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Casting in frames

The same sand that was used in the reheated noyaulx,
composed, as is said, of plaster, brick & alum
de plume , is excellent for casting in frames, and I
have experienced it thus: I crushed the pieces which had come out of
molds en noyau in a mortar, dragging the
pestle, because this sand is very doulx. I did not
pass it through the sieve, because the alum de
plume mixed throughout, which binds it, would not pass; but I
ground finely upon marble what seemed to me too coarse.
And having prepared it thus, I moistened it with sal ammoniac
water, made of sal ammoniac, as much as the size of two
walnuts, in a bottle of common water, the
same size as a bottle in which one boils tisane, or in a
good pot of water so that you find d
the water moderately salty. I mixed throughout water
ofhalf a glass of sal ammoniac, two
othe two au tsilver
spoonfuls of eau-de-vie.
J’a Having thus moistened the sand in such a way
that it took hold well, nevertheless coming apart easily, I sprinkled my
medal with pulverized charcoal with a file, to rid it of
oil, and all other grease, that are necessary to avoid,
for they make would hinder a good release. I blew on my medal
& molded it, and the female part of the frame once
filled, I marked & made a line on the reverse of
the & edge of the medal, & on the nearby sand as well. In
order that the second frames’em take the
imprint thereupon to denote the place for making the cast, once
filledthe female part of the box mold once filled I
uncovered the outline of the medal and pounced the whole side with
pulverized charcoal, and then filled the male part with sand.
Once made I separated the frame and did not hit the
corners of the d medal to make it release, because
that knocks the sand & makes it esp crumble.
Rather I struck the back of the frame, retaining the obverse of
the medal on the bottom, and it molded very neatly. If it had not
stripped thus, I would have waited to remove it until the
frames had been dried out over fire. I lit the a row
of charcoals between two little trivets of iron in the
form that you see, and put the back the & reverse of the
frames thereupon, & the imprint on top, because in this
way, they dry out gently. And if, by chance, they should crack from
being too moistened, it is on the back,which pr
takes the harshest fire, & the imprint remains safe &
whole.


For the best, one needs to reheat the sand used in the noyau
before using it in the frames, until it no longer
contracts.




Excellent sand
Take a little of the same sand, the finest that you can, to cover
the medal with.


For medals & flat things, the true heat of lead &
tin is when it is melted gently.


Note that I filled the frame before pressing it, and did not
hit it at all, but rather pressed it only with the strength of my
hands, because hitting it makes it go awry. Secure
your frame that it does not shift at all, & if you put some
moistened sand under it, it will only hold in place more firmly.


Make the gate so that it is not too thick, so as not to overcharge the
medal, but wide enough near the medal that it embraces a third part. Do
not forget the vents.


To dry frames is to rid them of humidity, so that they no
longer smoke, once nevertheless having been very hot.

Recuire is to redden the frame, which is done for
gold and for silver.

