196 
ftERAMIC STUDIO 
ture, which, after having risen to the point of warming the 
hand, has again fallen), the mould is removed; the band of 
plastiline having been first taken away. 
To remove the mould, the workman uses a tool suffi- 
ciently sharp to penetrate the point of contact of the two 
plaster bodies; he presses lightly at various points, being 
careful to fracture nothing, and, as a result of skillful hand- 
ling, he obtains a superb hollow cast, perfect in every detail. 
But however complete it appears, it must again be treated, 
in order that it may fully meet all requirements. 
The outlines of the hollow mould must be cut by a knife 
or rasp, in order to regulate the thickness according to the 
dimensions. For example, if the mould have a diameter of 
from thirty to thirty-five centimeters, it should be given a 
thickness approximating one centimeter. 
An even thickness having been assured, if the mould 
requires greater solidity, it can be strengthened by cast- 
ing plaster braces one centimeter in height by a half centi- 
meter in width. (Fig. 4, B. B.). One of these braces must 
run from the neck through the center; the second 
crosses the first at right angles; while, at the point of junc- 
tion of the two lines, which corresponds to the center of the 
tray, a stem of plaster is fastened (Fig. 4-6, C), as a nec- 
essary device for the future handling of the mould. For a 
mould thirty or thirty-five centimeters in diameter, this 
stem, or handle, should be ten centimeters long, three centi- 
meters thick at the point of contact with the braces, and 
two at the upper end. 
Fig. 4.— Closed mould. A, neck: 
B. braces; C stem; D, feet. 
Fig. 5. — Inside of mould, graved side. 
E, opening of neck; F, cut for bolt. 
Fig. 6.— Half opened mould. G\ bolt; H, 
terpart of mould. 
On the back of the mould, and at the base, two small 
feet are indispensable. These must be fixed six centimeters 
apart. Set in position, they form inverted cones which 
support the mould, and prevent it from slipping when in use. 
(Fig. 4,5, 6, DD). 
This important work being finished, it is necessary to 
obtain the counter part of the hollow mould. To do this it 
would suffice to scrape the modeling from the plaster cast; 
a process which would give a complete and perfect reverse. 
But the workman refrains from such action; reserving the 
cast carefully, since, in case of accident, he might make from 
it another hollow mould. 
Fourth Casting. 
The operator, with less care than before, casts a plaster 
proof in his first hollow mould, which has been thor- 
oughly soaped. From this proof he detaches the modeling, 
so that the space between the two moulds is wide enough to 
allow the pewter to flow in. The background will be cared 
for later by the turner, who, when the copper proof is made, 
will provide space for the metal. To this reverse, or counter 
part, the same accessories, braces, stem, and feet, must be 
added. 
Enlightened by the foregoing explanation, we shall 
now readily understand the making of a piece-mould serv- 
ing for an object of cylindrical form. It is useless to repeat 
what has been said regarding the designing and the model- 
ing of a tray. But the reader should refer to it, and remem- 
ber that he must support his modeling upon a resisting sur- 
face. He must employ the same processes for the cylin- 
drical piece as for the tray, and have his required forms 
built, or turned, in plaster. 
No. 54. — Workshop of a pewter turner, turning goblets. From the tic 
by Salmon, 1788. 
All profiles are not permissible, as all exterior lines lead- 
ing from the top of the object must be at least vertical, or 
inclined outward, rather than inward, so as to allow a proof 
to be obtained in a single piece. For, if the edges inclined 
inward, the orifice at the top would be narrower than at the 
base, and the core could not be loosened from the mould. 
For example, let us take a goblet of modern design, 
recalling the work of the eighteenth century. The goblet 
to be decorated must be divided from top to bottom into 
three or four geometrical sections; care being taken to in- 
troduce into the composition decorative motifs, architec- 
tural lines, or smooth, plain sections which may be well and 
easily joined together in the pewter proof. 
We decide to divide the goblet into three sections, and 
after having modeled the decoration, in order to cast it in 
