Field Museum of Natural History — Anth., Vol. XII. 



HG. 2b. 



STAGE IN THE MANUFACTURE 



OF METAL BELLS. 



coats of damp straw ashes. Finally they 

 were laid in a bed of the same material 

 with a thin strip of wax leading from 

 each bell to a central core (f). The 

 whole, with the exception of the top of 

 the central wax strip, was covered with 

 a thick coating of damp ashes, and when 

 this had hardened pieces of copper, se- 

 cured from broken gongs, were placed in 

 the crucible, melted and poured into the 

 open end of the clay form. The molten 

 metal took the place of the wax as it 

 was dissolved and flowed to all parts 

 where it had been. After being dropped 

 in water the form was broken open, re- 

 vealing six nearly perfect little bells 

 which were ready for use as soon as the 

 ashes were removed from them. The 

 same method was used for all other cast- 

 ing. Clay forms were made as desired, 

 were covered with wax, and the final 

 coating of ashes applied before the casting. The workers in copper 

 and brass are under the care and guidance of a spirit, Tolus ka towangan, 

 for whom they make a yearly ceremony, Gomek towangan. 



Of even greater importance are the smiths who are also under the 

 care of a powerful spirit for whom the Gomek- gomanan ceremony is 

 celebrated each year, just prior to the planting time. Their forges are 

 hidden away in the hemp fields, and I was repeatedly informed that no 

 woman might see the smith at work. Whether or no such a rule is 

 rigidly enforced at all times I cannot say, but at no time did I see a 

 woman about the forge while the fire was burning, and although I was 

 allowed to see and photograph the process, my wife was at all times 

 prevented from doing so. The forge differs in no material respects 

 from that used by the brass casters, except that hollowed out logs 

 replace the bamboo tubes, and that a metal anvil and iron hammers 

 are used. After an iron knife or spear head has been roughly shaped, 

 the smith splits the edge to a slight depth and inserts a band of steel. 

 The iron is pounded down on the harder metal and the whole is brought 

 to a white heat in the charcoal fire. Removing it to the anvil the 

 smith gives the blade one or two light blows and returns it to the fire. 

 This is repeated many times before he begins to add the heavy strokes 



