"The object to be first attained is a hollow mold of the exact size and shape of the intended bell, into which the liquid metal is poured through a tube from the furnace, and this mold is constructed in the following simple but ingenious manner:
"Suppose the bell to be six feet high, a brick column of about that height is built something in the shape of the outside of a bell. Upon the smooth surface of this solid bell-shaped mass can now be laid figures, decorations, and inscriptions in wax; a large quantity of the most delicately prepared clay is then produced, the model is slightly washed with some kind of oil to prevent the fine clay from sticking to it, and three or four coats of the fine clay in an almost liquid state are daubed carefully all over the model. Next, a coating of common clay is added to strengthen the mold to the thickness of some inches. And thus the model stands with its great bell-shaped cover closely fitting over it.
"A fire is now lighted underneath, the brick work in the interior is heated, through the clay, through the wax ornaments and oils, which steam out in vapor through two holes at the top, leaving their impressions on the inside of the cover (of clay).
The Belfry: Bergues
"When everything is baked thoroughly hard, the cover is raised bodily into the air by a rope, and held suspended some feet exactly above the model. In the interior of the cover thus raised will, of course, be found the exact impression in hollow of the outside of the bell. The model of clay and masonry is then broken up, and its place is taken by another perfectly smooth model, only smaller—exactly the size of the inside of the bell, in fact. On this the great cover now descends, and is stopped in time to leave a hollow space between the new model and itself. This is effected simply by the bottom rim of the new model forming a base, at the proper distance upon which the rim of the clay cover may rest in its descent.
"The hollow space between the clay cover and second clay mold is now the exact shape of the required bell, and only waits to be filled with metal.
"So far all has been comparatively easy; but the critical moment has now arrived. The furnaces have long been smoking; the brick work containing the caldron is almost glowing with red heat; a vast draft passage underneath the floor keeps the fire rapid; from time to time it leaps up with a hundred angry tongues, or in one sheet of flame, over the furnace-imbedded caldron. Then the cunning artificer brings forth his heaps of choice metal, large cakes of red coruscated copper from Drontheim, called 'Rosette,' owing to a certain rare pink bloom that seems to lie all over it like the purple on a plum; then a quantity of tin, so highly refined that it shines and glistens like pure silver; these are thrown into the caldron and melted down together. Kings and nobles have stood beside those famous caldrons, and looked with reverence upon the making of these old bells. Nay, they have brought gold and silver and, pronouncing the name of some holy saint or apostle which the bell was thereafter to bear, they have flung in precious metals, rings, bracelets, and even bullion.