The Methods Of Moulding Various Kinds Of Reliefs.

BECAUSE you cannot always proceed by the ordinary pathway since you sometimes find yourself in a place where you cannot have all that you might need or wish, it often happens that it is necessary to know how to recognize and understand your materials well, in addition to having them well disposed, and to know how to use your, ingenuity in arranging a mould., Furthermore, things have a great diversity among themselves, and it is not possible to give a particular rule for all. But if you have a certain broad fundamental knowledge when you have need of many things, the ingenuity awakens and supplies its needs by imitation. Now, because I have thought that you had not hitherto had the slightest shadow of knowledge of what I have described in this treatise of mine, I have expanded and narrated things in greater detail than perhaps I might have done. For this reason I have also decided that I wish to tell you of several methods that can be used if you wish to mould, especially in making an intaglio* for a relief, t or in making another intaglio in bronze from either an intaglio or a relief. And I will tell how every relief reduces, itself from convex to concave and also how the relief is made from the intaglio. These works are first made of plaster or pastes or some other liquid thing that is soft when moulded and becomes hard either by drying out with heat or by shrinking with cold, such as tragacanth, plaster of Paris, sulphur, lead, wax, or similar things. And, in conclusion, we describe the method of making an intaglio from a solid. In making an intaglio you must first consider whether it is a large or small thing, figure or foliage, whether it is in demi- or bas-relief, and whether it is a thing that projects from the mould wholly or in part.