METAL. 195 



base gold as they make. For they can gyue them so fayre and floryshynge a 

 coloure, that all the masse whiche they gylte, appearethe as though it were golde 

 of .xxii. caractes and better. This colour they gyue with a certeyne herbe as 

 thoughe it were wrought by the arte of any goldesmyth of Spayne or Italic, and 

 wold of them be esteemed as a thynge of greate ryches, and a secreate maner 

 of gyldynge." As far as the laws of metallurgy are concerned, this statement 

 can be considered worthy of entire credence. 



Another possible method of producing similar results would be to coat the wax 

 or resin model with gold before it was encased in the mold. In melting the 

 model, the gold would adhere as a shell to the interior of the mold, which could 

 then be filled with alloy. On removing the mold and burnishing the surface, 

 the process would be complete. This is the suggestion of Dr. George F. Kunz. 



There are several specimens in the Yale Collection (see fig. 342) with a foundation 

 of metal apparently devoid of gold, over which is laid sheet gold, giving the 

 exact appearance of being plated. As the base metal underneath decays, the gold 

 comes off in scales. 



The precise nature of the molds employed in casting is still a mystery, no 

 specimens or even fragments of them having been preserved. Sand or clay might 

 have been used. Modern goldsmiths make use of cuttlefish bone in casting small 

 objects not more than five by ten centimeters in dimensions. It requires two 

 for the halves of the mold, and they give a comparatively smooth surface to 

 the casting. The cuttlefish is said to be found in Chiriquian waters. The sand 

 box either undivided or in halves might have been in use. The character of 

 some unburnished surfaces suggests sand casting. One fine large figure of 

 the alligator-god (see PI. XLVIII, fig. g) seems to have been cast as one piece 

 in a sand box of two halves, because of the impression left by a short rod 

 inserted in order to produce the opening in the ring at the back. The same 

 results could not have been secured by an 

 undivided mold. In order to save metal and 

 reduce the weight of the figurines, the latter 

 were cast hollow, the figure being open for 

 all or part of its length either on the dorsal 

 or ventral aspect, but always on the one not 

 intended to be seen. The frequent crystalliza- 

 tion of the gold on the hollow surfaces, and 

 other superficial characters indicate that resin 

 or a similar substance must have been em- 



! ,-j en- -MT /- v -,i Fig. 323- Figure of a frog carved in resin; 



ployed as a filling. Mr. Minor C. Keith e fro ^ 3 Divala B Lamson co K f lcction . . A 

 possesses an interesting figurine from Rio 



General, near Terraba, Costa Rica, in the hollow head of which the resin plug 

 is still retained (see fig. 375). 



The Lamson collection includes a frog carved out of resin, which is mentioned 

 here because of its probable bearing on the art of casting in metal (fig. 323). 

 The ring on the throat for suspension is partially broken away ; the feet, which 

 were presumably flattened, are lacking. We evidently have to do here with the 

 metallic type of frog. The resin where freshly broken is of a rich reddish 



