed the Coug

hing Concoction. The ingredients are all found in the Muggle world, and, though it will not be as effective as the magically brewed version, this concoction can be made without channeling magic. Constance focused on ingredients from the Mug gle world so the concoction could be easily made when she and her father were at tending to business in the wizarding world. The remedy became popular among Mugg les and wizards alike, though Tussis was careful never to give the magical versi on to Muggle people. Uses This potion has been used as a remedy for chest infections and coughs. It is not a cure for asthma or bronchitis, but it can be used to alleviate the symptoms. Constance’s mother was never cured of her tuberculosis, but she was granted a resp ite from the coughing in the later stages, making her death more peaceful. Const ance never set out to find a cure, so do not use the potion as such. It is essen tial to consult your nearest Healer for a long term solution. It was once said t hat a perfectly brewed version of this potion could cure asthma permanently, but unfortunately this is just a rumour, and, if such a recipe exists, it is long g one. Description The Coughing Concoction should be a thick, honey coloured syrup. It should glide down the throat smoothly but will be sticky to touch. It tastes considerably sw eet for a coughing solution, but the taste can vary from person to person depend ing on their sensitivity to the base ingredients. To me it tastes very gingery, but my friend says it tastes very much of fennel. A properly brewed concoction s hould stick to the back of a wooden spoon but pour smoothly and not stick to you r throat. Warnings/Side Effects This potion is generally harmless if brewed correctly. There was an old story th at told of a woman who left the concoction in the bottle so long that it became rancid. She gave some of the potion to her sister, and it was so thick that it b locked her airways, and she suffocated. To be safe, you should brew a fresh batc h of this potion every six months. That is the main warning for the potion, but you should also be careful not to give a magically brewed version to a Muggle as it may arouse suspicion. Because the magic will amplify the effects, use only t he exact amount of ingredients listed. Otherwise, it may cause you to literally cough up a lung. Recipe Ingredients: 1 sprig of fennel 1 inch of ginger root 2 sprigs speedwell 1 scruple of anise seeds 8 drachm of manuka honey Finely slice the ginger root, and bruise it with the side of the blade. Collect any liquid released, and add it to the cauldron with the ginger. Let it gently simmer in the honey whilst the other ingredients are prepared. Using the same k nife, finely chop one of the sprigs of speedwell and the fennel, and add to a mo rtar with the anise seed. Grind as finely as you can, and add this powder along with the final sprig of speedwell to the ginger and honey in the cauldron. Lea ve to simmer gently for three hours. When the brewing time is done, stir the con coction three times clockwise and three times anticlockwise to mix the ingredien ts thoroughly. Finally, dip your wand into the centre of the mix, and raise it o ut gently, letting the concoction drip from the wand back into the main brew. Th

e concoction that drips should be silver in colour. Mix the concoction one final time in three clockwise strokes to disperse the silver droplets throughout the brew. Remember to omit the final wand stage and mixing when preparing this for a Muggle. If anise is unavailable, you can swap it out for half a scruple of fenn el seeds. Fattening Potion History Adriana Wilde was a fixture of the wizarding fashion world in the early 1920s. S he immigrated to England and eventually set up shop in Diagon Alley. Her robes w ere the most sought after fashion items of her time. Her secret, you ask? When d esigning robes, Adriana used real women instead of mannequins! This technique al lowed her to see how the garment moved thereby enabling her to make the robes ev en more attractive to prospective buyers. But problems arose when she realised t hat she had no clothing for larger women. Upon spotting this gap in the market, Wilde began to toy with the idea of a potion that would, for a period of time, i ncrease the size of the person who ingested it. After much trial and error (and a few trips to St. Mungo s), she finally perfected her formula. Adriana’s business boomed, and soon she was selling robes to witches of all sizes across the Unite d Kingdom. Her robes were so popular that they brought several celebrities to he r doors. One such celebrity was actress and rising star Louise Brookes. After w itnessing the effects of the Fattening Potion firsthand, Louise was struck with a brilliant idea. She could use this potion in order to plump up for certain rol es! After begging and badgering Adriana for some time, Brookes was finally given the secret formula. Unfortunately, Louise was unable to keep the formula a secr et, and many began using the Fattening Potion to exact revenge on their foes. Th is is a prime example of how something made with the best intentions can become an item of malice and petty jokes. The Fattening Potion is a more controlled ver sion of the Swelling Solution. If brewed correctly, this potion will last up to three days. Uses This potion has several practical uses. Despite the fact that many consider th e Fattening Potion strictly a tool for revenge, it has been used in many differe nt ways. For example, it can be used to create a disguise, though it is only ef fective if the individual you are attempting to trick does not know you very wel l. It can also be fed to animals to plump them up before slaughtering them for f ood. However, the potion has been known to transfer its magic to the person who has consumed the fattened animal, so it should only be used in dire emergencies. Wrestlers have also used this potion to move up a weight class. Your imaginatio n is the only limit when working with this particular potion. There has been some work on the formula to make the effects more gradual and long lasting. This would make the potion an excellent ration and an effecti ve treatment for malnutrition. Unfortunately, there has been no progress in ma king the gained fat healthy. Description The potion itself is a creamy off-white colour. It has a thick consistency tha t is quite similar to lard. When brewed correctly, it will give off puffs of br ownish smoke at random intervals. In terms of flavour, it is quite tasteless, bu t in larger doses it has a distinct bacon taste. For the potion to work, it must be mixed with a food or drink that has natural fat content. The potion binds to the fat cells and amplifies their effects to gigantic proportions. If the potio n is not brewed in the correct manner, it can appear to be very thin and will re semble chicken soup instead of lard. An incorrectly brewed potion will still cau se the person who ingests it to balloon, but the effects will not last as long. Additionally, the effects will not be as pronounced as when the potion is proper

ly brewed. Warnings This potion is known to have a few undesired side effects. It can cause itching as the skin expands. The potion contains sneezewort which is a natural irritan t. When the effects are amplified, this potion may cause great swelling. There h ave also been recorded cases of extreme gas, though this is more common when the potion is mixed with foods that are known to cause excessive gas in humans. Warning: Although the potion is harmless in moderation, it has been known to inc rease cholesterol and blood pressure when used too frequently. Miss Wilde rotate d out her models on a weekly basis to ensure their safety. There is one recorded case of bullying where students consistently spiked a fellow student s food wit h the potion. Although she died at a normal weight, the cause of death was a hea rt attack due to hardened arteries, a complaint most common in people who eat hi gh fat foods over long periods. Recipe Ingredients: 2 puffer fish eyes 3 sneezewort leaves ½ pint of pig sweat 6 drops of flobberworm mucus Grind two puffer fish eyes and three sneezewort leaves into a smooth paste. Heat half a pint of pig sweat over low heat whilst gently mixing in the paste made i n the previous step. When the ingredients are combined, add six drops of flobber worm mucus and stir three times clockwise. Leave the potion to simmer over mediu m heat for ten minutes. The potion should emulsify and become thick and creamy, giving off puffs of brown smoke at random intervals. When you feel the potion is ready, gently tap the side of the cauldron once with your wand, and decant imme diately into a darkened glass bottle. Leave it to rest for twenty-four hours to achieve the maximum thickness. The potion is now ready to use. Forgetfulness Potion History Seamus Grámuith was a pioneer of his time. Born in Ireland in 122AD, he fr onted the Irish quest for the Draught of Immortality. At this time, magic was st ill abundant in Ireland due to the fact that Paganism was the primary religion, and the Muggles were less suspicious. This made Seamus more protective of his wo rks, so he wrote them in code lest they be discovered. Unfortunately, his quest was never completed. The combination of ingredients he thought to be the Draught of Immortality was in fact the first Forgetfulness Potion. Because he was so p rotective of his works, he decided to test the mixture himself. The Forgetfulnes s Potion targets the short term memory, and the dose he gave himself was quite s trong. As a result, he forgot how to read his notes, and the Forgetfulness Potio n recipe remained untranslated. After being bitten by the snake he kept for tes ting the Immortality Draught, Seamus was sent to a wise woman in the neighbourin g village. She treated him but eventually wrote him off as being mentally unstab le. He later left her care in search of the mythical Nair Uh Ghals and was never heard from again. Some believe he settled down and started a family. It is now known that the Wit Sharpening Potion can help alleviate severe cases of Forgetfu lness Potion abuse. Uses This potion has been known to help counteract the effects of Veritaserum , and, when used correctly, it can disguise any knowledge recently gained. Howe

ver, it can also have the opposite effect. The Forgetfulness Potion is a volati le mixture. The effects are random and unpredictable and can leave a person even more open to the effects of Veritaserum. This potion can also be used as a stop gap for Obliviate. It will not completely mimic the effects of Obliviate, and i t must be used soon after the event in order to be effective. Obliviate should still be used to ensure the memories are truly forgotten. Description The correctly brewed potion should be a fairly thick, swirling, dark sil ver liquid. It will taste quite earthy with a hint of bitterness to it. If incor rectly brewed, the potion will not swirl of its own volition. The potion should be smooth; a lumpy potion is a sign that the ingredients have not been handled c orrectly, and the potion will not work. A light coloured potion indicates that there is too much Lethe water, and the potion will have a very negative effect o n the mental prowess of the person who ingests it. Side-Effects: The potion has been known to cause dizziness and headaches. Due to the nature of mistletoe berries, it can also cause stomach upset. Drowsiness is another common side effect, and users should refrain from flying a broomstick a fter ingesting this potion. Additionally, an improperly brewed potion may cause nightmares. Warnings If taken regularly in small doses this potion can completely erase an ind ividual’s short term memory, rendering them unable to remember anything that happe ns to them on a day to day basis. If a large dose is taken, the potion can also cause long-term forgetfulness such as Grámuith experienced. The leaves of the mis tletoe plant are toxic, so great care should be taken to ensure they remain out of the potion. Recipe Ingredients: Lethe water 2 sprigs of Valerian 2 measures of the standard ingredient 4 mistletoe berries Pestle Mortar Add two drops of Lethe water to your cauldron, and heat gently for twenty second s. Lethe water is a powerful liquid from the River Lethe; add any more than two drops and you risk complete memory loss. Add two sprigs of Valerian to your caul dron, and stir three times clockwise. Wave your wand over the mixture, and leave the Valerian to brew in the Lethe water for ninety-five minutes. Add two measur es of the standard ingredient and four mistletoe berries to a pestle and mortar. Grind into a medium-fine powder. Mistletoe is an irritant to the stomach, so on ly the required amount should be used. Add two pinches of this powder to the cau ldron, and stir five times anti-clockwise to blend the ingredients. Wave your wa nd over the cauldron to finish the potion, and decant carefully into a crystal p hial. Knee Buckling Potion History In a small store in Diagon Alley, a young witch worked to make a living by selli ng herbs and potion ingredients that were native to her father’s homeland of India . This young woman was Tabitha Patel. Apart from larger institutions, theft is n ot an issue with which most in the wizarding world are concerned. However, for s

uch a small shop with a low income, every rare herb stolen was money from Patel’s pocket. In the early 1770s, Tabitha began formulating a potion that she could r eadily have on hand for such situations. She wanted it to be easy to use and re latively harmless to the person on which she used it. Around the same time, seve ral Indian potioneers began working on creating magical gases by the mixing two separate potions together. Inspired by this new way of potion making, Tabitha be gan her quest. The result was the Knee Buckling potion, which was the first of i ts kind in the United Kingdom. The fine balance between the weights of the potio ns made it volatile at first, and she had many a disaster. However, a true potio neer will persevere for their art. Approximately five years after she started fo rmulating her potion, Patel finally had a viable working potion, although it was not perfected for some time. Uses The potion is made of two separate parts. When combined, they create a magical gas that ensnares the target or targets and causes the knees to buckle, immobili zing them for a period of time. The primary use of this potion was to stop thiev es from easily escaping stores within the wizarding community, but it has develo ped into a very useful part of the wizarding defence repertoire. As you should b e aware, a wizard cannot practice magic outside of Hogwarts until they are over the age of 17. This leaves younger wizards vulnerable. The Knee Buckling potion can be used by minors but only in dire circumstances. This potion has also becom e a popular anti-theft device in Gringotts. The potion is placed under a stone s lab, and when weight is put on the slab, the phial breaks, causing the potion to activate and immobilize the would-be intruder. However, I doubt very much that you will ever make it far enough into Gringotts to experience this. Some Aurors have been known to keep this potion on hand for when they are trying to immobil ize someone with minimum damage. The fact that it can be used in front of muggl es without too much suspicion (although NOT recommended) makes the Knee Buckling potion a very useful Auror tool. Description One part of the potion should be light and smooth. It should be dark blue with f lecks of silver through it. The second part should be thick, syrupy, and bright red in colour with soft swirls of yellow moving through it. Neither part of the potion should be tasted. To test if the darker side is properly brewed, take a f ew drops and place them in a bowl of water. The drops should hold their shape an d float gently on the surface of the water. Warnings Both parts are highly dangerous if consumed. The dark part will cause your centr al nervous system to shut down, causing paralysis and death. The red part will c ause third degree burns if it comes in contact with the skin. If swallowed, it w ill burn through the throat and stomach. It is best to brew the potions either s eparately or far away from each other. The steam rising from them as they simmer will combine and give mild knee buckling effects. If the potions are mixed in l arge amounts, they will cause nerve damage that is only partially reversible by a Healer. Constant exposure to the gas can cause hysteria and eventually minor n erve damage. So please brew in moderation and use sparingly. Recipe First Part (Dark; contains the ingredients that cause the knees to buckle) Ingredients: 1 ounce lovage ½ ounce tansy

1 ounce rue 1 ounce parsley ½ ounce wormwood ½ ounce elecampane 2 ounce larkspur (freshly sprouted) 2 pints of mist water Grind the wormwood, elecampane, larkspur and tansy into a fine paste and put to one side. Coarsely chop the lovage, rue and parsley, pressing them with the flat side of the blade to bruise them. Mix the chopped herbs into the herb paste and place in the cauldron. Carefully pour the mist water into the cauldron, and cov er it with either a magical barrier or glass. Heat gently for three hours until the herbs and the water have fully combined and the potion has gone dark. Remove the barrier or the glass and tap the side of the cauldron once with your wand. Silver flecks should begin to appear in the potion. When it resembles the night sky, it is ready for use. Second Part (Red; causes the first part to evaporate, creating the mist) Ingredients: ½ quart liquid flame (Harvested from a Fire Crab) 1 gill Syrup of Ghost pepper 1 salamander tail Pour the liquid flame into a very thick cauldron, preferably one treated with ma gic to prevent melting. Slowly incorporate the syrup. The potion will sizzle and spit occasionally, so take precautions. Leave the potion to simmer in its own h eat for three hours. After the three hours, the potion should have turned thick and darker red. Stir it carefully with the salamander tail three times clockwise . The tail will disintegrate into red sparks. The potion will turn vivid red, a nd the yellow swirling will begin. The potion should also be emitting puffs of s moke at this point. This potion needs to be left to cool, which can take up to f our days. When a full hour has passed without any smoke being emitted, it is rea dy to decant. You can buy special dual sided bottles for this potion. You decant the individua l potions into either side. This is a waste of money and is more for show than p ractical use. To use a normal potion phial you will need some spring water and y our two potions. Fill the phial halfway with the red potion and then add a thick layer of water; this will solidify the top layer of the red potion. To be extra cautious, you can leave the water there and pour in the dark potion, which will float. However, this is only necessary if the bottle will be jostled. If you p lan to keep the bottle stationary then you can remove the water layer before add ing the dark potion. Nail Growing Formula History Clavus Grandir was an unlikely candidate for the invention of a formula that is currently a very popular item in wizarding spas. However, the secret to a perfec t manicure has a dark and bloody past. Such a simple and seemingly impractical f ormula was originally developed as a weapon. Clavus was a pureblood wizard who w itnessed the brutal murder of his family for being magical. He sought revenge bu t had made an Unbreakable Vow with his father to never to turn his wand on a mug gle. Clavus was brutal and bloodthirsty, so it seems fitting that he would crea te a weapon that was effective yet still gave him the satisfaction he needed fro m the revenge and complimented the hand to hand combat training that he had rece ived from his father. The idea was a simple one: make the hands more deadly and efficient without sacrificing the joy of the kill or using his wand. The answer? Nails. Clavus developed a solution that made his nails grow quicker and stronge r than the average nail. He sharpened them and had his murder weapon. Upon killi

ng the Muggle ‘witch hunter’ that had slaughtered his family, he was sent to Azkaban for killing a Muggle. Although he had managed to bypass the Unbreakable Vow, he was unable to escape the law. It is unknown how his formula became known to the wizarding world. Some say that it was carved into the wall of his cell, while o thers say he did not invent it at all. The mists of time have a habit of muddyin g the truth. Uses The formula is most effective when massaged into the nail beds. Unfortunately, t his formula is no longer as effective in turning the nails into weapons, as the strength of nails has decreased over time. It does, however, have a use within t he world of Magical Cosmetology. It can be used to grow nails to a desired lengt h for cosmetic reasons. When used in small quantities, it is very effective in s trengthening brittle nails. In the past, it has also been used on owls to make t heir talons longer, thereby enabling them to be more efficient in carrying mail. It is also useful in case of an unfortunate accident in which the nails are los t. It is believed that this formula was a pre-cursor to Skele-Gro, a potion that causes vanished or otherwise lost bones to regrow. Description The correctly brewed formula should be thick, yellow, and buttery. It is for ext ernal use and should not be take internally. It should not be runny in any way, but rather it should be soft and malleable. Warnings Do not ingest this formula. It will short circuit the body into making all kerat in grow at an exponential rate thus causing very unpleasant side effects and in some cases, death. If too much of the formula is used at once, it can cause the nails to grow rapidly and fall off. In these instances, the body rejects the fo rmula, and you will have to wait for the nails to grow back naturally. Recipe Ingredients: 12 sunflower petals 4 lemon balm sprigs ½ ounce crushed Scarab beetle shell 2 Pints Flobberworm Mucus 7 chamomile flowers 3 ounces refined bubotuber pus Bruise the sunflower petals and chop finely; add them to a mortar with the chamo mile, lemon balm, and beetle shells and crush finely. Simmer the bubotuber pus i n your cauldron for 20 minutes and add the powdered ingredients. At this point, the distinct smell of the pus should begin to fade. Add the Flobberworm Mucus s lowly to let the formula thicken to the required consistency. Stir 12 times cloc kwise with your wand. Decant the formula into a jar, and leave it to develop for a week. You will know it is brewed correctly by the distinct lemony smell. If i t smells like petrol, the pus was not refined enough. Shivering Potion History Isis Green was a great herbologist of her time. She led the field in discovering new herbs and their uses. Although she dabbled in potions and potioneering, her true loves were Herbology and exploration. It was during her time in the French Alps that she discovered the herb glacialis and its magical properties - the ab

ility to infuse a person with cold. She was in the Alps when she lost her pack a nd was unable to transfer the food up to herself. She tried using accio, but the cold was already getting to her and slowly draining her magic. She used the las t of her supplies, which included a small cauldron, spearmint, and a spark of ma gic, to ignite a fire. She melted some snow and mixed it with nearby herbs that she had tested earlier and guaranteed them safe to be consumed. She used the ste m of a snow drop to mix it, but unfortunately the magic from the magically cast fire was already in the potion. The soup she thought she had created was actuall y a potion. This potion became known as the Shivering Potion, and it nearly dest royed what was left of the witch. Fortunately, she was found by another travelli ng herbologist, Apollo Green, who saved her, and the two eventually wed. Whilst in St. Mungo’s, Isis met a woman who was suffering from a terrible fever. She gave her a few drops of the Shivering Potion when the nurse was distracted; this bro ke the fever. From that day forward, the nurses of St. Mungo’s kept a few vials of the potion for use in cases where high fevers are present but the cause of the fever is unknown. Uses The potion can also be used in the case of an overdose of Pepperup Potion, but i t must be used sparingly and wisely as to not exacerbate the situation. Some chi ldren have tried to use this potion to get out of doing chores, and students hav e used it in attempt to get out of classes. Unfortunately for them, the smell of the Shivering Potion is known to most wizarding mothers and the staff at Hogwar ts, so this plan rarely succeeds. There is also a case of this potion being used as a method of immobilizing enemies, making them shiver so hard that they are u nable to move. Although quite effective, considering the lengths one would have to go to in order to conceal the taste and appearance of the potion, it would b e just as quick to use spells or poison the target. One woman swore by it as a c ure for warts, applying it externally to the wart and making it drop off. Healer s have not adopted this as a recognized treatment, but it is believed to be wort h trying. Description A properly brewed Shivering Potion should be a translucent blue colour of exceed ing, startling clarity and iridescence. The very top of the potion should bubble lazily, releasing white smoke that floats upwards before turning into snowflake s and flower petals and falling back down to settle on the surface of the potion as a foam. The potion has a fresh taste, like mint but amplified. It is how a w inter storm would taste, and it melts away delicately on the tongue like snowfla kes. Warnings: Columbine contains a toxin that targets the heart; the magical fire bu rns off most of the toxin, but if taken regularly, the potion can cause heart fa ilure. If taken in a single large dose, it can cause pneumonia and nerve damage similar to frostbite. One woman was known to have shaken so hard that she disloc ated her hip. In addition to shaking, the potion can cause ridiculously fresh br eath. If brewed with enough magical power, it can cause the shaking person to br eathe snowflakes. Whilst this is an attractive side effect, the potion that caus es it must be used with caution. It is far more potent that its weaker brewed b rethren, thus meaning that the negative side effects will be easier to attain. I f the potion is mixed with Pepperup, it may become volatile and explode. Recipe Ingredients: 10 columbine petals 20 glacialis petals 3 generous sprigs of spearmint

1 snowdrop, with stem attached A quart of freshly melted snow Put the freshly melted snow in your cauldron and use incendio to light the fire under the cauldron. This step is essential as it is what gives the potion its ma gic. Next, hand tear the columbine and glacialis petals before dropping them int o the cauldron. Wait until they sink into the water, and then gently rub the sp earmint sprigs between your hands to bruise it. Add the bruised spearmint to the cauldron. Finally, take the snowdrop and drag it through the water in diagonal strokes to mix the ingredients fully. Leave to simmer and infuse for two hours. Decant into a thick crystal phial. If the crystal is too fine, the potion with f reeze the crystal and cause it to shatter, rendering the potion useless. Shriveling Potion (For Plants) History Avarian Wilde was a herbologist who made one of the biggest discoveries to affec t modern Herbology. Whilst he was gardening one day, he noticed that if he used salt (to deter flobberworm) around certain plants, the plant died. He did some r esearch and found a Muggle book that stated that salt draws in all the moisture around it. This got him thinking about all the practical uses of salt. If he com bined it correctly and used a little bit of magic, perhaps he could quickly extr act the liquids stored in a plant and use them for oils and syrups. So he began experimenting. He used different concentrations of salt and different carriers f or the potion. He killed half his greenhouse before he came upon the winning sol ution. This potion is known as the Shrivelling Potion. The potion has to be inje cted into the root of the plant. The salt causes the plant to expel the liquid within making the plant shrivel and thereby allowing the user to collect the liq uid easily with minimum waste. Uses As stated above, the potion has to be injected into the root. As any herbologist knows, that is where the plant absorbs moisture and distributes it throughout t he plant. It is recommended that you hold the plant in a cauldron before you inj ect it. This allows the liquid to have somewhere to run. If you stir the liquid with your wand clockwise three times and inject the liquid back into the plant, it will revive. However, there has to be the exact same amount of liquid injecte d for it to work fully. You can also soak the plant in the potion and let the pl ant transfer its fluids via osmosis. This method is not good when you need to ex tract the liquids for a magical purpose, but it does work well in situations whe re you are extracting the moisture from a plant before drying it. This step mak es the plant dry out completely in a fraction of the time, which is essential fo r storage of magical ingredients that can be used dry. Some experimentation has been conducted with this potion and dangerous plants such as devils snare and ma ndrake, but thus far the results have not been satisfactory. It has also been us ed as a weed killer, but it will not destroy the plant unless used in larger qua ntities. It will, however, damage them enough to make them easier to remove. Description The potion should be bright green if brewed properly. If the solution is darker, too much salt was used. There should also be flickers of bright yellow flashing through it. The texture will be smooth and runny, thereby allowing the plant to absorb the solution easily. Because this potion is administered via a needle, i t can often be mistaken for a poison, but it is harmless to humans. It smells li ke the ocean with a hint of fresh cut grass. Warnings This potion is harmless to humans unless ingested or injected in ridiculously la

rge amounts. You would have to inject someone with three standard cauldrons full in order to make them shrivel slightly (about the amount you shrivel after swim ming in a pool for a few hours). They would have to ingest five times this amou nt to get the same effect as a plant. If you use too much on a plant, however, y ou can destroy it completely. It is recommended that it only be used by a traine d herbologist on rare and endangered plants. If you spill the potion over a flow erbed, you will risk damaging all the plants growing there. Recipe Ingredients: 3 inches of pruned yelp root 3 ounces of rock salt. 2 quarts of salt water 1 medium Abyssinian Shrivelfig Chop the Shrivelfig and the pruned yelp root as finely as you can and add to a m ortar. Add the rock salt to the mortar and grind it up with the plants until you make a gritty paste. In a cauldron over low heat, allow the paste to dissolve i n quart of the salt water for three hours. The mix should become quite thick and reduced in volume over this time. Whilst still on the heat, slowly stir in the final quart of saltwater until the mix is combined. Finally, stir the potion thr ee times anti-clockwise using a stirring spell. Decant into any container that i s not metal or wood. The potion will cause metals to rust and wood to warp. Vomiting Solution History The Vomiting Solution was an accidental creation by Glover Hipworth as h e attempted to achieve the cure for the common cold (see Pepperup Potion). It wa s created around the year 1773, but was not widely known until the early 1800s. Despite not being liked, the potion is still part of most wizarding households d ue to its usefulness. Description The Vomiting Solution, often confused with the Anti-Vomiting Solution, i s one of the foulest potions in the wizarding world, yet it is very common to mo st wizarding households. It is easily recognized by its putrid scent of sulphur and thick, goopy appearance. The Vomiting Solution is greenish-brown and often h as floating chunks of solid potion suspended inside of it (precipitate). This, c ombined with its taste of rotten eggs and slimy sensation on the tongue, often m akes it a young wizard or witch’s worst nightmare. Uses It is a common action for parents to threaten their children with a dose of the Vomiting Solution if they misbehave. The Vomiting Solution causes vomiti ng, contrary to the belief of some wizards who mix it up with the Anti-Vomiting Solution. The main use of this potion is to aid in the removal of dangerous toxi ns from the body if they have been accidentally ingested. It is especially usefu l to magical creature specialists, since it can often prove difficult to force a beast to vomit. Alchemists also keep this potion handy in case of an emergency. The consumption of the Vomiting Solution is strictly supervised after an unfortunate discovery that some teenage witches had been using the potion to th row up after meals (a disorder commonly known as bulimia). The girls were immedi ately taken to St. Mungo’s for treatment and recovery, and new rules were created to control the selling of the Vomiting Solution. Each household is now permitted no more than one pint of the potion in their home at any one time, and are advi

sed to monitor its use carefully. Due to its repulsiveness, potioneers have not confirmed whether the Vomi ting Solution magically induces puking or if it is simply the foul combination o f ingredients that causes the drinker to barf. However, there are rumors that th e Vomiting Solution is one of the ingredients in the famous ‘Puking Pastilles’ by th e Weasleys’ Wizard Wheezes company. Examination of these Puking Pastilles has led potioneers to theorize that there is some magical quality to the Vomiting Soluti on (provided it is included in the sweets), because the Puking Pastilles do not carry the distinctive rotten egg flavour and could perhaps be a variation upon t he potion with which the flavour is smothered by other ingredients. Warnings One of the reasons the Vomiting Solution’s use is monitored so closely is also due to some of the nasty side-effects that can occur as a result of poor br ewing skills, an overdose of the potion, or improper storage. This solution is e ffective immediately after swallowing it, and will cause the drinker to vomit ve ry quickly. If too much is consumed, it is likely that the victim will begin to throw up uncontrollably and have to be taken to St. Mungo’s. The maximum amount to be taken at one time is one teaspoon. A similar reaction occurs if the potion is brewed improperly, and the af fected witch or wizard may suffer internal damage to his or her digestive system due to a severe rejection of the potion. Lastly, great care should be taken in the storage of this potion. Wizards are advised to ensure a good seal with a new cork and to throw out any remaining potion after a period of two years. Recipe Ingredients: 1 cup powdered dehydrated frog brain dissolved into 1 gallon water 2 cups cider vinegar 1/2 ounce Avinlock 1 tbsp human blood sucked from a mosquito 18 thistle heads 3 tbsp chickweed seeds 8 Daffodil flower heads 12 Eel eyes 4 Leeches 7 ounces of ramaria 2 Rat spleens 1 quart Flobberworm mucus 2 cups Bubotuber pus 26 frozen dead cockroaches 1 ounce adult Gytrash hair 8 Horned Slugs Fill your cauldron with the water and dehydrated frog brain mixture, and light a medium-sized fire beneath it. Pour in the cider vinegar and stir five t imes counter-clockwise. Add the Avinlock and mix well. Boil your potion for eigh t minutes, stirring occasionally, or until it begins to thicken. Mix in the bloo d so that your potion turns a deep red. Using a mortar and pestle, lightly mash the thistle heads. Add the chickweed seeds to the mortar and grind the two toget her into a rough powder. Add this to your cauldron and stir it slowly five times clockwise. Drop the daffodil flower heads and eel eyes into the potion and redu ce the fire beneath it to low. Let it sit for six minutes. While you wait, use a silver knife to slice open the leeches lengthwise and drain the liquid from them. Wash your knife off and do the same to the horne

d slugs. When your potion is done sitting, it will have a solid skin on top, lik e a crust. Push the crust to the bottom of your cauldron (you may have to use yo ur knife around the edges to loosen it) and stir clockwise while adding the leec hes. Take your mortar and pestle again and break up the ramaria into small, fing ernail-sized pieces. Tip them into the cauldron along with the rat spleens. It i s around this point that your potion will begin to give off nauseating fumes, so it is advised to perform a Bubble-Head Charm before continuing. In a separate container, combine the Flobberworm mucus and Bubotuber pus . The mixture will be thick, so be careful when adding it to your potion to avoi d any nasty spills. Mix it in thoroughly, stirring counter-clockwise as many tim es as needed for all the ingredients to be completely incorporated. Your potion should be very thick at this point and you may have to use two hands to stir it. Finally, finish up by adding the remaining three ingredients, putting out the f ire, and covering your cauldron. Let your potion sit overnight, and when you ret urn it should be greenish brown and have precipitate floating in it. Bottle the potion and store it well out of reach of children. If you have more than one pin t of the potion (which is likely), you can either dispose of it with a Vanishing Spell or sell it to a qualified Apothecary for storage. Wiggenweld Potion History The Wiggenweld Potion is a very ancient potion that was invented by Sir Joshua R amblebee in the early 900s. However, only witches and wizards of noble descent w ere able to brew it at the time due to the expensiveness of many of the ingredi ents. The general wizarding community was only introduced to the Wiggenweld Poti on an astounding seven centuries later in the 1600s. The Wiggenweld Potion was m ost famously used by a young wizard named Phillip, who smeared the potion on his lips and kissed the king’s daughter to awaken her from the influence of the Draug ht of Living Death. A spiteful hag known as Leticia Somnolens had stained a spin dle with the Draught of Living Death and placed the princess under the Imperius Curse, and then subsequently forced her to prick her finger upon the point. Leti cia was later found and tried by the Wizengamot and sentenced to Azkaban. This v ery useful potion has found its way into most wizarding families’ homes. In 1915 i t was integrated into a wizard’s standard first aid kit, and is highly used by Hea lers in St. Mungo’s. Uses Occasionally the Wiggenweld Potion is used on magical creatures, with varying re sults. While some beasts take to the potion very well, others completely reject it. It is for this reason that it is highly recommended you check with a special ist before giving your pet the potion. The main use of the Wiggenweld Potion is to mend minor injuries; however, it also counters the Draught of Living Death an d can be used for a variety of other things. This potion is also known to heal f irst-degree burns (such as sunburns) and is often incorporated into the material of casts and bandages. Recently, Healers at St. Mungo’s have determined that drin king medicinal tea with a few drops of Wiggenweld Potion can be beneficial to yo ur health. Description One of the most distinguishing characteristics of the Wiggenweld Potion is its c lear periwinkle blue colour. It is approximately the viscosity of water and its aroma is often associated with blueberries. It leaves a very pleasant, sugary af tertaste that many wizarding children adore. If applying it directly to a wound, it is recommended to double the amount of cisab to thicken it.

Warnings Some of the downsides of the Wiggenweld Potion are easily avoided with common se nse. Wizards and witches are advised to seal or cork the potion after each use a nd store it in a cool, dark place. Dosages should be kept to a maximum of half a cup per day for adults, and a 1/3 cup for children under 10 years of age. If ap plying the potion directly to your wound, do not apply more than twice a day. If your potion reaches the expiration date, immediately dispose of it. Expired pot ions can sometimes infect your injuries and make them worse. Recipe Ingredients: 1/2 gallon cisab root juice 1 pint Horklump juice 2 drops Flobberworm Mucus 7 Chizpurfle fangs 1 teaspoon Billywig sting slime 1/2 cup Boom Berry juice 1 Sprig of mint 1 Stewed Mandrake 3 Drops of Honeywater 1 tablespoon sloth brain mucus 2 drops of Moondew 2 tablespoons Powdered Root of Asphodel 1/4 cup Shredded dittany Approximately 6 square inches of Wiggentree bark 17 Moly petals 1/8 cup Salamander blood 10 lionfish spines 1 Unicorn horn 1 stem with flowering wolfsbane 1/2 cup powdered root of cisab Start with the cisab root juice in your cauldron, but do not light a fir e under it yet. Add the pint of Horklump juice and mix it in thoroughly until sm all bubbles begin to appear on the surface of the liquid. This is the cisab reac ting to a toxin contained in the Horklump juice. Light a small fire underneath y our cauldron and mix the Flobberworm mucus into the potion by stirring clockwise . Drop the Chizpurfle fangs in, one at a time, and let your potion sit for fifte en minutes. When you return, your potion should have almost doubled in volume an d turned a murky orange colour. Measure in the Billywig sting slime and the Boom Berry juice and constantly mix counter-clockwise for one minute. Increase the fire beneath your cauldron to medium-high and add the stewe d mandrake. Your potion should become a deep purple-red colour and start to give off a bluish steam. In a small glass vial, combine the Honeywater, sloth brain mucus, and moondew, then shake to completely mix the three ingredients together. Pour the contents of the vial into your cauldron and mix it again. Add the ditt any and asphodel, and reduce the fire to low again while you stir the potion unt il the dittany and asphodel are completely incorporated into it. Cover your poti on with a lid. Using a silver knife, scrape along the Wiggentree bark to receive shavin gs. Continue to scrape the bark until you have one cup of Wiggentree shavings. B y now your potion should have been sitting for approximately ten minutes and is ready for the next step. Your potion needs to sit for longer if it has not turne d bright purple. Drop in the moly petals, salamander blood, and lionfish spines, then raise the temperature of the fire so that your potion begins to boil. Care fully add the unicorn horn, with the tip pointing down. The potion will begin to change to a light blue. Finish by adding the wolfsbane and powdered root of cis ab.

Your Wiggenweld Potion will become periwinkle blue. Extinguish the fire beneath your cauldron and let the potion cool before bottling and using it. GRADE 2 Cleansing Formula History The Cleansing Formula is typically thought to have been the invention of a perso n named “Mrs Skower”, however, this is not the case. “Mrs Skower’s” is, in fact, a company and not just one person. The employees at Mrs Skower’s worked together to develop a highly effective product that would get rid of most sorts of ‘magical messes’. “Mrs Skower’s All-Purpose Magical Mess Remover was the first known example of the Clea nsing Formula from its release in 1872. The prototype sold out almost immediatel y, and spurred many people to attempt to create their own version of the Cleansi ng Formula. This led to other companies showing up, such as Madame Glossy’s Silver Polish, which would prove to be Mrs Skower’s biggest rival in the magical cleanin g products business. Madame Glossy’s biggest advantage over Mrs Skower’s company was their specialized products, which focused on a certain sort of mess and fine-tu ned their product to clean it up in the easiest and most efficient way. Mrs Skow er’s, by contrast, had a single, all-encompassing product, which performed well on most messes but did not offer the specific care of Madame Glossy’s products. The Cleansing Formula evolved over the years to become more adept at scrubbing a way messes. The biggest change was the addition of leaping toadstools, which alt ered the potion so that it left a pleasant scent behind after clearing something away. The Cleansing Formula is also one of the easiest potions to experiment wi th, and is often the first time a student is allowed to be creative while brewin g a potion. Before simmering your potion for an hour, it is possible to add vari ous ingredients to achieve different aromas .The instructions in this book call for vanilla beans and lilacs, but those ingredients easily allow for substitutio n. Uses Besides the obvious purpose of cleaning up spilled potion, the Cleansing Formula can also be used for a variety of other tasks. Some of these jobs include remov ing stains by dipping the stained material in the potion and/or painting it on t he affected spot, cleaning up magical animal droppings, cleaning dirty clothing, and wiping away other magical substances such as the Mimbulus Mimbletonia’s Stink sap. Most wizarding families, nannies, maids, and caretakers have the Cleansing Formula (whether bought or homemade) on hand in case of messes. Description The Cleansing Formula is a very bright white colour, like snow. It is also very frothy, and has multicoloured bubbles that will float out of it constantly. The smell of the Cleansing Formula depends on the ingredients added to it. In this c ase, the vanilla beans and lilacs give it a flowery vanilla aroma. It is thick, like honey, but should never be eaten. If eaten it is known to cause severe indi gestion and sometimes will even corrode your organs from the inside. If you or s omeone you know consumes the Cleansing Formula it is advised to immediately drin k the Vomiting Solution to throw it back up and contact a Healer. If the Cleansi ng Formula is not properly brewed, it becomes a yellowish white colour and will smell of ginger. Dispose of the potion right away if this happens. Warnings

If too much bleach is added to the Cleansing Formula (the most common mistake), the potion will eat away at the things it touches, including skin. If too little bleach is added, it causes dust to gather on the cleaned area twice as fast as usual. Sometimes the potion may also seem to leave behind mould, in which case i t has likely been improperly brewed and should be thrown out. Often the finicky nature of this potion causes wizards and witches to purchase the potion in a cle aning product rather than brewing it themselves. Recipe Ingredients: 1 pint alcohol 2 tablespoons black beetle eyes 6 lionfish spines 4 horned slugs 12 Chizpurfle carapaces 1/3 cup + 1 tablespoon syrup of hellebore 7 leaping toadstools 1/8 cup bleach 4 lilac flower heads 1/3 cup vanilla beans Fill your cauldron with the alcohol and dump in the black beetle eyes. Light a f ire beneath your cauldron and tap the rim with your wand. Allow the potion to he at up for a few minutes, and in the meantime, put the lionfish spines, horned sl ugs, and Chizpurfle carapaces in your mortar and crush into a medium-fine powder . Mix your potion counter-clockwise until it starts to bubble and give off a dar k smoke-like vapour. Add the ingredients you previously pulverized to the mixtur e and tap again with your wand. Leave the potion for 22 minutes, or until the da rk vapour has disappeared and your potion has a very thick layer of foam on top. Scoop the foam up with a spoon, ladle, or some sort of straining device, and se t it aside. Try to remove any of the liquid from the bottom of the foam. Pour th e tablespoon of syrup of hellebore over the foam and the 1/3 cup of it into your cauldron. The foam should begin to glow. Put the leaping toadstools into your c auldron and increase the fire beneath it to high. Stir counter-clockwise for fiv e minutes, then stir once clockwise. Sprinkle the bleach over the foam that you set aside, and then add the foam mixture to your cauldron. It should hiss and en velope the foam, then create another foamy top. Finally, add the lilacs and vani lla beans (or the ingredients of your choice to scent the potion, see above) and allow your potion to simmer on low heat for one hour. Make sure the potion has completely cooled before decanting into jars and using. Colour-Changing Formula History Annaleigh Wishart was a famous interior decorator of the 1920s. Her rise to fame was largely contributed to by her invention of the Colour-Changing Formula. Far from being a potioneer, the Colour-Changing Formula actually came to Wishart wh en she was attempting to brew a Beautification Potion. In an interview, Wishart confessed, "I d only made it [the Beautification Potion] once. For my friend, yo u know. And then once I wanted to make it again but I couldn t find the recipe! So I said to myself it can t he too bad, I ll just go by memory . And Merlin, d id I ever screw up on the Beauty Potion, but out came the first version of my Co lour-Changing one!" Indeed, the Colour-Changing Solution is far from the Beautification Potion. Wish art sold her creation and its recipe to expert potioneer Vivica Fraxen, who alte red the instructions so that the potion s abilities were expanded. The main chan ge Fraxen made from the original was adding the salted Plimpy liver (which made the potion last longer), and she also discovered that by adding certain ingredie

nts one could achieve different shades of colour (see Uses, below). Uses The Colour-Changing Formula is very popular among the interior decorating, hair stylist, and clothing designer professions. It is easy to change the colour of i tems such as clothing by simply submerging them in the potion (being careful not to let it touch your skin), and extracting them from it an hour or so later. Fo r larger items such as furniture, it is necessary to paint the potion over the area you would like to change colour. A man named Shane Snip Schmidt discover ed that by combining the potion with a potion made specifically for hair (such a s the Hair-Growth Potion), it was simple to dye hair any colour. Occasionally it is even possible to use the potion to dye the fur of animals, although if you a re considering this it is advised to check with a specialist before proceeding. Description When brewed properly, the unspecialised (term given to the potion if ingredients have not been added to make it a certain colour) Colour-Changing Formula is one of the most stunning potions to behold. It is constantly changing colours, each new shade staining out from the middle like ink splotches. The potion also has an odd sort of steam that rises out of the cauldron about a foot high and then s uddenly turns back into liquid and drops back into the cauldron, sparkling like raindrops. The Colour-Changing Formula is approximately the viscosity of tomato juice, and is often said to smell of bleach or chlorine. This solution should ne ver be drunk and users are advised to keep it from touching their bare skin. Warnings Potioneers must take extra care to not allow the Colour-Changing Formula to touc h their bare skin. Often the potion will stain the skin permanently, and sometim es causes a skin condition that makes the skin change colours constantly. This c an usually be reduced if one drinks the antidote twice a day (morning and evenin g). If the Colour-Changing Formula is brewed improperly, it becomes black and wi ll stain everything it touches (including your cauldron). The potion may also re act badly to certain furs and fabrics, even burning a hole through some material ! The main known exceptions to the potionare Crups, Kneazles, and Thestrals, who are know to often react badly to it; silk and spandex are unable to be stained; and copper, silver, bronze, iron, pewter, gold, and many other metals repel the potion and are completely unaffected by it. Recipe Ingredients: 1/2 gallon water with 1 cup sugar 1/3 cup rosewood oil 8 Fairy wings 1/2 tablespoon bleach 12 Rue flower heads 16 measures of standard ingredient 1 Salted Plimpy liver: Stir the water and sugar together on medium heat for three minutes. Slowly pour the rosewood oil in, letting it sit on top of the sugar water. Add the fairy win gs and bleach to your mortar and crush to a fine powder with the pestle. Sprinkl e into your cauldron and bring it to a boil. While the potion is boiling, stir i t clockwise until it becomes reddish-orange. Add the rue flower heads, one at a time, completing one rotation before adding another one. Your potion should begi n to turn green but still have swirls of the reddish orange left in it. Reduce t he fire beneath your cauldron and let it sit for 45 minutes. When you return, yo u should be able to make out patches of blue, yellow, and purple along with the

red and green marbled together. It is advised to put on dragonhide gloves at thi s point to protect your hands from any splashes of the potion. Put half of the s tandard ingredient into your mortar and crush it five times with your pestle. Ad d it along with the remaining uncrushed standard ingredient into your cauldron a nd stir slowly counter-clockwise. Finally, add the salted Plimpy liver and let y our potion sit for seven minutes. There are several different methods to achieve the desired tint when colouring your hair, and how to get the primary colours ( along with black and white) are listed here. These ingredients are added at the end. The amount you need to use will vary depending on the intensity of the colo ur you want, and you can also mix ingredients to get secondary, tertiary, and al l other sorts of colours (i.e. 2 teaspoons salamander blood and 1 teaspoon bleac h gives a nice pink hue). White: extra tablespoon of bleach Red: 1 tablespoon salamander blood Yellow: 1/4 finely grated lemon rind Blue: 3 bluebird feathers and 4 forget-me-not flower heads Black: 3/4 cup octopus ink Fulgeo Niteo History Fulgeo Niteo was created by a powerful ancient Roman sorceress known as Sylviana the Curer. Born of Etruscan bloodline, Sylviana lived deep within the Apennine Mountains. People from near and far journeyed to her home so she could help them with their problems. She cured even the most debilitating of their maladies and helped the poor become rich. This potion was created in an attempt to make a yo ung maiden beautiful again after being attacked by an imp. However, when Sylvian a finished and administered the potion, it only caused the maiden to shimmer and shine. When modern wizarding historians discovered her fabled cottage in 1834, potioneers modified the recipe making it the effective cleaning potion known to date. Uses Fulgeo Niteo can be used to make the grimiest windows shine and even the most ov erused cauldrons sparkle. It is also included in most wand and broom polishing k its. Description: When brewed sufficiently, Fulgeo Niteo should appear to be no certa in colour, but rather it should give off an extremely bright light. It can be ap plied to a rag or cloth and used like an ordinary cleaner. Warnings Improperly brewed Fulgeo Niteo can singe anything it touches, especially if too much lavender or too many haliwinkle brains are added. If incorrectly made, it c an appear yellow or gold in colour, and it may cause any object it comes in cont act with to become brown and sticky. If ever drank, it will induce permanent bli ndness. Recipe Ingredients: 3 sprigs of lavender 1 cup sunflower oil

2 dried haliwinkle brains 6 porcupine quills 13 pine needles 3 rabbit eyes 1/3 cup sunwater Shred the lavender and add it to the cauldron along with the sunflower oil. Boil the mixture. Grind the dried haliwinkle brains and porcupine quills into a fine powder and add to the sunwater. After concoction has been boiling for around 12 minutes, add the sunwater mixture. The brew should now appear light green or te al. Bring it down to a simmer, and stir anti-clockwise for four minutes, adding a clockwise stir between every sixth anti-clockwise stir. Cut or crush the rabbi t eyes, and add the fluid to the potion until it appears vermillion. Let it stew for 16 minutes and 30 seconds. Add the pine needles (whole), and the potion sho uld adopt its characteristic shine, otherwise known as its light. Tip: For most effective results, use a cauldron made of gold, silver, or other p recious metals. Giggling Solution History The Giggling Solution is known for its many variations. Many different civilizat ions have invented a form of the Giggling Solution, with the earliest known bein g Po-Qao Xia of the ancient Huang He civilization in China. However, the most ef fective one and the base for the modern Giggling Solution is that of Sir Christo pher Leigh Wood of Scotland. A Giggling Solution was unheard of in Scotland, bu t the ingenious Wood invented many revolutionary, abstract, and brilliant potion s including the Screaming Draught, the Throat-Swelling Potion, and the Hearing E nhancement Solution. He first completed his Giggling Solution in 1611. Uses The use of the Giggling Solution is quite simple - it is meant to induce unstopp able giggling. The effects will wear off after a few hours. The Giggling Solutio n is a main ingredient in several joke shop merchandises.. Description When completed, the Giggling Solution should be fizzy and clear. The recommended dosage is one-quarter to one-third of a cup. Once ingested, the consumer will t ake on an irksome, high-pitched giggle. Too much of the solution will cause elon gated endurance and severity. Extreme amounts can cause serious vocal chord dama ge. Too little ingestion will only cause minor effects. Warnings An improperly brewed solution can induce giddiness and increased heart rate. The se side effects can be dealt with by chewing a healthy sprig of Vervain. If too much frog salt is added, a low croak could ensue rather than a giggle. Recipe Ingredients: 2 cinnamon sticks ½ cup jus de pommebleu 5 raccoon fangs 3 ½ ounces frog salt ¼ cup bass pus 6 lily stems

Grind the cinnamon into a granular powder. Add the raccoon fangs and frog salt t o the mortar and crush until fine. Mix with cinnamon, and stir into the jus de p ommebleu. Heat the mixture to about 28 degrees. Stir clockwise until the potion turns very thin and light green. Let it stew for 30 minutes, and then pour in th e bass pus. A puff of smoke should appear, and when it dissipates, the potion sh ould be clear. Chop up the lily stems, and wait three minutes and 45 seconds bef ore adding them to the brew. Stir 18 times anti-clockwise and then four-and-a-ha lf times clockwise. Stir once more anti-clockwise, and wave the wand twice above the cauldron in a figure eight shape. Bottle and cork your potion. The Giggling Solution is now complete. Tips: Oak, maple, or birch wood containers are best for storage because they kee p the potion fresh and effective. Glass and steel containers are considered some of the worst, and their use should be avoided. Repetition Solution History When a user, or victim, intentionally (or unintentionally) ingests the R epetition Solution, he or she will repeat whatever they hear, using the same emp hasis as the original speaker, but always in a loud and clear tone. The potion can be used to repeat whomever the person hears, or it can be limited to repeati ng only the words of certain witches and wizards. The Repetition |Solution was t he brainchild of the founders of Zonko’s Joke Shop in Hogsmeade, and one of the fi rst products sold on their store shelves. Although it is uncertain exactly how t he potion came about, it quickly rose to fame after the opening of the shop and continues to be a bestseller. The potion was originally banned at many wizarding schools, but to little avail. With its inexpensive price tag and fairly easy re cipe, many of the schools’ authority figures gave up on banning the potion altoget her in favour of issuing disciplinary consequences for use during lessons. For generations of students, the popularity of the Repetition Solution has never wan ed and to this day it remains a favourite prank. Uses This potion is most commonly used for pranks, although it has been used by wizarding politicians and businesspeople in making speeches. Some professiona l wizards and witches have opted out of using cue cards or notes, preferring the use of this potion combined with a charmed earpiece or extendable ear. An assis tant or partner will read the speech in another room while the speaker flawlessl y reiterates what he or she is hearing. Description The Repetition Solution is a nearly colorless and flavourless solution, a dding to its perfect pranking qualities. If taken alone, the potion has a very l ight peppery taste and visually resembles lemon juice in color and consistency. However, when added to food or a beverage, the potion becomes nearly undetectabl e. One small phial of Repetition Solution will put the taker under its effects for roughly one to two hours. Warnings Although few side effects have been noted from professionally made batch es of Repetition Solution, quite a few have arose from those which have been hom emade. If made incorrectly, the user can get stuck in their state of repetition for an unknown amount of time. Some witches and wizards, unfortunately in this p osition, have been stuck in repetition for a matter of hours, some a matter of d ays, and some a matter of months. In one instance, a young wizard was stuck unde r the influence of this potion for an entire year, even under the close eye of t he healers at St. Mungo’s Hospital for Magical Maladies and Injuries. To this day, the boy who brewed the batch and administered the potion still claims not to kn ow where he went wrong. Recipe Ingredients: 10 measures of Lethe River Water 2 drops of Bundimun Secretion

1 5 2 1 1 1

pinch of Scurvy Grass measures of dried Lovage Leaves Spines of Lionfish Moonstone Jobberknoll Feather Hair of the Desired Listener(s) (optional) First, place the ten measures of Lethe River Water into the cauldron, fo llowed by the two drops of Bundimun Secretion. Then, take one pinch of Scurvy Gr ass, five measures of dried Lovage Leaves, and two Spines of Lionfish and crush into a medium-fine powder using the mortar and pestle. Add this mixture to the L ethe River Water and Bundimun Secretion already in the cauldron. Cover your caul dron and heat the mixture on high for fifteen minutes. While this mixture is bre wing, crush the Moonstone into a very fine powder. Once the fifteen minutes are up, uncover your cauldron and stir ten times in a clockwise motion. Immediately after, add the finely crushed Moonstone and stir counter-clockwise five times. While the potion is still hot, gently drop in the Jobberknoll Feather, which sho uld disintegrate almost immediately after coming in contact with the potion (if done correctly). A single hair of the person, or people, who wish to be repeate d may be added to the potion at any time if the giver (or taker) so chooses. The hair should dissolve within one minute after being dropped into the potion. Swelling Solution History The Swelling Solution is an old and celebrated potion first discovered b y the famed Chinese wizard and potioneer, Li Shizhen. Shizhen was working as a p harmacologist (a “non-magic” potion-maker), employed by the ruling Muggles of the Mi ng Dynasty in China, at the time of his discovery. In the year 1562, he was trav elling along the banks of the Yangtze River in the city of Jiangyin when he came across other people he knew to be witches and wizards harvesting puffer fish. H e asked them what they had planned to do with the puffer fish, and they explaine d to him their intention behind the harvests and the utilization of its toxin. T he magic townspeople of Jiangyin explained that many of them were stuck working under Muggles, as they made up the vast majority of the town population, who wou ld often treat them poorly. Whether it was because of fear, prejudice, or jealou sy, their Muggle employers would often terribly overwork and underpay their witc h and wizard employees, never appreciating the invaluable work they would contri bute. A few of these witch and wizard townsfolk decided to get together one day to brainstorm a discreet and easy way they could give their employers no choice but to grant them a day off, as they desperately needed any kind of a break. It was well known to the witch and wizard communities along the Yangtze that, altho ugh they could kill a Muggle, the toxins carried by puffer fish had a very diffe rent effect on those with magic blood. Making a topical solution out of the liv er of the puffer fish, along with a few herbs, and applying it to an area of the body would cause it to swell, perfectly imitating an injury. There were only tw o problems with this: not only did the potion hurt, but it would also cause swel ling much too severe. As the chosen area would begin to swell, it would go numb, and the numbness would soon be followed by an intense burning sensation and the n a prickling feeling that shot from the chosen area and began coursing througho ut the body. Although these symptoms were not life threatening, they would last nearly an entire day, and simply were not worth the short time off the witch or wizard would receive. The magic townspeople agreed that they would rather spend that time working under a hundred Muggles. When Shizhen heard this, he became intrigued. He was one of the greatest potion-makers of this time, and even he could use a day off every once in a whi le. He joined in with the harvesting, and after catching five puffer fish, he re turned home and got to work. At first he began studying the toxin levels in diff erent organs of the puffer fish, and quickly saw where the townspeople of Jiangy in had gone wrong. They insisted upon using the livers of the fish, which appear ed to contain the most concentrated amount of toxin. Shizhen thought an easy fix would be to test different toxin concentration levels throughout all of the org ans of the fish. This method proved fruitful, and Shizhen found that the levels

in the eye were far less than that of the liver, but still of a significant leve l to cause the desired swelling effect. In his preliminary tests of the potion, he was able to concoct a perfect blend of eyes and herbs to greatly lessen the s ide effects, while still giving the user of the potion the desired amount of swe lling. He delivered his final product to the people of Jiangyin, and received am ple amounts of praise and appreciation for his efforts. Although offered, Shizhe n accepted no payment for his work, and gladly shared his recipe pro-bono with t he people of the town. Uses The Swelling Solution is a topical potion used to cause swelling in a de sired area. The potion can be used on any creature with magic blood and is popul ar for faking injuries and carrying out pranks. Although sometimes controversial , it is typically taught in wizarding schools to highlight the famed 16th centur y potion maker Li Shizhen. The Swelling Solution is Shizhen’s most famous work in potion-making, as well as his most popular act of philanthropy to his fellow wit ches and wizards. Description The Swelling Solution is a thick and dark topical solution. The scent is somewha t salty due to the puffer fish eyes, but can sometimes have a slightly sweeter q uality which is dependent upon the freshness and fragrance of the complimenting herbs. The solution should stay on the skin until the desired effect takes place , at which time the remainder may be rinsed off. The swelling caused by the pot ion typically lasts between 12 and 18 hours, or until a Deflating Draught is app lied. Warnings Occasionally, users of the Swelling Solution will still experience some limited numbness and tingling to the affected area. This normally lasts roughly an hour after rinsing, and is very rarely anything more than a temporary nuisance. On a few limited occasions, an unpleasant stinging sensation has been reported, altho ugh this is normally found to be due to rushed or sloppy brewing. Recipe Ingredients: 2 puffer fish eyes 2 measures of crushed plum flower 5 drops of Aloe Vera gel 1 measure of ground licorice root 3 drops of dragon’s blood While throughout the centuries substitutes have been added and the potio n has occasionally been modified, this is the original formula created by Li Shi zhen. Using the mortar and pestle, grind two puffer fish eyes into a creamy paste and put into your cauldron. Make sure to clear your mortar and pestle of any remnant s before beginning the next step. Next, combine two dried plum flowers, the five drops of Aloe Vera gel and the measure of licorice root in the mortar and crush into a rough paste. Add this mixture to the puffer fish eyes already in the cau ldron. Heat the cauldron on low-to-medium heat for thirty minutes, slowly stirri ng clockwise five times once every five minutes. After the thirty minutes is up, immediately remove the cauldron from the heat. If done correctly, a salty and s weet steam should be emanating from a thick black liquid. While still steaming a nd removed from the heat source, carefully add the three drops of dragon’s blood a nd stir counter-clockwise five times. One batch of this size is typically suffic ient for four successful applications. Tickling Solution History A Polish man, Thomas Thornwell, invented the Tickling Solution in 1956. The orig inal purpose was to amuse his nine children while he was away, since Thornwell w

as a very busy man, and was a potioneer only during his spare time. The Tickling Solution gave him the short rise to fame that he needed. Thornwell went on to c reate the Twitching Solution many years later, although he spent a year in Azkab an after the Ministry discovered that he was using his children as involuntary t est subjects for his potions. The Tickling Solution was initially made to last for fifteen minutes, however, this was eventually altered to be effective for on ly two minutes since any longer than three minutes and the drinker s chance of s uffering internal organ damage increased by 40 percent. Uses Oftentimes the Tickling Solution is used by daycare workers who wish to amuse children for a short period of time. It should be used sparingly, however, as there are many side effects if it is administered too frequently (see below) . It is also taken advantage of by wizarding actors and actresses, especially fo r horror movies, because if they can stand the odd feeling it creates spooky-loo king ripples on the skin. It is more potent on children than adults, which is pa rt of the reason that adults hardly ever use it. Unfortunately, some Dark wizard s from a third-world country got ahold of the recipe for the Tickling Solution a nd found out that if it was brewed improperly it could cause immense pain, akin to being prodded with sharp knives. They incorporated the potion into a torture method, but were later discovered and sentenced to a life term in Azkaban for th eir crimes against wizardkind. It is possible to administer the potion to an ani mal, but this is often advised against because creatures tend to react badly to it. Description The most unique trait of the Tickling Solution is the curious way it beh aves when moved around in a container. If it is properly brewed, the potion will cling to the edges of your cauldron or bottle when stirred or shaken. The Tickl ing Solution is thick and creamy, with a complex shade of purple that becomes da rker towards the edges. It smells of sweat and heat, with a bitter flavour that leaves a salty aftertaste. Once consumed, the potion will cause odd sensations a ll over the body and seem to move of its own accord in the drinker s stomach. Th ese odd sensations are often found to be ticklish, hence the name. Warnings The Tickling Solution is relatively easy to brew, but if done wrong it c an have some nasty consequences. The mildest side effect is that the potion s ef fects will last much longer than usual (sometimes up to an hour), which can caus e digestive problems and occasionally internal damage to the drinker s organs. I f too much crushed rose thorns are added, the potion will cause a painful stabbi ng sensation and sometimes even leaves internal scarring if not cured immediatel y. Recipe Ingredients: 2 cups pond scum 2 tablespoons crushed rose thorns 1/8 cup ashes from recently burned dandelions 2 pints water A pinch of salt 1 tablespoon pepper 14 seagull feathers 3/4 cup baby powder 16 thin spider legs 2 tablespoons snot

1/4 teaspoon human fingernail clippings 1 goat tongue Add the first three ingredients to your cauldron and sift together thoroughly. P our in the water and light a fire beneath the cauldron. Mix several times clockw ise until the mixture thickens. Add the salt and pepper and stir it in using the seagull feathers. When the salt and pepper are mixed in, drop the seagull feath ers in as well. The potion should become very thick with sections that are still liquid. Push the thick bits into the center and allow the liquid to gather arou nd the outside. Sprinkle the baby powder in slowly, stirring until it is complet ely incorporated after each addition. Reduce the fire to low and let your potion sit for 30 minutes. When you return, it should be a dark grey colour with a bit of a crust forming on the top. In a small container, add the spider legs, snot, and fingernail clippings together and stir. Dump the snot mixture into your cau ldron and stir 15 times counter-clockwise. Finish by adding the goat tongue and extinguishing the fire. Allow the potion to sit for ten minutes before removing it into a large glass container. It may be difficult to get out due to its habit of sticking to the sides. Twitching Solution History It took potioneer Thomas Thornwell twenty-two years to create the Twitching Solu tion after much trial and error. However, the solution was not entirely of his o wn creation, as one of his nine children, Abigail (who was eight years old at th e time) thought to add the flowers of a laburnum tree. What had at first appeare d to be a horrible mistake turned into a miracle. Thornwell released the Twitchi ng Solution to the public in 1964, claiming it was made solely by him. When word got out about how instrumental his daughter had been in finalizing the potion, there was much controversy. In 1967, Abigail Thornwell was given credit in the c reation of the Twitching Solution. In 1969 a law was passed banning the use of t he Twitching Solution in organized competition due to its effects. A year later in 1970 it was banned from being used on animals because of the high rate of sid e effects. Uses The Twitching Solution affects the muscles (specifically the fast-twitch muscles ) and allows them to contract faster for a longer period of time before becoming fatigued. It is commonly used by athletes to help train; however, athletes are banned from using the potion during the two weeks prior to an organized competit ion. The Twitching Solution is only useful for activities that require short bur sts of intense energy, such as sprinting, fighting, and playing Quidditch. If en ough training is done with the Twitching Solution in an athlete’s system, eventual ly the fast-twitch muscles will strengthen and can be used for longer period of time. This potion strengthens the fast-twitch muscles twice as fast as training without it would. The Twitching Solution should never be used on animals, howeve r, because there is a high risk of heart or nervous system failure. This solutio n is one of the small number of potions that is injected directly into the blood stream via needle allowing it to become active more quickly. Description The Twitching Solution’s most characteristic feature is its spiky surface, caused by its inability to stay still. The potion is constantly moving and creating rid ges on its surface, despite the fact that it is liquid and non-viscous. It has a vivid, neon green colour and gives off a metallic aroma. Although the Twitching Solution is meant to be injected, sometimes it is consumed orally, in which cas e it tastes of toast with a rather sour aftertaste. If brewed incorrectly the Tw itching Solution will have a bubbly surface instead of a spiky one, in which cas

e it should be discarded immediately because it means that it has become poisono us. Warnings Like any other potion, the Twitching Solution should not be used in excessive am ounts or permanent twitching may occur. Overuse of this potion can also be respo nsible for the failure of the nervous system. It is recommended to only use up t o one teaspoon a day and 3 teaspoons a week. One injection (about half a teaspoo n) will last up to one hour. Occasionally the Twitching Solution causes a magica l disorder known as Sporadic Twitching Condition (STC), which only occurs when t he drinker is allergic to the potion and will cause them to twitch at irregular intervals. It is advised to check with a Healer before attempting to use the Twi tching Solution. Recipe Ingredients: 1 gallon water from a small pond 2 tablespoons moonseed seeds 3 caterpillars 16 dragonfly wings 2 ounces water hemlock roots harvested during springtime A dash of pepper 1/2 cup of sap collected from an elm tree 11 tubeworms 15-17 Flowers from a laburnum tree Light a small fire beneath your cauldron and pour in the water. Add the moonseed seeds to your mortar and use a pestle to grind them into a fine powder. Scrape the seeds into your cauldron and stir clockwise until the mixture begins to boil . Using a silver dagger, slice the caterpillars and tubeworms diagonally into pi eces about 1/8 an inch thick. Add the caterpillars and wave your wand over the p otion once. It should immediately become red. Increase the fire beneath the caul dron and add the dragonfly wings. Take your silver dagger again and scrape it al ong the hemlock roots to receive shavings. Continue to scrape it until the roots are completely finished and sweep them into your cauldron. Add the next three i ngredients and stir clockwise. When the mixture begins to thicken and become blu e, add the laburnum flowers, one at a time, making sure to stir after each addit ion. If your potion is still slightly bluish after adding the fifteen flowers, a dd one or two more until it becomes a brilliant green. Extinguish the fire benea th your cauldron and decant into small glass vials to finish. Grade 3 Crying Concoction History In 1532, while preparing for the opening night of his play The Tragedy o f Harold the Heroic, director James Stolton realized that his lead actress, Vict oria Highfellow, was still laughing through Harold the Heroic’s emotional death sc ene. Of course, the true solution would have been to hire his leading actress ba sed on her theatrical expertise rather than appearance, but it was too late for that. Desperate, Stolton turned to his good friend, Robin Greatview, renowned po tioneer, and requested a solution. The story goes that right before Miss Highfel low entered the stage, Stolton offered her a glass of water imbued with Greatvie w’s Crying Concoction. Highfellow, unaware of what had just transpired, entered th e stage and promptly burst into tears, remaining inconsolable for the remaining two hours of the play due to Stolton’s carelessness in measuring the dosage. After her heart-wrenching performance in The Tragedy of Harold the Heroic, Victoria H ighfellow became one of the most sought-after actresses in London, until her nex t performance, when she laughed all through her own suicide scene. Highfellow th

en assumed a career as a Cauldron Cleaner. Uses For several decades after Greatview’s invention of this potion, it remaine d unknown to all but he and Stolton, until the two decided to form a lucrative b usiness, selling the potion to actors with problems similar to that of Highfello w. This remained its solitary use until 1872, when an unknown Healer of the Magi cal Hospital of Teng Mao Kuang discovered its merits in treating eye infections. Three decades letter, Luís Lacrima of Bolivia began spraying a variant of the Cry ing Concoction at his enemies, rendering them incapacitated by irritations of th e eyes, lungs, nose, and mouth, as well as temporary blindness in some cases. Description The Crying Concoction closely resembles a vial of tears, with its transp arency, ease of flow, and salty taste. It is recommended that one estimates the quantity of liquid in the amount of tears shed desired, and then administers twi ce this amount to the desired recipient. Warnings This potion has been known to irritate the eyes, mouth, and nose when ap plied in excess. Prolonged use of the Crying Concoction may also trigger depress ion in the recipient for several months after use has been discontinued. If more than the recommended dosage is applied, the recipient may cause a public distur bance. In extreme cases, ones tear ducts may become permanently damaged. If brew ed incorrectly, the potion may render the user blind. Recipe Ingredients: 1 onion 2 cups water (set cups separately from each other) 1 cup Black Beetle Eyes (fresh) 1 drop Akanaki juice 2 teaspoonful pepper 8 eyeslashes of camel 1 fresh jalepeño Using the blunt side of the knife, cut the tip off of the jalepeño. Squeez e over 1 cup water until the jalepeño is drained of juice. Next, add 1 drop Akanak i juice and stir potion seven times clockwise. The mixture should be a light pin k color with a thin layer of foam at the top. Use the knife to transfer this foa m to a separate vial, and then add the two teaspoonfuls of pepper. Stir three ti mes counter-clockwise and then blow on the mixture lightly, repeating this proce ss until the foam is a bright orange. Add the eyelashes of camel and Black Beetl e Eyes to a separate bowl and grind finely, being careful that the juice does no t escape from the bowl. Add this mixture and then the orange foam to the second cup of water. Stir counterclockwise 8 times, clockwise 5 times, counterclockwise thrice, clockwise twice, and counterclockwise once, maintaining a steady rhythm . Allow the blend to settle for four minutes. Meanwhile, begin to chop the onion into small pieces, until they are app roximately equal in size to the initial Black Beetle Eyes. When you return, the potion should be a light green color, with small remainings of camel eyelashes a nd the Black Beetle Eyes. Using a strainer, separate the liquid from the solids. Select the thirteen smallest onions and add them to the potion. They should dis solve instantly producing bubbles. Stir clockwise 21 times and then measure out the amount of potion desired. Dehydration Formula History This potion likely had its origins in Medieval farms, as wizards sought means of keeping their fruits fresh through the winter. The Dehydration Formula regained popularity and was produced in bulk during times of war, allowing soldi ers to carry and preserve their food. In the 1800s, the Dehydration Formula gain ed popularity as a treatment for influenza, until the end of the century when th e dangers of this practice were unearthed.

Uses This potion is predominantly used in the preservation of fruits and vegetables, although it is continuously being investigated for possible human uses. It is st ill unclear whether dehydration can have any positive medical applications. Inst ead, the Dehydration Formula has been used frequently in pranking or other malic ious activity. Description The Dehydration Formula is rather difficult to conceal in beverages due to its s andy texture and dark orange coloring. The potion is most effective when heated. Warnings If excessive amounts of potion are applied to fruits or vegetables, they will di sintegrate into powder. After dehydrating fruits and vegetables, it is imperativ e that one washes them to remove traces of the potion, which can have many harmf ul health effects on humans. The side effects of this potion include but are not limited to vomiting, dizziness, fainting, and erratic heartbeat. If you or some one you know has consumed this potion accidentally, consume an amount of water g reat than or equal in volume to the amount ingested. It is important also to not e that any contact with water will immediately negate the effects of this potion . Recipe Ingredients: 3 cups salt 1 Tortoise Shell 3 cups lemon juice 3 teaspoons Powdered Dragon Claw 1 inch ginger root 8 pinches cinnamon 2 pints Flobberworm Mucus 10 Spines of Lionfish Will produce enough of the formula to dehydrate 1 gallon of food Set the Tortoise Shell in the lemon juice. Add 1 pint Flobberworm Mucus to the cauldron and spread it across the bottom to prevent the other ingredients from sticking to the bottom of the cauldron. Add Spines of Lionfish, Powdered Dragon Claw, and ginger root to the cauldron, and then set the cauldron to 100 °C. Wait five minutes for the ingredients to become a fine powder. Remove any chunk s. Add all of the salt and the cinnamon to the second pint of Flobberworm M ucus in a vial. Mix this clockwise until the powder is completely suspended in t he Mucus, and then add them to the cauldron. At this point, bits of the Tortoise Shell should have dissolved into the lemon juice, turning the mixture a golden yellow color. Remove the remaining shell from the container an then add the lemo n juice to the cauldron. Stir clockwise until the formula has turned dark orange . If desired, you may heat the cauldron below boiling once more for great effect iveness. Freezing Solution History A Russian man named Ezra Savitskaya invented the Freezing Solution sometime duri ng the fifth century. He lived with his mother near Russia s southern border and wanted to create a potion for two main reasons. The first of these reasons was to keep his food cold during the summer so it would not spoil, and the second ha d to do with his mother, who had a very bad fever throughout the spring that con tinued into the summer months. Savitskaya hoped that his potion would give his m other some relief because it would be cold when drank. After many months of hard

work, he succeeded in both respects and created the Freezing Solution. Shortly after creating his potion, however, Savitskaya s mother passed away despite her son s efforts. This fuelled Savitskaya’s desire to create a better, more powerful version of his potion. Unfortunately, due to a horrible accident when he decided to approach a stray Uk rainian Ironbelly/Antipodean Opaleye hybrid, he died. It is not confirmed what S avitskaya s motives were in going to the dragon; some say he was overcome with g rief over the death his mother, while others claim he thought the dragon was sle eping and wished to use some part of it as an ingredient for the Freezing Soluti on. Whatever the reason, Savitskaya s potion was discovered in his home a few we eks after his death, but it seems to have been hidden by bandits as there was no trace of the potion until the mid-700s, when a version of it surfaced in Austri a. It was properly released to the public shortly thereafter and became very pop ular. It continues to be used all over the world today. Uses In the olden days, the Freezing Solution was primarily used for preserving foods and soothing pain. In modern times, however, it is a versatile potion that is u sed in many different occupations and households. Soirée, a restaurant in the allwizard community of Cœur de Verre in France, was the first to rim glasses with the Freezing Solution because it sticks to and crystallizes on objects when removed from the cauldron. In a similar way, interior decorators have taken advantage o f the Freezing Solution by coating ornaments with it so the crystals make the or naments sparkle. This potion is still used by greengrocers, bartenders, and rest aurants to cool food and drinks, and even Healers use it for relief of some symp toms of certain maladies. This potion is not to be used on animals, magical or o therwise, and it is a punishable offense to use this potion to freeze any being or entity. There was once a case in which a woman named Brietta Grimsleigh gave a fairy some of the potion; the potion froze the fairy’s body and caused her to di e. Grimsleigh then proceeded to use the frozen fairy as a decoration but was dis covered and fined severely for her cruelty to other beings. Description The Freezing Solution is identified primarily by the way it acts when removed fr om your cauldron. If any sort of object is dipped into the cauldron, the potion will crystallize the portion that came in contact with the solution. This featur e makes it popular among interior decorators and bartenders (see above). Althoug h the potion is clear when it crystallizes, the liquid form of the Freezing Solu tion has a lovely bluish-green colour with what appears to be the occasional ice cube floating within it. Its smell is typically associated with snow because of the crisp, fresh scent it gives off. The potion will often give off a whitish v apour because it is colder than the air around it, much in the same way that our breath makes vapour on a cold day. Once consumed, the Freezing Solution will cr ystallize in your mouth, and you will have to chew it. It goes down freezing col d and seems to seize up your insides for a short period of time. It also tastes a bit sour and usually causes amusing facial expressions. Warnings If the Freezing Solution is consumed directly and in small doses, it is effectiv e in cooling the body or soothing certain maladies. However, if it is consumed i n large doses, it can cause mild to severe hypothermia. There is one known case in which an ill woman named Jillian Fredrickton drank so much of it that her bod y actually froze, and she almost died. Similarly, if the potion is brewed improp erly, it may freeze your trachea, leaving you unable to breathe (Anapneo is usua lly effective in this case).

Recipe Ingredients: 8 snake fangs 2 teaspoons cinnamon A pinch of pepper 3 pints snow, still cold 1 unicorn tail hair 1 foot-long icicle 1 tablespoon sour milk 2 cups salt water 1 dried paw of a snow hare 1 caribou hoof 1 shell of a penguin egg 7 pinecones, each around 2 inches tall Put the snake fangs into your mortar and crush in a circular motion with your pe stle. Its consistency should be approximately as powdery as the cinnamon. Add th e cinnamon to your mortar, and sift the two ingredients together. Sprinkle the p epper in as well. Without lighting a fire beneath your cauldron, add the snow an d put the contents of your mortar on top of the snow, along with the unicorn tai l hair. Using your hands, mix the ingredients together and mould into small snow balls about three inches in diameter. If you do this properly, the snow will not melt because of the unicorn tail hair. In a separate container, mix the salt water and sour milk together thoroughly, a nd pour the mixture into your cauldron. Prod the snowballs with the icicle until they have dissolved. Drop the icicle in as well. Add the paw, and stir anti-cl ockwise until it turns magenta, then add the hoof. Stir clockwise 10 times so th e potion becomes blue. Cover your potion and freeze it overnight (about 12 hours). It is easy to store the potion at this point and finish it later if you so desire. At this stage, ho wever, it should not be frozen more than two months or less than 12 hours. Light a fire beneath your cauldron, wait until the potion has warmed up enough t o be stirred, and then put the fire out. For the best results, there should stil l be solid chunks of the potion in your cauldron, but it is not spoiled if there are not. Finish up by adding the eggshell and pinecones, and stir for five minu tes. The potion will be ready for use an hour after its completion. Tip: This potion works best when brewed outdoors, particularly during the winter . Girding Potion History A long time ago, around the first century, a Chinese alchemist by the name of Hu Ng invented the Girding Potion. For centuries, its recipe was coveted within th e Ng family, but around the 400s, its secret was revealed to the everyday people of China. However, the Chinese people were not quick to give away their prized potion to just anyone. It was not until many hundreds of years later that it wa s publicized that there was, in fact, a potion that could increase the drinker’s e ndurance for a limited period of time. The Girding Potion was officially reveale d to the public after a student was caught using it during the Triwizard Tournam ent of 1319. The student was disqualified, and the potion was immediately confis cated and taken away for studying. After much research, the potion was traced to its origins in China, where officials recovered the recipe and experimented wit h it until it could be deemed safe for the vast wizarding population.

Uses It was previously suspected that people used the Girding Potion as a way to chea t in competitions, and it is for this reason that the use of the Girding Potion within 24 hours of an organized competition is prohibited. However, this does no t mean that the potion is completely banned in all situations. Athletes are all owed to use the potion during training. When it was first invented, the potion w as mainly used by children and adults so they could work longer in the fields (o r work longer at their jobs in general). However, today it is less frequently u sed for the aforementioned purpose and is now mainly supplied to Aurors to aid i n their quests against Dark wizards. The wizarding teenagers of the 21st century have also found a use for the Girding Potion: to help them stay up late to fini sh schoolwork. While this practise is not encouraged, it is undoubtedly useful i n some situations. Description The Girding Potion has a vibrant orange hue, and it smells like wood smoke. It i s a bit thicker than water, like oil, and has small grooves on its surface that form lines. If you put mild pressure on the surface of a properly brewed Girding Potion, it will bend in as though it is rubber and spring back. The Girding Pot ion is typically made into a pill. However, if drinking it directly, it is said to taste tangy and make your tongue prickle afterwards. The pill form is found to be the most effective and quickest to activate (half an hour to kick in). Warnings As with any potion, if the Girding Potion is incorrectly brewed, there will be s ome nasty side effects. In this case, a poorly brewed potion will make the drink er fatigue more quickly, and they will often be tired for the remainder of the d ay. It may also permanently deplete the drinker’s energy, and replenishing potions will need to be drunk every two hours in order for the drinker to remain active . This was occasionally the unfortunate fate of some Chinese people who had not yet refined the potion’s recipe enough to make it completely safe. Recipe Ingredients: 3 pints orange juice 23 dragonfly thoraxes 12 fairy wings 1/8 cup sugar 9 flying seahorses 3 ounces ginger root 16 purple beans 1/2 cup coconut milk 2 kiwis 1 tablespoon soy sauce 35 Doxy eggs Pour the orange juice into your cauldron and light a medium fire under it. Using a silver dagger, slice the dragonfly thoraxes once lengthwise and once across, then add them to your cauldron. Press the fairy wings between your fingers until they crumble and crack, and add the pieces to your cauldron as well. Stir sever al times clockwise until your potion turns blue. Dip the flying seahorses in the mixture and roll them in the sugar. Let them sit for 30 minutes, during which time you should be constantly stirring your potion clockwise. Take the sugarcoat ed flying seahorses and add them to your potion. Using your silver dagger again, slice the ginger root diagonally into pieces about a quarter inch thick. Add th e slices together with the purple beans and coconut milk and stir the potion six times anti-clockwise. Raise the temperature of the brew, and boil it hard for f

ive minutes. Next, lower the fire again, and take a spoon and scoop the kiwis ou t of their husks. Add the husks but not the full fruit. Finally, put the soy sau ce and Doxy eggs into your cauldron and stir 37 times anti-clockwise, then extin guish the fire. You may need to take your potion to a qualified apothecary to ha ve them make it into pills suitable for consumption. Hair-Growing Solution History The Hair-Growing Solution was invented during the medieval era by a witch named Gothel. Gothel administered this potion to a child named Rapunzel thereby causin g her hair to grow immensely long. The witch had hidden Rapunzel inside of a tal l tower, and her main goal in creating the Hair-Growing Solution was to make the child’s hair long enough to be used as a rope to climb up into the tower. Famed s inger Lisa Lyle used the solution frequently and is credited for its rise to pop ularity in the twentieth century. During this time, many wizarding celebrities used the solution to achieve the long tresses that were currently in style. How ever, this fame eventually led to mistakes being made in the creation of the pot ion, and many people found that after using it their hair either fell out or beg an to grow all over their body. It was Georgina Wimbleton who first realized tha t the Hair-Growing Solution goes bad approximately 24 hours after being complete d. Wimbleton also discovered that if you add a drop of honeywater to the potion after bringing it to a boil, the potion would turn brown if it is rancid. Uses There are many ways to use the Hair-Growing Solution besides consuming it as a b everage. The most frequent methods include applying it directly to the hair and washing it off or cooking it directly into a meal. Users are cautioned never to allow the potion to touch facial hair as this nearly always results in disaster (see below). Owners and vendors of Puffskeins apply the brew to the Puffskein’s fur to make it luxuriously fluffy. Some hair-care products include minor doses o f this potion to boost hair growth. This potion may also be used in combination with other potions such as the Colour-Changing Formula in order to achieve vario us effects like dyeing one’s hair a variety of colours. Description The hair-growth potion can be recognized by its handsome shade of olive and arom a of tree bark. Many expert potioneers have concluded that these aspects represe nt growth because of their plant-related characteristics. This potion has the vi scosity of honey and is suitable for cooking into foods; however, it tends to gi ve the food a rather salty flavour. When eaten directly, the Hair-Growing Soluti on becomes stringy and tastes of asparagus. Warnings Commonly used in conjunction with beautifying potions, the main drawback of the Hair-Growing Solution is that it must be used shortly after being brewed, or the user risks some nasty side effects. Some of these side effects include uncontro llable hair growth, damage to the hair, hair growth in other areas beside the he ad (e.g. nose, lip, and armpit hair), and occasionally severe loss of hair resul ting in baldness. Recipe Ingredients: 2 gallons water 1 ounce shredded scurvy grass leaves

3 drops of Moondew 2 ounces silverweed roots, sliced diagonally 2 teaspoons Horklump juice Honeywater 3 tablespoons Bubotuber pus 1 cup maple tree bark, powdered Fill your cauldron with two gallons of water and bring it to a boil, keeping the fire beneath it relatively small. Carefully shred one ounce of the scurvy grass leaves into small squares and scatter it over the surface of the water. Immedia tely begin to incorporate the leaves into the potion by stirring it three to fiv e times clockwise. When the potion turns yellow, add three drops of Moondew. All ow the potion to simmer for one minute, during which time the potion should beco me a brilliant shade of orange. Lower the temperature to approximately 120°F and a dd the sliced silverweed roots. While stirring the potion clockwise, measure in the Horklump juice. Continue to stir until the potion thickens. Bring it to a bo il, stirring constantly until the potion becomes green. Add a drop of honeywater and boil hard for one–and-a-half minutes, stirring continuously. Next, add the Bu botuber pus (Warning: do not allow the Bubotuber pus to come in contact with ski n) and mix it in by stirring twice anti-clockwise and once clockwise. Remove you r cauldron from the heat and sprinkle the maple tree bark on the top. Once the H air-Growing Solution has cooled, it is ready for use. You must use it within 24 hours of completing it. Any potion leftover after the 24-hour period should be d isposed of using a Vanishing Spell. Head-Spinning Potion History In 1963, a Swiss woman by the name of Jane-Evelyn Rousseau created the Head-Spin ning Potion quite by accident. Rousseau once said in an interview that she “had ma de a punch for a party, and instead of throwing it out, I decided to spice it up a little and reuse it. But things began to get really interesting, and I starte d working with it so it could become what we now know as the Head-Spinning Potio n!” (To read more about Jane-Evelyn Rousseau, see her autobiography, Parties and P otions: The Life of Jane-Evelyn Rousseau). The Head-Spinning Potion became quite popular with Rousseau’s children, the neighbours’ children, and many others as well . Eventually, Rousseau decided to copyright her potion with the Ministry of Magi c. Some restrictions were placed on the potion including banning its use on anim als and children younger than six years of age. The Head-Spinning Solution’s popul arity reached its peak in the late sixties, particularly in 1968. It was largely ‘hippies’ who enjoyed the potion and its effects. Uses When it was first invented, the Head-Spinning Potion was used primarily a s a source of amusement, but more recently, it has worked its way into our healt h system where it is sometimes used as a sedative. However, it is one of the les s frequently used ways to sedate a person due to some of its side effects (see b elow). If consumed in moderation, the Head-Spinning Potion is thought to reduce stress, and it is also said to have a ‘restarting’ effect on the brain. Description The Head-Spinning Potion is easily identified by its brilliant colours that swir l constantly. Still images of the potion have shown that it has a vibrant pink h ue with patches of blue and purple that seem to be tie-dyed into the pink. Howev er, because the potion is constantly moving, it typically appears simply as a sw irl of colours. One of the remarkable things about this continuous movement is t hat, although the potion is very sluggish and thick like molasses, it spins as i f it is as non-viscous as water. The Head-Spinning Potion has a sharp and powerf

ul aroma, and its taste is closely associated with an intense combination of cra nberries, almonds, and sweat. Once consumed, the drinker will immediately feel d izzy and the world will seem to spin around them. It typically renders the drink er very unsteady and unable to walk until the effects wear off. Warnings The side effects of the Head-Spinning Potion are directly related to the drinker’s physical health and history of disorders. There is approximately a one in 4000 chance of having an epileptic seizure simply by viewing the vivid colours contai ned in the potion. Drinking the potion may also cause some people to throw up or injure themselves if they are not in a suitable area when they consume the poti on. If improperly brewed, the potion can last up to an hour and may cause seriou s problems with the inner ear and thus the balance of the drinker. If you are ha ving trouble with your balance 24 hours after drinking the Head-Spinning Potion, it is advised that you see a Healer as soon as possible. Recipe Ingredients: 35 guarana berries 3 tablespoons lemon juice 1 cup white vinegar 3 cups fermented cranberries 2 teaspoons baking soda 1/8 cup syrup of Arnica 4 male peacock feathers 3 purple emperor butterfly wings 22 porcupine quills 2 Jobberknoll feathers 1 inner ear of a goat Add the guarana: berries to your mortar and crush them repeatedly until you have extracted most of the juice. Strain the juice so the seeds and peelings are sep arate and set aside for later use. Add the juice to your cauldron and light a sm all fire beneath it. Stir in the lemon juice and vinegar. Without splashing the potion out of your cauldron, stir clockwise 37 times as quickly as you can. Was h out your mortar and put some of the cranberries into it. Crush them into a jui ce as well. Do this until all of your cranberries have been juiced and add all o f it to your potion. Stir clockwise again for ten minutes. Sprinkle in the bakin g soda and stir anti-clockwise 37 times. Your potion will turn a violent shade o f green and begin to bubble and fizz. This is a good sign. Put out the fire and keep your cauldron in a cool, dark space for 12 hours or overnight. When you return, it should smell slightly rancid. Put the peelings and seeds fro m the guarana berries into your cauldron and stir twice clockwise and three time s anti-clockwise for six minutes. Your potion will begin to thicken and become h arder to stir. Add the peacock feathers and raise the temperature of your cauldr on to high. Stir 16 times anti-clockwise and once clockwise. Next, add the butte rfly wings by crumbling them between your fingers. Stir them in using an anti-cl ockwise motion for three minutes. Drop in all of the porcupine quills and lower the temperature of the fire beneath your cauldron. Stir 30 times clockwise. Your potion should now be turquoise with shots of purple in it, and it should be spi nning very quickly even when you are not stirring it. Stir the potion constantly anti-clockwise as you add the Jobberknoll feathers and the inner ear. Extinguis h the fire beneath your cauldron. When the potion has cooled, you can decant it into glass phials, and it is ready for use. Wide-Eye Potion History

In 1908, the Wide-Eye/Awakening Potion was invented by an American potioneer nam ed Glenn Jones. The potion was meant to serve as an antidote to the Draught of Living Death. After a particularly traumatizing experience as a child in which h is cat somehow ingested a lethal dose of the Draught of Living Death, Mr. Jones dedicated his life to creating an antidote so there would be no more similar in stances. It turned out to be a much more difficult task than he had envisioned, and it took him the better part of 70 years to perfect. Due to the severe hyper active effects the potion produces when taken without previous exposure to the D raught of Living Death, it is heavily regulated by the Ministry of Magic. If it is not administered properly, children who use this potion can actually experien ce heart attacks and die. Further, it is not uncommon for adolescents to try to “g et high” off of the Wide-Eye Potion; therefore, it is required by law that all sam ples remain in the presence of a trained potioneer. Failure to comply with these laws can result in severe punishment and/or fines. Uses Although the potion’s original and primary use was its ability to counteract the D raught of Living Death, it has more recently become popular due to its stimulati ng effects. The potion has proved effective in increasing the pumping strength o f the heart and counteracting depression. As previously mentioned, Wide-Eye Poti on is occasionally abused due to its stimulating characteristics. Finally, it ha s been suggested that actress Louisa Hubbleford ingested small doses of the Awak ening Potion in order to obtain the wide-eyed look for which she is best known. Hubbleford has denied these claims. Description This potion is as clear as fresh spring water, but it has an odd consistency. Th ough it appears to have the consistency of water, touching it will reveal that i t actually has a sludgy and thick consistency that is completely at odds with th e appearance. Further, it tastes like sour apples that are on the verge of rotti ng. Warnings The potion has been known to cause a rash on the neck. In rare situations, the user may experience sleeplessness lasting for up to 72 hours. However, being una ble to sleep for 12-24 hours after taking the potion is fairly normal (up to 75% of all witches and wizards who have ingested it have reported this), so it is s trongly advised that you ingest this potion with caution. If it is taken, your e yes will widen and take on the innocent look of a child looking at something in wonder for the next 72 hours. You have been advised. Recipe Ingredients: 6 snake fangs 4 measures of standard ingredient 6 dried Billywig stings 2 sprigs of wolfsbane 4 dried lavender leaves 1 ounce ginger To begin, light a fire under the cauldron and let it sit for five minutes. Durin g this time, use the mortar and pestle to grind the snake fangs and standard ing redient into a paste. When the five minutes are up, add the dried Billywig sting s to your cauldron and heat to a medium temperature. Stir clockwise for three tu rns, then counterclockwise for five turns, and clockwise again for seven turns. The potion should be a clear yellow. Let it simmer for four minutes, and then ad

d four measures of the snake fang mixture. Stir clockwise three times. Using your hand, crumple four lavender leaves into the cauldron, making the bits as small as you can. It is necessary to use your hands because there will be a small amount of human oil that gets on the leaves, and this oil aids in creating the potion’s cohesive structure. The lavender leaves should cause the potion to t urn a pale purple, but it will not stay that colour for long. Next, grind up the ginger and add one ounce to the potion. Stir clockwise 17 times and anti-clockw ise 13 times. The potion should now be a very, very light blue, nearly clear. F inally, add two sprigs of wolfsbane and stir anti-clockwise three times. The po tion will turn crystal clear, but if you touch it, it will feel sludgy. Let it simmer for 12 minutes before bottling. Wit-Sharpening Potion History The Wit-Sharpening Potion was first created in 1902, making it one of the newer potions on the market. An American wizard by the name of Carlton Brown, who hope d to improve his political standing by making himself a better debater, first cr eated this brew. Unfortunately for him, his unethical means of better debate was uncovered nearly immediately, and his political reputation was ruined. After th is failure, he stuck to potion brewing and left politics to better equipped indi viduals. However, the scandal did not cause Brown’s famous Wit-Sharpening Potion t o suffer in America. If anything, it caught on like wildfire, and for several ye ars, Salem Institute had to test each and every student coming in for an exam to make sure they were not under the influence of this performance enhancer. Hogwa rts’ own Anti-Cheating Quills come equipped with a spell that cancels out this ver y potion. It is currently on the banned substances list of every wizarding schoo l in existence, and using it for political gain is strictly forbidden. It is on the Ministry of Magic’s list of controlled substances and having it in your posse ssion without permission will result in a hefty fine and suspension, if not expu lsion, from school. Uses Due to the strict regulations on this substance, few alternative uses for it hav e been discovered. However, an ongoing research project at St. Mungo’s is currentl y attempting to use the potion to counteract neurodegenerative disease such as A lzheimer’s. In the late 1960s, an American owl food company called “Brain Food” was sh ut down after it was discovered that this potion was a key ingredient in their p roduct. From this incident, magizoologists learned that this potion may increase owls’ knowledge retention by over 400%. However, the practice of administering th is potion in animals remains illegal. Description This potion is royal blue in colour and emits a soft, swirling steam that is ver y enticing to those who catch a whiff of it. It smells simultaneously of new par chment and old books, making it very hard for the intellectual type to avoid ing esting if they come across it. Warnings It is illegal to drink this potion without Ministry authorisation. However, it i s a required potion for the Hogwarts curriculum, so take special care if you kno w you love books and learning because it can be very tempting. Professors are un der strict guidelines to make sure all Wit-Sharpening Potions are properly vanis hed at the end of class, so be sure not to be caught with it outside of the Poti ons classroom.

Recipe Ingredients: 3 ounces armadillo bile 4 cups sea water 2 cups fresh water 5 Flitterbys (dead) 3 rat tails 1 rat spleen 4 sardines 1 cup knotgrass 2 ounces leech juice 5 dragonfly thoraxes 4 Jobberknoll feathers Mix the seawater, fresh water, and armadillo bile together in the cauldron befor e lighting the fire. The potion should be almost clear with a faint yellow hue t o it. At this point, light a fire beneath the cauldron. Let it simmer while you crush the flitterbys into a fine powder. Add the flitterbys to the potion and st ir three times clockwise, three times anti-clockwise, and two more times clockwi se. The potion should be a hot pink. Next, chop the rat tail into one-eighth inc h bits and mix with the rat spleen to create a chunky paste. Add the rat parts t o the potion and stir anti-clockwise seven times, clockwise five times, and anti -clockwise three times. At this point, the potion will be a murky, puke-pink col our and smell like rotten eggs. Do not worry; it will not be like this for long! Grind the sardines and knotgrass together into a paste and add it to the cauldr on. Let it simmer for one minute before stirring clockwise for four minutes and anti-clockwise for two minutes. By this point, the potion should smell of the o cean and be a pretty sky-blue colour. Add the two ounces of leech juice and stir three times clockwise. Let it simmer while you crush the dragonfly thoraxes into a fine powder and add them to the mi x. Stir nine times clockwise, six times anti-clockwise, and three times clockwi se. At this point, the potion will need to simmer for 10 minutes. During this ti me, it will morph into a royal blue colour, but it will retain the seaside scent . The final ingredients are the Jobberknoll feathers. Start by removing the feathe rs from the stalks and adding the feathery bits to the potion after the 10 minut es of simmering. Stir them in thoroughly – five minutes clockwise, five minutes an ti-clockwise. Next, chop the stalks into tiny pieces and add them to the cauldro n. Stir twice clockwise, twice anti-clockwise, four times clockwise, four times anti-clockwise, and finally, six times clockwise, six times anti-clockwise. Let it simmer for eight more minutes. At the end of the eight minutes, it will take on the scent of new parchment and old books, and it will begin to emit the swirl ing steam. It is now safe to bottle the potion for use, though in practice, you are to vanish it properly after your professor has seen it (as per Ministry regu lations). Ageing Potion History Wallace Trinket created the Ageing Potion in his quest to produce the Elixir of Life. In the early fourteenth century, alchemists such as Trinket were still att empting to create the ‘ultimate potion’ - one that would allow the drinker to achiev e immortality. Nicolas Flamel eventually created this potion a few decades later , but Trinket’s attempt was the closest before Flamel’s discovery. However, instead of reducing the drinker’s age, the Ageing Potion advanced it. Sadly, Trinket never lived to see the real Elixir of Life created. The Ageing Potion was not widely

known until the occurrence of the “Ageing Scandal” in the eighteenth century. A twel ve-year-old girl drank the potion daily in attempt to make her Muggle Studies te acher fall in love with her. Shockingly enough, the two were eventually married despite the fact that the teacher was over three times the girl’s age. Uses In modern times, the Ageing Potion is occasionally used in the film industry in order to age actors for certain roles. Since the Ageing Potion is temporary, it allows actors to easily assume a more mature look or to film a scene set in the future. Many people have also taken advantage of the potion to age themselves i n order to obtain access to clubs, parties, and other age exclusive activities. It is possible to administer the potion to animals in dire situations in order t o age them enough for slaughter; however, the person who eats the animal then in directly consumes the potion, and the person will often physically age as well. The Ageing Potion will only age the drinker’s body and physical appearance; intell igence and mental age remain the same. The amount you age depends on the quantit y consumed. Description The Ageing Potion is primarily an off-white colour with a slight grey hue, and i t becomes yellow towards the edges. It has the same viscosity as milk, and its t aste is often compared to a mixture of sour blackberries and boiled eggs. The po tion smells a bit like decay and plastic, and it is very buoyant, as most things placed in it will float. It settles very quickly after being stirred and once c onsumed, will take effect immediately. Warnings A teaspoon of the Ageing Potion will age the drinker approximately three months, and one cup ages the drinker about twelve and a half years. After drinking the potion, the effects will last up to twelve hours. If it is improperly brewed, th e potion may permanently age you or cause you to age twice as fast per dose. In a rare case, a poorly brewed Ageing Potion caused 20-year-old Gloria Thistledown to age twice as fast for the remainder of her life. She died at age 55, though she appeared to be 90. The drinker may also experience stretch marks due to the rapid gain and loss of wrinkles. Because aches and other maladies often occur wi th old age, the process of ageing artificially can also be a painful one. Recipe Ingredients: 1 banana 68 snake scales 1 cup Boomslang skin 2 cups day-old urine 43 wild strawberries, collected at night during the summer 1/2 cup warthog hair 1 teaspoon Chizpurfle fangs 18 cicada wings 3 teaspoons powdered elephant tusk 2 cups fresh goat milk 2/3 cup Knarl quills 3 soft-boiled eggs Directions Light a fire beneath your cauldron and peel the banana. Mash it thoroughly in yo ur mortar and add it to the cauldron. Using a silver dagger, slice the banana pe el into small strips and set aside to add later. Scatter the snake scales into t

he cauldron. Take your silver dagger again, and carefully shred the Boomslang sk in into ½-inch squares and add to the cauldron. Pour in the urine and stir 17 time s clockwise, finishing off with a single anti-clockwise turn. Cover and let it s it for one hour. When you return, the potion will have tripled in size and shoul d be green with a foul odour. You may want to perform a Bubble-Head Charm before continuing. Slice the strawberries into quarters and remove the stems before adding them to your cauldron along with the previously sliced banana peel. Sprinkle in the wart hog hair and stir 32 times clockwise, adding an anti-clockwise turn every fifth rotation. Add the Chizpurfle fangs to your mortar and crush into a rough powder. Bring your potion to a boil for three minutes before adding the fangs. Add the cicada wings, powdered elephant tusk, and goat milk to a jar and seal, then shak e 42 times until it is very frothy, and pour the mixture into your cauldron. Sti r twice clockwise and thrice anti-clockwise. Drop the Knarl quills into the caul dron and peel the shells off the eggs. Drop only the shells into your cauldron a nd stir 19 times anti-clockwise, adding a single clockwise turn on the eleventh rotation. Boil for 13 minutes before extinguishing the fire beneath your cauldro n and decanting into glass phials.

Beautification Potion History In the early twentieth century, Sacharissa Tugwood pioneered the creation of cos metic potions such as the Beautification Potion. A great deal controversy surro unded the potion as it gained popularity, and it raised many moral questions. So me regions of the world completely banned both the creation and use of the Beaut ification Potion within their borders. However, this negative view of the Beauti fication Potion has significantly lessened in strength. Although Tugwood is cred ited with the creation of the first Beautification Potion, there have been many versions of the potion throughout history, most notably in the medieval era, whe n a hag known as Malodora Grymm used a type of Beautification Potion to disguise her true form and marry the king. Uses The Beautification Potion is particularly popular among teenagers, where version s promising the riddance of pimples and worse sell like wildfire. Advertisers of ten gear their products toward young adults, stating that these potions will hel p them through the “awkward” phase in life. Many wizarding celebrities used the Beau tification Potion when it first came out, but they were criticized for this beca use of the lessons it was inadvertently teaching about appearance. It was later banned from beauty contests of any sort, animal or otherwise, as it is possible to administer the potion to animals. The Beautification Potion will last up to t welve hours at a time and may be consumed regularly to maintain the effects. Description The Beautification Potion has a rich, sparkling blue colour and smells like frag rant flowers. It has a thick consistency, similar to cream, and it tastes sugary sweet, much like icing. When completed, the potion will bubble pleasantly in fl owerlike shapes, and it will also bubble in your mouth. Warnings

One common misconception surrounding the Beautification Potion is that it will a lter the drinker’s appearance to whatever the viewer sees as attractive. This is u ntrue; instead, the potion will modify the drinker’s appearance to whatever the dr inker believes is attractive. There are some limitations to this, as the potion will only enhance and reduce features rather than completely transform them. If this potion is improperly brewed, it may give the drinker wrinkles, acne, warts, or deformations instead of removing them. Occasionally even a correctly brewed potion will give the drinker a rash, and it can sometimes take away his/her voic e. Recipe Ingredients: 1 gallon clear spring water 6 eggs 2 freshwater Plimpies 1 1/3 cup Bubotuber pus 1 cup dried blueberries 1/4 cup walnuts 15 Fairy wings 1/2 cup salt water 1/8 cup watermelon seeds 7 avocado pits 1/3 cup ginger roots 2 tablespoons rosewater 6 drops honeywater 12 Moonseed seeds Directions Boil the water in your cauldron for 30 minutes. Crack the eggs into the cauldron and stir eight times clockwise. Add both Plimpies and the Bubotuber pus (be car eful not to let it touch your hands), and reduce the fire beneath your cauldron. Cover the potion, and let it simmer for 15 minutes, stirring twice clockwise ev ery two and a half minutes. Chop the blueberries and walnuts into small pieces, mix them together, and add them to the potion 1/4 cup at a time, stirring thrice anti-clockwise after each addition. Place the fairy wings in the salt water and shake until it turns bright gold in colour. Pour the mixture into your cauldron and stir slowly anti-clockwise until your po tion becomes orange. Immediately bring it to a boil for a full six minutes, stir ring anti-clockwise constantly, adding a clockwise turn every fourteenth rotatio n. Sprinkle the watermelon seeds on top of your potion and slice each avocado pi t into 20 equal pieces before adding. Take your potion off the heat for 30 minut es. Evenly slice your ginger roots into at least 42 equal pieces before adding t hem to the cauldron. Let your potion sit off the heat for seven more minutes, du ring which time you can combine the rosewater and honeywater, and shake 56 times until it becomes violet-coloured. Pour the mixture into your cauldron and light a fire beneath it. Stir clockwise until it begins to boil and becomes indigo in colour. Add the Moonseed seeds, and stir vigorously 60 times clockwise, adding four anti-clockwise turns every 20 rotations until your potion becomes a lovely clear blue. Remove the potion from the heat, and allow it to cool before decanti ng into triangular glass containers. Befuddlement Draught History In 1747, the first Befuddlement Draught was sold by Claude Laborde-Avoyelles in a small French potion shop. Claude’s Muggle father raised him after his witch moth er was lynched by an angry mob in his hometown of Troyes. His father constantly

protected him from the Muggles who wanted to kill him. In 1692, the Internation al Statute of Secrecy was enacted and provided seven-year-old Laborde-Avoyelles and his father with further protection. However, they were still cautious. Whil e the pair were hiding in a city near Paris, a traveler from Claude’s hometown rec ognized and killed his father for marrying a witch. Claude, then 15, lived on hi s own until he encountered a wizard who mentored him until he was a fully educat ed man. Claude went out into the world and sought revenge on the Muggle populati on. He went back to Troyes and set up a potion shop where he worked for many yea rs on gruesome draughts. Claude then sold the potions to wizarding kind in hope s that they would give them to the hated Muggles. The Befuddlement Draught is co nsidered his kindest and least dangerous creation. Today, the Befuddlement Draug ht is not used as a sick punishment to confuse people into their own deaths, but rather it is used as a way for people to amuse themselves at the discomfort of others. Uses The Befuddlement Draught is used in many comical prank items. In attempt to enga ge in criminal activities without being caught, certain individuals have notorio usly used this potion to confuse Aurors, witnesses, and victims. Description When complete, the Befuddlement Draught should be light pink. Steam should rise very high from the potion, and it should give off an attractive aroma. The potio n will taste very sour, and the effects should kick in almost instantaneously. Warnings The Befuddlement Draught can cause utter recklessness and idiocy. It is recommen ded that the drinker not be left alone. Remember, this draught was originally us ed to cause people to do unwise things that often maimed or seriously injured th em. In some rare situations, deaths have occurred. Recipe Ingredients: 6 blobs of Flobberworm Mucus 3 teaspoons red wine 4 horned slugs 1 horned toad 1 cup shredded scurvy grass 1 stalk of lovage 1 giant puffball 5 dried nettles 7 butterfly wings 1 cup Sloth Brain Mucus 19 grasshopper legs ¼ cup ground sneezewort 1 teaspoon jesterbug venom Instructions Add three blobs of Flobberworm Mucus to the cauldron and heat until it starts to smoke. Add the red wine and stir clockwise until it thins completely. This may take up to 10 minutes, and the potion will appear pale pink when complete. Add a horned slug and a horned toad. They will eventually disintegrate as you continu e with the potion. Add the scurvy grass, and let it sit for 11 minutes. The potion will gradually turn darker. Stir the brew once anti-clockwise, add tw o more horned slugs (the potion should now appear deep purple), and let it sit f

or another eight minutes. While letting the potion stew, you can prepare some of the other ingredients. Chop the lovage into thin slices. Burn the giant puffbal l to ashes. Add four nettles and seven butterfly wings to your mortar and crush them into a wet powder. Add all of these ingredients to the cauldron in the same order as prepared, and the potion should turn paler. Add the last horned slug. Mix the remaining Flobberworm Mucus with the Sloth Brain Mucus and add the mixtu re to the brew. Stir seven times clockwise and 28 times anti-clockwise. Wave you r wand circularly around the rim of the cauldron thrice. Add the grasshopper leg s one at a time, adding a clockwise stir between each addition. Wait 30 seconds after stirring before adding the next leg. Slowly pour in the sneezewort. Stir e ight times clockwise and the potion should turn pale pink again. Finally, add th e jesterbug venom. The potion should sizzle and start steaming. It is now compl ete. Blood-Curdling Potion History In the 1930s, there was a group of Latvian vampires known by locals as the Night fallers. Before drinking their victim’s blood, they would force the victims to dri nk a concoction of their own creation. This concoction is the first known varia tion of the Blood-Curdling Potion. The original intent of the potion was to curd le the drinker’s blood, which was a preferred “recipe” for the Nightfallers. A happy s ide effect, however, was that the victim became immensely terrified, which only increased the vampires’ satisfaction. The anxiety and sadness in the affected regi on attracted many Dementors, leading to the Latvian Dementor Crisis of 1939. Uses The Blood-Curdling recipe and dosage has been modified so that it does not cause literal curdling. Instead, it causes the drinker to become extremely frightene d for no apparent reason. Certain medical variations of the potion are used to t hicken the thin blood of a patient or to decrease blood pressure. Description When complete, the Blood-Curdling Potion should appear thick and milky yellow or white. It should be cold as well. Warnings The Blood-Curdling Potion should never be taken in the presence of a Dementor be cause it only strengthens their power over the drinker. A Blood-Curdling Potion overdose is extremely dangerous. In such cases, the original purpose of the pot ion (literal curdling of the blood) may be fulfilled. Side effects may include s creaming, waking nightmares, inability to sleep, excessive sweating, self-urinat ion, and unstoppable crying. All effects of the potion should wear off after at least three hours, and no side effects should be lasting. Recipe Ingredients: 5 cups goat milk 4 tablespoons bat blood 3 newt tails 1 chizpurfle claw ½ cup ground bloodroot 9 matsutake 2 cups bloodblanch fluids Instructions

The steps are easy and productive if carried out as precisely as possible. The p otion must be started on the day of the new moon. Mix the goat milk with the bat blood, and boil it in the cauldron. Add one newt tail and let it sit for 24 hou rs. Smash the chizpurfle claw into a rough powder and add it to the cauldron. St ir clockwise 73 times, adding an anti-clockwise stir after every 10th clockwise stir. Slowly add the bloodroot, one pinch at a time. Flourish your wand 36 times above the cauldron, adding a newt tail after the 29th flourish. The mixture wil l start to thicken. Let it sit until the day of the full moon and the potion wil l curdle. Add the matsutake one at a time, putting one in every minute. Stir the potion an ti-clockwise for 17 minutes. Add one cup of bloodblanch fluid. Stir for three mi nutes, and add the rest of the bloodblanch fluid. Though the potion may look rea dy for consumption, it is not. The poisons from the bloodblanch must dissipate f irst. Let the brew sit for at least six hours. Store the potion in a cool and pr eferably underground area. The maximum recommended dosage is one cup per day. Numbing Solution History The Numbing Solution originally came about around the year of 30 AD and is credited to the extensive work of the Roman healer and potion-maker, Aulus Co rnelius Celsus. Although his research is known to magic and Muggle alike, he was notoriously private regarding the Muggle world. Unlike many of his time, he did not feel it necessary to live and work amongst Muggles, giving them nearly no k nowledge, with the exception of some of his writings, to his life. He was one of the few of this era who worked almost exclusively with the magical community. C elsus was a native to what is now known as the Provence region of France, althou gh at the time it was a Roman province by the name of Gallia Narbonensis. At the time of his discovery, he was working as a healer in the wizardin g hospitals of the region, as well as making house-calls to local witches and wi zards in need of a healer’s assistance. As many magic folk of the time were sent into war while working under the Roman Empire, Celsus was often confronted with the problem of injuries and illnesses so severe, no known magic alone was able t o grant them enough comfort to be cured. He needed to find a way to provide som e kind of relief strong enough to allow his patients the comfort and calm needed to administer necessary cures. While Aulus Cornelius Celsus was not a potion-m aker by trade at this point in his life, he had a proficient enough knowledge in herbs and had worked for many years as a healer, giving him the ability to crea te and brew his own herbal remedies when needed. However, even Celsus knew that an anesthetic numbing solution would be a tough undertaking at the time; he also realized it was a dire need for the healers as well as their patients. He began work on his Numbing Solution in the year 20 AD, and finally per fected his potions ten years later. The potions were well received by his collea gues in the field of wizarding medicine. Much to his chagrin, the word of these Numbing Solutions also travelled to Muggle doctors who began using some of the m ain components to create their own anesthetic medicines. Celsus never got over t his fact and was quoted many times expressing his disappointment that Muggles we re cashing in on what were possibly the greatest discovery of his life as a heal er. Celsus’ writings on healing, as well as the original copies of the Numbing Sol ution recipes, are currently held in the protected archives of Beauxbatons Acade my of Magic. Uses The Numbing Solution is a very important potion in wizarding hospitals a nd nurse’s offices, and its recipes have been a piece of necessary knowledge to he alers since the time of Celsus. It is often used in conjunction with other heali ng spells and potions, as well as to give relief to a patient who may need to re st in order to recuperate after a particularly painful or severe injury. There a re two different versions of the Numbing Solution, one being topical and the oth

er ingested. The topical version is generally used to numb a specific area for a shorter period of time in order to give a patient temporary comfort while the n ecessary curing potions and spells are applied. The ingested version of the poti on is intended to not only provide numbing relief, but also to grant the patient the relief of sleep as well. The ingested version can be deadly if brewed incor rectly and is typically only utilized in the most severe cases of illness or inj ury. Description If done correctly, the topical Numbing Solution should resemble a light yellow/green creamy paste with a floral fragrance bearing a hint of peppermint. The ingested version should under no circumstances be used if any question aris es about the quality of its brewing. A correctly brewed ingested Numbing Solutio n should be a fluid of very low viscosity, with a brownish-red color, and should give off a strong sweet floral aroma. Warnings If brewed correctly, the side effects of a topical Numbing Solution are few and harmless. Most patients begin to regain feeling in the affected area aft er 2-3 hours of its application, and the only side effect reported has been that of a very brief and mild stinging sensation at the affected site before the num bness begins to kick in. The ingested version, however, can be considerably more dangerous. The side effects of the ingested Numbing Solution include periods of headaches, hallucinations, and nausea upon waking, which usually subside gradua lly within the course of the day. However, if the potion has been brewed incorre ctly, or too much is given, the patient can suffer permanent numbness, irreversi ble paralysis, insanity, and in some cases, death. Typically, the ingested versi on of the Numbing Solution is only brewed by the most skilled potion-makers, and should be administered strictly at the hands of a professional healer. Recipe Ingredients: Topical Numbing Solution 4 measures of dried Valerian Root 1 Bezoar 3 drops of Bubotuber Pus 2 Sprigs of Peppermint 2 measures of Yarrow Flowers 1 measure of Lethe River Water Combine four measures of dried Valerian Root to a Bezoar in the mortar, and crush into a very fine powder using the pestle. Place the powdered mixture i nto the cauldron, and add three drops of Bubotuber Pus. Heat the mixture on low for ten minutes. Then, combine two Sprigs of Peppermint with two measures of Yar row Flowers in the mortar and crush with the pestle until reaching a coarse-medi um powder. Add this powder to the warm combination of Valerian Root, Bezoar, and Bubotuber Pus already in the cauldron. Heat the cauldron on medium for one minu te, gently stirring in a clock-wise motion throughout. After the minute is up, t ake the mixture off of the heat source; add the one measure of Lethe River water to your cauldron and stir five times counter-clockwise. Ingested Numbing Solution (WARNING: for educational purposes only; do not attempt unless under the supervi sion of a professional potioneer or healer) 2 Belladonna Berries 2 measures of dried Datura Metel 1 Mandrake Root 3 measures of Dried Henbane 4 measures of Lethe River Water 4 measures of Dragon’s Blood

Crush two Belladonna Berries into a creamy paste. Transfer the paste int o a pre-warmed cauldron on low heat. Combine two measures of dried Datura Metel and one Mandrake Root in the mortar, crush into a coarse powder. Add this mixtu re to the warming Belladonna Berries already in the cauldron. Raise heat from lo w to low-medium and stir three times clockwise, one time counter-clockwise consi stently for three minutes. Immediately take off of heat. Crush three measures of Dried Henbane into a very fine powder and add to the cauldron. Lower heat sourc e from low-medium back to low, and re-place the cauldron. Stir mixture three tim es in a clock-wise motion. After stirring add four measures of Lethe River water and four measures of Dragon’s Blood while the cauldron is still on low heat. Afte r thirty seconds, raise heat slowly to medium-high, cover, and allow brewing for 30 minutes. Once the thirty minutes is up, uncover the cauldron, remove from he at source, and stir five times in a clockwise motion, then three times in a coun ter-clockwise motion slowly and consistently for 7 minutes. Shrinking Solution History Contrary to popular belief, the Shrinking Solution is not simply intende d to shrink one’s size, but to shrink their age as well. The opposite of the “Ageing Potion,” a Shrinking Potion will cause the taker to regain the appearance of thei r younger selves, even to the extent of revisiting their childhood form. The co mmon-day Shrinking Solution is thought to have evolved from a 12th century youth serum used by knights and spies working under the ruling or noble families in o rder to gain information. Long before the International Statute of Wizarding Se crecy was signed, powerful members of Muggle society would often employ witches and wizards to do specific jobs that only they were qualified to accomplish. Youth serums were a popular request to witches and wizards and often giv en to Muggle knights and spies during this time. The person taking this potion w ould often revert back to their physical childhood form, enabling them to sneak up or eavesdrop on other important members of society while going completely und etected. Often times, the taker would sit in wait in a village square or known m eeting place, playing games, having a meal, or gathering herbs in an inconspicuo us fashion. When the rival parties would arrive, they would often conduct their business or hold their conversations openly, not realizing that undesirable list eners were within earshot. However, quite a few problems arose with the early r ecipes of the Youth Serum. At the time, it was unclear just how long its effects would last, and seemed to vary from person-to-person. This issue caused great s trife, as the taker would occasionally transform back to his or her original sta te while still conducting their business. Often this resulted in capture or exec ution, causing many to shy away from the use of the Youth Serum. Due to this, a more consistent version of the potion developed and has come to be known as wha t we now call the Shrinking Solution. Uses Shrinking Solution is used to cause the taker to revert back to his or h er physical childhood form. This is still a popular potion used for spying and e avesdropping, and is often used for pranking as well. Occasionally it is also u sed by elderly witches and wizards for the nostalgic purposes of revisiting thei r childhood. Description The Shrinking Solution is an ingested potion which is an acidic bright g reen in color. Although, not recommended, it can be used topically on some non-m ammals who bear large pores in the skin. The solution is a slightly viscous liqu id which emanates a notoriously unpleasant odor. The flavour has been compared t o that of dirt and garbage leachate. The effects from a good batch of Shrinking Solution are to last between 16 and 18 hours. Warnings The Shrinking Solution is a fairly easy potion to brew, but care must be taken t

o ensure that the potion has been brewed correctly. If the potion is brewed inco rrectly it can become poisonous causing the taker to undergo vicious bouts of na usea, terrifying hallucinations, and the suffering of large festering boils. The most telltale sign of an incorrect Shrinking Solution is the color. If a Shrink ing Solution has turned orange, or has an orange tint, do not use under any circ umstances. However, if done correctly, the potion has very few side effects and is known to have a rather pleasant sensation. Recipe Ingredients: 2 measures of evenly minced Daisy Roots 1 Peeled Shrivelfig 3 Sliced Caterpillars 1 Rat Spleen 1 dash of Leech Juice Evenly mince two measures of Daisy Roots and add to a cold cauldron. Cru sh the peeled Shrivelfig into a coarse paste and add to the evenly minced Daisy Roots already in the unheated cauldron. Heat this mixture on low for five minute s, stirring clockwise three times every minute. After the mixture is heated, eve nly slice three Caterpillars and add to the cauldron along with one whole Rat Sp leen. Allow this mixture to simmer on low-medium heat, undisturbed, for thirty-f ive minutes. Once the thirty-five minutes are up, add one dash of Leech Juice be fore stirring. Once the Leech Juice is added, stir ten times in a clockwise moti on, followed by ten times in a counterclockwise motion. Allow potion to complete ly cool before using or transporting into phials. Sleepwalking Potion History The Sleepwalking Potion was accidentally created in 1639 by the Russian professo r, Vladislav Nebogatoff. He was attempting to find the cure for sleepwalking, a s his wife, Polina, suffered from chronic nightmares and sleepwalks. Instead of creating the cure, he created its opposite: the Sleepwalking Potion. Since Vladi slav did not intend to create this potion, he never modified or improved it. Ma ny years later, after Nebogatoff had passed away, the recipe was found by his el dest son, Bogdan. By simply reversing the steps of the original Sleepwalking Pot ion, Bogdan was able to make the cure for which his father had so desperately st rived. Since destructive sleepwalking is quite uncommon, the original Sleepwalki ng Potion has become more popular than its antidote. It is commonly used as a j oke potion. Uses The Sleepwalking Potion is used in a large assortment of comical practical joke items, most notably Sleepwalking Suckers, a Weasleys’ Wizard Wheezes product. Description The Sleepwalking Potion will appear smooth and black when complete. Noth ing can make a ripple in the potion. Should the potion appear grey or bubbly, it is useless. This is often occurs when an insufficient amount of Evernox is used . Warnings The recommended dosage is one cup per 24 hours. If the recommended dosage is exc eeded or given too frequently, the victim could fall into a trance-like state wh en awake. Recipe

Ingredients: 6 cups water 2 Plimpies 5 wolf fangs 4 blobs of Flobberworm Mucus ⅔ cup chopped chives 6 leaves dried English Ivy ½ cup sage ½ cup diluted Bundimun Secretion 6 Evernox 7 dried rose petals Boil the Plimpies and one wolf fang in the water for five minutes or until the p otion appears dark purple. Add two blobs of Flobberworm Mucus, and stir 14 times clockwise. The potion should now be very thick. Add the chives. Next, add the E nglish Ivy, sage, and Bundimun Secretion to the mortar. Mash the ingredients int o a creamy paste and add to the cauldron. Add another blob of Flobberworm Mucus to potion. It should now turn light pink or red. Stir 28 times clockwise. Cut or crush the Evernox, and add the fluid and one of the flower remnants to th e cauldron. The potion should darken a tad. Add a wolf fang to the cauldron. In a mortar, crush three wolf fangs with five rose petals and mix with the remainin g Flobberworm Mucus blob. Add the mixture to the potion along with two more Ever nox remnants. The potion will stop steaming. Stir clockwise for six minutes or u ntil ripples cease to appear. Add the remaining rose petals and two Evernox. Let it sit for three minutes, and then cast Nox on the potion. Add the last Evernox , and the potion should absorb the blackness of its petals. Tips: To induce more comical dreams, add an anti-clockwise stir after every fift h clockwise one. Weakness Potion History The Weakness Potion was created at the command of Pharaoh Ramses II, otherwise k nown as Ramses the Great. In order to strategically weaken his enemies, Ramses h ad his personal potioneers create this draught. After a week and a half, the pot ion was complete. However, over thousands of years better variations of the orig inal potion were brewed. Today’s Weakness Potion has been a work in progress for a millennia. In contrast to the limited ingredients found in the desert and Nile Delta of Egypt, the current Weakness Potion contains ingredients not only from its native land but also from all over the world. Uses The Weakness Potion is used to weaken the drinker both emotionally and physicall y. After drinking the potion, one experiences intense weariness, muscle fatigue, and possibly sadness or emotional instability. Description When completed, the Weakness Potion will be a glowing bright green and should em it much smoke of the same colour. Warnings The Weakness Potion should not be taken to help the drinker sleep. It will, in f act, only further perturb the drinker. The Weakness Potion must not be ingested by any seriously ill or injured people or pregnant women.

Recipe Ingredients: 2 cups tea tree oil 6 Indian peas 10 leaves of Ezekiel 7 sandbugs 4 Ashwinder eggs Syrup of Hellebore 9 grasshopper legs 3 leaves of wormwood 1 dandelion root Heat the tea tree oil to a simmer. Add the Indian peas one at a time, stirring t hrice clockwise between each addition. Crush four Ezekiel leaves and three Sandb ugs in a mortar. Add the mixture to the potion, and stir until it becomes thick in consistency and tan in colour. Coat the Ashwinder eggs in the Syrup of Helleb ore. Add two of the coated eggs to cauldron and let stew for 15 minutes. After every third minute, stir once clockwise. Add the grasshopper legs one by o ne. After each addition, a violent smoke plume should erupt from the potion and the brew should become thinner and darker. Before adding the next grasshopper l eg, wait for the smoke to clear. Smash an Ashwinder egg and add it to the potio n. By now, the brew should appear yellow. Add all remaining Sandbugs to the cauldron. Next, shred the wormwood leaves and the remaining Ezekiel and add them to the potion. Stir 38 times anti-clockwise, adding a clockwise stir after the twentieth. The potion will gradually become g reener. Add the last Ashwinder Egg, and let the draught sit until it glows brigh tly. Finally, add the dandelion root. When the potion starts to perpetually an d violently release smoke in heavy plumes, it is ready for consumption.