http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f177.image
<ab id=”p085v_b4b”>de la matiere de poelone meslée d’une bossette qui est potin.<lb/>
Et auparavant j’avoys tellem{ent} recuit mon chassis moulé, ores<lb/>
à la flamme de mon forneau, ores mectant des charbons<lb/>
allumés dessus, qu’il estoit venu co{mm}e rouge. Je l’ay laissé<lb/>
refroidir et ay gecté. Il est venu fort net de relief d’un<lb/>
costé & cave de l’aultre, tant figure que les l{ett}res. Il est<lb/>
vray que la matiere estoit blanchastre, co{mm}e quasi metalline,<lb/>
mays c’estoit à cause du potin. J’ay faict un aultre gect<lb/>
de matiere de poelonne seule dans mesme sable, mays non<lb/>
pas si recuit, il n’est pas bien venu.</ab>
<ab id=”p085v_b4c”>Despuys j’ay moulé d’os de pied de bœuf bruslé, pulverisé<lb/>
& tamisé par un double tamys, & humecté avecq<lb/>
glaire d’oeuf ou vin bouilly avecq racine d’orme. J’ay<lb/>
mediocrem{ent} frappé dessus en moulant. Ayant<lb/>
ouvert le chassis, je trouvay que les figures n’avoient point<lb/>
despouillé net & laissoient les moules co{mm}e farineux & s’esmiant.<lb/>
Je humectay dadvantaige le sable d’os de sorte qu’il<lb/>
faisoict bonne prise entre les doigts, et en ceste sorte<lb/>
je moulay net avecq bonne despouille. Et encores qu’il semblast<lb/>
que l’os pulverisé fust grossier, si est ce qu’y gectant matiere<lb/>
de poelonne, il me raporta mes figures fort nettes. Il est<lb/>
vray que j’avoys fort fort recuit mon chassis, il ne<lb/>
soubstint qu’un gect. Je trouve que, quand un sable<lb/>
est tellement subtilié qu’il se rend dansse co{mm}e ceruse & uny<lb/>
sans le cognoistre aride, rare, areneulx & co{mm}e spongieulx, qu’il<lb/>
moule bien net, mays il ne reçoit pas si bien le metal co{mm}e s’il<lb/>
estoit poreulx pour supper la matiere. Ains, estant gras & uny,<lb/>
il soufle & ne reçoit point les traicts subtils. Je croy que<lb/>
le secret de bien gecter gist de trouver un sable qui<lb/>
reçoive bien le metal, l’un pour le plomb, l’aultre pour un<lb/>
aultre, car chascun en ha son particulier. Qu’il soict moulé<lb/>
à l’aise & curieusement, puys laisse faire compaction de soy<lb/>
mesme quelques jours, si tu en as le loisir. Et aprés le faire<lb/>
tres bien recuire, non à coup ne à grand foeu, mays peu à peu,<lb/>
aultrem{ent} il s’esmie & ha toujours quelque deffault. Enfin<lb/>
il fault que tu gectes le cuivre ou letton ou les aultres grands<lb/>
metaulx fort chauls, & s’il est possible en grande quantité de<lb/>
matiere, qui contient beaucoup plus de chaleur que petite quantité.<lb/>
Il fault que le chassis soit froid & que tu gectes à coup. Lutte<lb/>
tousjours l’entrée de ton chassis, car le metal touchant le fer ou metal.</ab>
<note id=”p085v_c4”>
Cest os veult<lb/>
estre fort pilé<lb/>
dans un mortier,<lb/>
et ne veult pas<lb/>
estre fort recuit<lb/>
pource qu’il s’esmie.</note>
http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f177.image
<ab id=”p085v_b4b”>with the material of a frying pan mixed with a knob of potin. And before that, I had so reheated my molded box frame, now on the flame of my stove, now putting glowing coals beneath it, that it became almost red. I let it cool and cast it. It came out with a quite neat relief on one side & hollow on the other, as much the figure as the letters. It is true that the material was whitish, as though it were metallic, but this was because of the potin. I made another cast with frying pan material, alone in the same sand, but not as reheated. It did not come out well.</ab>
<ab id=”p085v_b4c”>Then I molded burned bull’s foot bone, pulverized & strained through a double sieve, and wet with egg white or wine boiled with the root of an elm. I lightly knocked on top of it while molding. While opening the box frame, I found that the figures had come out not at all clean & it left the molds as though they were floury & crumbling. I wet the bone sand more so that it held together well between the figures, and in this way I molded neatly with good come-away. And even though it seemed like the ground bone was lumpy, when casting with frying pan material, it turned out that my figures were quite clean. It is true that I had really really heated up my box frame, it did not admit but one cast. I find that, when a sand is so fine that it gets as heavy as ceruse & even, without finding it arid, thin, sandy & rather spongy, that [sic] it molds quite neatly but it does not receive metal very well, as if it were porous and sucking up the material. But, being fatty & even, it puffs up & does not receive subtle impressions at all. I believe that the secret of casting well lies in finding a sand that conforms well to the metal, this one for lead, the other for another, because each has its own particular one, so that it be molded easily and keenly. Then let it firm up on its own for a few days if you have the leisure for it. And afterwards let it really heat up again, not instantly nor with a large fire, but little by little, otherwise it will crumble & always have some defects. Finally you must cast copper or latten or other great metals very hot and if possible with a large quantity of material that has a lot more heat than a small quantity. It’s necessary that the box frame be cold & that you cast all in one go. Always lute the opening of your box frame because metal touching fire or metal. </ab>
<note id=”p085v_c4c”>This bone has to be really crushed in a mortar, it must not be reheated very much, because then it would crumble.</note>
http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f177.image
<ab id=”p085v_b4b”>de la matiere de poelone meslée d’une bossette qui est potin.<lb/>
Et auparavant j’avoys tellem{ent} recuit mon chassis moulé, ores<lb/>
à la flamme de mon forneau, ores mectant des charbons<lb/>
allumés dessus, qu’il estoit venu co{mm}e rouge. Je l’ay laissé<lb/>
refroidir et ay gecté. Il est venu fort net de relief d’un<lb/>
costé & cave de l’aultre, tant figure que les l{ett}res. Il est<lb/>
vray que la matiere estoit blanchastre, co{mm}e quasi metalline,<lb/>
mays c’estoit à cause du potin. J’ay faict un aultre gect<lb/>
de matiere de poelonne seule dans mesme sable, mays non<lb/>
pas si recuit, il n’est pas bien venu.</ab>
<ab id=”p085v_b4c”>Despuys j’ay moulé d’os de pied de bœuf bruslé, pulverisé<lb/>
& tamisé par un double tamys, & humecté avecq<lb/>
glaire d’oeuf ou vin bouilly avecq racine d’orme. J’ay<lb/>
mediocrem{ent} frappé dessus en moulant. Ayant<lb/>
ouvert le chassis, je trouvay que les figures n’avoient point<lb/>
despouillé net & laissoient les moules co{mm}e farineux & s’esmiant.<lb/>
Je humectay dadvantaige le sable d’os de sorte qu’il<lb/>
faisoict bonne prise entre les doigts, et en ceste sorte<lb/>
je moulay net avecq bonne despouille. Et encores qu’il semblast<lb/>
que l’os pulverisé fust grossier, si est ce qu’y gectant matiere<lb/>
de poelonne, il me raporta mes figures fort nettes. Il est<lb/>
vray que j’avoys fort fort recuit mon chassis, il ne<lb/>
soubstint qu’un gect. Je trouve que, quand un sable<lb/>
est tellement subtilié qu’il se rend dansse co{mm}e ceruse & uny<lb/>
sans le cognoistre aride, rare, areneulx & co{mm}e spongieulx, qu’il<lb/>
moule bien net, mays il ne reçoit pas si bien le metal co{mm}e s’il<lb/>
estoit poreulx pour supper la matiere. Ains, estant gras & uny,<lb/>
il soufle & ne reçoit point les traicts subtils. Je croy que<lb/>
le secret de bien gecter gist de trouver un sable qui<lb/>
reçoive bien le metal, l’un pour le plomb, l’aultre pour un<lb/>
aultre, car chascun en ha son particulier. Qu’il soict moulé<lb/>
à l’aise & curieusement, puys laisse faire compaction de soy<lb/>
mesme quelques jours, si tu en as le loisir. Et aprés le faire<lb/>
tres bien recuire, non à coup ne à grand foeu, mays peu à peu,<lb/>
aultrem{ent} il s’esmie & ha toujours quelque deffault. Enfin<lb/>
il fault que tu gectes le cuivre ou letton ou les aultres grands<lb/>
metaulx fort chauls, & s’il est possible en grande quantité de<lb/>
matiere, qui contient beaucoup plus de chaleur que petite quantité.<lb/>
Il fault que le chassis soit froid & que tu gectes à coup. Lutte<lb/>
tousjours l’entrée de ton chassis, car le metal touchant le fer ou metal.</ab>
<note id=”p085v_c4”>
Cest os veult<lb/>
estre fort pilé<lb/>
dans un mortier,<lb/>
et ne veult pas<lb/>
estre fort recuit<lb/>
pource qu’il s’esmie.</note>
http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f177.image
<ab id=”p085v_b4b”>with the material of a frying pan mixed with a knob of potin. And before that, I had so reheated my molded box frame, now on the flame of my stove, now putting glowing coals beneath it, that it became almost red. I let it cool and cast it. It came out with a quite neat relief on one side & hollow on the other, as much the figure as the letters. It is true that the material was whitish, as though it were metallic, but this was because of the potin. I made another cast with frying pan material, alone in the same sand, but not as reheated. It did not come out well.</ab>
<ab id=”p085v_b4c”>Then I molded burned bull’s foot bone, pulverized & strained through a double sieve, and wet with egg white or wine boiled with the root of an elm. I lightly knocked on top of it while molding. While opening the box frame, I found that the figures had come out not at all clean & it left the molds as though they were floury & crumbling. I wet the bone sand more so that it held together well between the figures, and in this way I molded neatly with good come-away. And even though it seemed like the ground bone was lumpy, when casting with frying pan material, it turned out that my figures were quite clean. It is true that I had really really heated up my box frame, it did not admit but one cast. I find that, when a sand is so fine that it gets as heavy as ceruse & even, without finding it arid, thin, sandy & rather spongy, that [sic] it molds quite neatly but it does not receive metal very well, as if it were porous and sucking up the material. But, being fatty & even, it puffs up & does not receive subtle impressions at all. I believe that the secret of casting well lies in finding a sand that conforms well to the metal, this one for lead, the other for another, because each has its own particular one, so that it be molded easily and keenly. Then let it firm up on its own for a few days if you have the leisure for it. And afterwards let it really heat up again, not instantly nor with a large fire, but little by little, otherwise it will crumble & always have some defects. Finally you must cast copper or latten or other great metals very hot and if possible with a large quantity of material that has a lot more heat than a small quantity. It’s necessary that the box frame be cold & that you cast all in one go. Always lute the opening of your box frame because metal touching fire or metal. </ab>
<note id=”p085v_c4c”>This bone has to be really crushed in a mortar, it must not be reheated very much, because then it would crumble.</note>