268 
RERAMIC STUDIO 
, Select three doubled strands of natural raffia for filling 
and with black raffia make a handle four and one-half 
inches long, using the button-hole stitch. Sew this, at the 
center and each end, to the cover with black raffia. (See 
illustration.) 
Illustration No. 7 shows a basket woven over a small 
cotton rope with the "Bridge Stitch." The design, simple 
and effective, can be easily made by carefully following the 
photograph. The squares of bright orange raffia are 
separated by vertical and horizontal black lines, against a 
ground of natural raffia. The coloring, in the top of the 
cover, is orange, outlined with black and natural raffia. 
Rope filling will be found very satisfactory, as it makes 
a firm basket. 
Note — The bridge stitch referred to above is made as follows: With a 
weaver of ordinary size and any filling desired, weave by winding toward you 
nine times around the filler, covering about one inch. Now fold the work 
so that the beginning and the end meet and fasten firmly. For further 
weaving wind three times around the filling and insert the needle in the 
hole in the center. Continue weaving in this manner around to the 
beginning of the roll. From this point to the end of the work wind three 
times around and pass the needle under the roll previously made. 
ART IN PEWTER 
TECHNICAL PART 
(continued) 
Jules Brateau 
Detaching the whole, we draw out the model and we 
obtain five pieces to be treated as follows : 
The mould is reduced regularly and throughout to a 
thickness of barely one centimeter. I give this dimension 
from experience, as adapted to an object like this goblet, 
thirteen inches high, nine and one-half at the top, and five 
and one-half at the base. 
On the line of juncture of these three sections must be 
made a plaster wall, or partition (Fig. 7, 10, 11 B), 
a kind of border of about six millimeters over and above. the 
thickness of the mould, following closely the line of the sides 
having the bench or section marks, which will be removed 
later. As soon as these borders are exactly fitted to 
the several pieces of the mould, one should be able to assem- 
ble them as easily as when they were joined together on the 
plaster model. 
C 
Fig. 10.— Goblet 
B, partition; C, plane 
nth piece of plaster mould. A, neck; 
urface; D, slope; E, thickness of mould. 
Again, the workman takes two of the sections in order 
(since they must fit exactly), and builds above each of the 
two adjacent partitions, an extension in plaster (Figs. 10, 
11, 12, 13, AAA), about four centimeters in height; quite 
wide at the point of contact and growing narrower as it 
rises. This extension is called the neck or funnel. 
At the center of each piece a square handle is attached. 
This is wider at the base than at the top, in order that the 
pieces may be easily handled when they are made of 
copper. (Fig. 9, 11, 12, 13, E E E). 
Let us now take the shapes ! One of them is called the 
core the other the cap. We regulate them to a thickness 
not exceeding one centimeter. On the core, which is here 
the smaller of the two shapes, we fit a cylindrical body of 
plaster, which assumes the precise form of the interior of 
the vase. This body is obtained by cutting from a mass of 
plaster, or by making a rough-casting (Fig. 12). 
Fig. 11— A, necks put together: B B, wall or partition; C, bolts; D D, clamps in place; 
E, handle; F F, plane part; G G, inclined part, 
The section of the core of the foot being separated 
from the section of the core of the vase proper, we attach 
it on the shape, or the cap, well centered and firm. 
(Fig. 12 C). 
These indispensable preparations build the core, allow 
the object to be hollow, and assure the proper thickness to 
the pewter which is to be melted. 
The plaster mould being thus finished is allowed to 
dry thoroughly; then, a very even coating of modeling wax, 
from one-half to one millimeter thick, is applied at the 
junction of the three pieces (that is to say, the inside of 
the partitions), on the inclined parts of the shapes of the 
core and of the cap, and upon the flat surfaces of the 
top and the bottom. 
The pattern maker, to insure the accuracy of his work, 
needs a slight excess of metal beyond the lines of division 
and friction, and he could not produce a good mould, if he 
had not this resource at his command, in cases when the 
copper varies slightly at the casting. Moulds may also be 
made perfectly smooth and plain, which need no modeling. 
To produce these latter it is no less necessary to make 
a model in plaster, wood, or other hard substance, so as to 
allow the caster in copper, or iron, to reproduce in his own 
way, which differs from the way of the caster in pewter. 
THE CASTING OP MOULDS IN IRON, COPPER, ETC. 
We have seen that the plaster mould is finished, but 
to be practically useful, it must be reproduced in copper, 
iron, or even in steel. 
If the model have a certain artistic value and the 
proofs be not destined for the market .in great numbers, 
it is cast in brass. 
This model is taken to the foundry, where highly skilled 
artisans mould it in sand ; beating and cutting it, and divid- 
ing it into several pieces which they fit together, as the 
maker of the model did with his plaster. 
These artisans assemble their separate pieces accord- 
ing to the necessities of the casting, into frames, (Figure 14, 
AAA) which they completely fill with sand well beaten 
and closely packed (Figure 14, BB). Gates are care- 
fully made and located in order to lead the metal to a more 
important canal which, itself widening, ends in a sort of 
funnel (Fig. 14, C) into which the metal flows, when the 
