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becomes porous. Most importantly, make that the cast is always higher than the molded thing, because usually the sand, being reheated, swells & if the par 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.

Figure

Potin from seringue & other coworks, runs even better than fine latten. But I think that it is better half copper & half latten, 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.

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