For a full electronic edition of James Reilly's book go to

http://albumen.stanford.edu/library/

click on monographs. This is THE ONE classic of the 20th century. Whenever I had trouble or wanted to try something new, I went back to him. From the other books I have read only keepers of light, but Reilly is much more detailed, and very dependable.

Silver nitrate can be had at reasonable cost from jewelliers' suppliers or traders in precious metals. I may give you one or two addresses in Germany if you are interested; I see no reason why they should not ship to Italy.

Now to the points (only relevant for salt prints, of course):
Fabriano Artistico (hot pressed) is a paper which was dependably successful for me. (Is fabriano 5 still made? I heard they stopped it, much to my regret.)

Do not work under safe light! There is no advantage whatsoever, only severe disadvantages. Not too bright normal bulb light is completely adequate: you want to see your coating!

I always used sodium chloride; table salt should be okay, but iodine will change tonality. If I remember correctly, I had citric acid in the salting solution as well as in the silver nitrate. The silver nitrate keeps indefinitely as a pure solution, but in my experience with citric added it does go off after some months.

Use the formulary with gelatine in Reilly (starch is much more difficult to handle), proceed according to his instructions, float the paper on the salt solution according to his instructions, take care no fluid goes on the backside. No dichromate is certainly best, if it suits your negatives.

If your prints are up to ca. 8x10, coat with rod, not with brush, and don't float. I also think this is a waste of silver nitrate, kaolin or not. Under normal light you will also see whether there are any breaks in the puddle; if you have difficulites, try some Tween 20. Brush coating is more difficult here because with silver nitrate only you see hardly or not at all what you already coated and what not. Don't waste money on a very expensive brush. I think the rod is best here, because it minimizes the possibility of any marks.

I skip for now remarks on further processing, trusting you have some knowledge here already. Just a work on the fixer: normal fixer, also rapid fixer is fine as long as it is not hardening, but use it in much higher dillution, and neutralize it (best with sodium carbonate)! it is a good idea to use fixer twice if you see the print turns out well: first the fluid you kept from the last print, pour this away, use fresh fixer, keep for the next print. It is also a good idea to help clearing the fixer with sodium sulfite, and wash with not too cold water. These steps are essential!

As far as I can see, with this procedure you should be in the right ballpark, further problems must be treated when they turn up.