
~~~~~~~~~~~~~~~086v~~~~~~~~~~~~~~~


becomes porous. Most importantly, make that the cast is always
higher than the molded thing, because usually the sand, being reheated,
swells & if thepar ce in the middle,
& in this way, the molded thing remaining higher than the cast, the
metal cannot run into it easily or enter at all. Also make sure
that the mold & the cast are well reheated. Cast also all
at once & out of the wind. And if your medal is really
thin, put a card, or two or three thicknesses of
paper, underneath, when you want to mold it. In
this way the mold will be lower than the cast. Cast also at the
place where your medal will be plus es the least
thick & where there will be less relief.


Excellent sand for lead, tin and
copper

D

Since then, I molded with burned bone, iron dross
& burned felt, very pulverised & ground finely on
marble and well mixed together. I moistened them very
well with beaten egg glair. And having covered the medal with it,
as in the others, then filled the frame with sand from the
mine, I knocked moderately. I found it to be of very good
release & molded very neatly. I let it sit all
night long. The next morning, I reheated
it little by little, over the course of seven or eight
hours(for if possible, no humidity ought to
remain in the frame). I cast twice in copper
alloyed with ☾, as old
K. The substance
came very beautiful, shiny, & sonorous, & without a
chappe, and my sand was not corrupted at all. Since then, I
have cast with it several casts of soft lead & tin,
that came out better & more neatly than any other that I have ever
found.

When you mold, make certain lines around your mold, in the
frame, in order to attract the substance to all sides, in this
way.

Potin from seringue & other
coworks, runs even better than fine latten.
But I think that it is better halfcopper &
halflatten, which have been used & have been in
very thin works, such as skillets & other similar things. I have
this mixture of half and half come out well.

