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the white wax with which you have composed your black
sulphured wax, has such little substance, since being dry and
purified, that it leaves nothing inside, and flows very gently. As for
the charcoal which is mixed in, if some remains, it burns &
reduces to ash & is emptied afterwards, by blowing through
the gate. You could even open your mold after the wax
has melted, if there is no fanciful thing which could break, like some
reattached thing or similar. After having covered the clamps
with the lute from your sand & having covered all of the
mold, give it on top a layer of common lute, & then
sprinkle this with some pestled brick, in order that you can
handle it better. Let the lute dry slowly, before firing it,
which melts the wax. The wax having left through the gate,
that which remains with the charcoal will burn. Being reheated
for the first time, lute it pou once more,
to reheat it the second time because the plaster, not
being good, will have readily made the mold retract, and the
joints will crack open, which might make large fins. And for the second
time, one ought not to reheat it, if you only want to cast in
lead or tin, but rather only make sure that the
lute is well dry & the mold moderately hot. For
these turtles that have a large size & enough thickness, it
is better to mold ault cast your
lead an alloy half of lead &
half of tin, especially for hollow things. For, if you
only have very thin & very weak things to cast, like flowers, rely
rather on the abundance of lead than of tin, which becomes
porous, once cast a little thick, & readily makes some flaw around
the cast. Master Alexandre says that he has never gone wrong
with halftin & halflead for things
weighty & with the thickness of the back of a
knife. If there is crocum, the joints hardly
appear & consequently the fins are very small & thin. You can
repair & through the hole of the belly, pull the earth of the
noyau, leaving it wet a long time,



When you have cast your black wax in the amold, & when it is well cold, you need to the
open your mold halfway, to make the cast. And if the
representation of black wax breaks, there is no danger, for it
can always be reattached with a hot irontouching
point. Or else, if the pieces are not separated from the
mold, qu they meet up & join like
beforehand, by joining & binding well the two halves of the
mold. When the representation is large, one needs to cross
inside many iron wires, to sustain the noyau.



Aonly in lead or
tin. However, one needs to redden the mold nearly as
much as if there were inside some animal to burn, in order that the
wax melts well & leaves nothing inside & flows on its
own, by keeping the mold leaning towards the gate when
reheating it. And when the mold is reheated, leave it to cool
gently, then blow inside, and draw towards yourself, while sucking, in
order that the ashes of the wax come out. Do this with a
bellows.

