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a mirror. And since you want to cast cast, put again a
little of the couleur & let rest a little, always
blowing with the small & large bellows. Finally, arrange
your very red mold between the moulet or in a
crucible full of very hot sand & cast. And when it has set,
throw, if you want, in the water. For gold does not get
damaged like tin, which jumps.

To melt gold in ingots, it is of no importance to
gec blow on top with little bellows.

For large works, the crucible of sand needs to be put in a
fourneau à vent, to become entirely red at the end of
the fournaise.

The gold that the wind hits or that one forges, becomes
black. But a little aquafortis uncovers it immediately..

If you have some work to forge of lattensol on latten, like one does small
statues, put between the gold & the latten a plate
of lead. And before reheating the gold & putting it again
in the fire, soak in aquafortis & it will be
douls.

It is enough that the gate be of the thickness  of
the medal, that is to say from the middle of the gate to the medal. But
if the medal is very thick, one ought not, for this reason, to thicken
the gate, for a very thick gate never comes out well.
Mai Also, it could be made wide, the most that can
be done, to embrace the medal.


DEsmEnamelling thin
works

Goldsmiths scrape with the brim of a buringold leaf & then they set enamel down on it.

