3683. To Mould Figures in Paste

3683.    To Mould Figures in Paste. Take the crumbs of a new drawn white loaf, mould it until it becomes as close as wax, and very pliable; beat it, and roll it with a rolling-pin, as fine and as far as it will go; then apply it to the figure to be moulded; dry it in a stove, and it will be very hard; and to preserve it from vermin, you may mix a little powder of aloes with it.

3684. Composition for Taking Moulds of Medals, etc.

3684.   Composition for Taking Moulds of Medals, etc.. Melt together equal parts of spermaceti, stearine or hard tallow, and white wax. Or: Mix together by melting, 3/4 pound black resin, 1/2 pound hard tallow, and 6 ounces bees' wax. This last is more adapted for coarse work, such as architectural ornaments, etc., and is poured on the object to be copied (previously oiled) in a melted state. Articles in plaster of Paris must be first soaked in water, observing that none remains on the surface so as to interfere with the design.

3685. To Make and Use Elastic Moulding

3685. To Make and Use Elastic Moulding. The process patented by Mr. Parks for taking a mould of any kind of model in one piece, is excellently adapted for the electrotypist. The material is composed of glue and molasses. 12 pounds glue are steeped for several hours in as much water as will moisten it thoroughly; this is put into a metallic vessel, which is placed in a hot bath of boiling water. When the glue falls into a fluid state, 3 pounds of molasses are added, and the whole is well mixed by stirring. Suppose, now, that the mould of a small bust is wanted, a cylindrical vessel is chosen so deep that the bust may stand in it an inch or so under the edge. The inside of this vessel is oiled, a piece of stout paper is pasted on the bottom of the bust to prevent the fluid mixture from going inside, and if it is composed of plaster, sand is put inside to prevent it from floating. It is next completely drenched in oil and placed upright in the vessel. This done, the melted mixture of glue and molasses is poured in till the bust is submerged to the depth of an inch. The whole must stand for at least 24 hours, till it is perfectly cool throughout - after which it is taken out by inverting the vessel upon a table, when, of course, the bottom of the bust is presented bare. The mould is now cut by means of a sharp knife, from the bottom up the back of the bust to the front of the head. It is next held open by the operator, when an assistant lifts out the bust and the mould is allowed to re-close. A piece of brown paper is tied round it to keep it firm. The operator has now a complete mould of the bust in one piece; but he cannot treat it like wax moulds, as its substance is soluble in water, and would be destroyed if put into the solution. A mixture of wax and resin, with occasionally a little suet, is melted and allowed to stand till it is on the point of setting, when it is poured carefully into the mould and left to cool. The mould is then untied and opened up as before; the wax bust is taken out, and the mould may be tied up for other casts. Besides wax and resin, there are several other mixtures used - deer's fat is preferable to common suet, stearine, etc. The object is to get a mixture that takes a good cast and becomes solid at a heat less than that which would melt the mould.