MODE OF WORKING IT.
There is no circumstance that renders the filigree a matter of greater curiosity than the coarseness of the tools employed in the workmanship, and which, in the hands of a European, would not be thought sufficiently perfect for the most ordinary purposes. They are rudely and inartificially formed by the goldsmith (pandei) from any old iron he can procure. When you engage one of them to execute a piece of work his first request is usually for a piece of iron hoop to make his wire-drawing instrument; an old hammer head, stuck in a block, serves for an anvil; and I have seen a pair of compasses composed of two old nails tied together at one end. The gold is melted in a piece of a priuk or earthen rice-pot, or sometimes in a crucible of their own making, of common clay. In general they use no bellows but blow the fire with their mouths through a joint of bamboo, and if the quantity of metal to be melted is considerable three or four persons sit round their furnace, which is an old broken kwali or iron pot, and blow together. At Padang alone, where the manufacture is more considerable, they have adopted the Chinese bellows. Their method of drawing the wire differs but little from that used by European workmen. When drawn to a sufficient fineness they flatten it by beating it on their anvil; and when flattened they give it a twist like that in the whalebone handle of a punch-ladle, by rubbing it on a block of wood with a flat stick. After twisting they again beat it on the anvil, and by these means it becomes flat wire with indented edges. With a pair of nippers they fold down the end of the wire, and thus form a leaf or element of a flower in their work, which is cut off. The end is again folded and cut off till they have got a sufficient number of leaves, which are all laid on singly. Patterns of the flowers or foliage, in which there is not very much variety, are prepared on paper, of the size of the gold plate on which the filigree is to be laid. According to this they begin to dispose on the plate the larger compartments of the foliage, for which they use plain flat wire of a larger size, and fill them up with the leaves before mentioned. To fix their work they employ a glutinous substance made of the small red pea with a black spot before mentioned, ground to a pulp on a rough stone. This pulp they place on a young coconut about the size of a walnut, the top and bottom being cut off. I at first imagined that caprice alone might have directed them to the use of the coconut for this purpose; but I have since reflected on the probability of the juice of the young fruit being necessary to keep the pulp moist, which would otherwise speedily become dry and unfit for the work. After the leaves have been all placed in order and stuck on, bit by bit, a solder is prepared of gold filings and borax, moistened with water, which they strew or daub over the plate with a feather, and then putting it in the fire for a short time the whole becomes united. This kind of work on a gold plate they call karrang papan: when the work is open, they call it karrang trus. In executing the latter the foliage is laid out on a card, or soft kind of wood covered with paper, and stuck on, as before described, with the paste of the red seed; and the work, when finished, being strewed over with their solder, is put into the fire, when, the card or soft wood burning away, the gold remains connected. The greatest skill and attention is required in this operation as the work is often made to run by remaining too long or in too hot a fire. If the piece be large they solder it at several times. When the work is finished they give it that fine high colour they so much admire by an operation which they term sapoh. This consists in mixing nitre, common salt, and alum, reduced to powder and moistened, laying the composition on the filigree and keeping it over a moderate fire until it dissolves and becomes yellow. In this situation the piece is kept for a longer or shorter time according to the intensity of colour they wish the gold to receive. It is then thrown into water and cleansed. In the manufacture of baju buttons they first make the lower part flat, and, having a mould formed of a piece of buffalo's horn, indented to several sizes, each like one half of a bullet mould, they lay their work over one of these holes, and with a horn punch they press it into the form of the button. After this they complete the upper part. The manner of making the little balls with which their works are sometimes ornamented is as follows. They take a piece of charcoal, and, having cut it flat and smooth, they make in it a small hole, which they fill with gold dust, and this melted in the fire becomes a little ball. They are very inexpert at finishing and polishing the plain parts, hinges, screws, and the like, being in this as much excelled by the European artists as these fall short of them in the fineness and minuteness of the foliage. The Chinese also make filigree, mostly of silver, which looks elegant, but wants likewise the extraordinary delicacy of the Malayan work. The price of the workmanship depends upon the difficulty or novelty of the pattern. In some articles of usual demand it does not exceed one-third of the value of the gold; but, in matters of fancy, it is generally equal to it. The manufacture is not now (1780) held in very high estimation in England, where costliness is not so much the object of luxury as variety; but, in the revolution of taste, it may probably be again sought after and admired as fashionable.
IRON MANUFACTURES.
But little skill is shown amongst the country people in forging iron. They make nails however, though not much used by them in building, wooden pins being generally substituted; also various kinds of tools, as the prang or bill, the banchi, rembe, billiong, and papatil, which are different species of adzes, the kapak or axe, and the pungkur or hoe. Their fire is made with charcoal; the fossil coal which the country produces being rarely, if ever, employed, except by the Europeans; and not by them of late years, on the complaint of its burning away too quickly: yet the report made of it in 1719 was that it gave a surer heat than the coal from England. The bed of it (described rather as a large rock above ground) lies four days' journey up Bencoolen River, from whence quantities are washed down by the floods. The quality of coal is rarely good near the surface. Their bellows are thus constructed: two bamboos, of about four inches diameter and five feet in length, stand perpendicularly near the fire, open at the upper end and stopped below. About an inch or two from the bottom a small joint of bamboo is inserted into each, which serve as nozzles, pointing to, and meeting at, the fire. To produce a stream of air bunches of feathers or other soft substance, being fastened to long handles, are worked up and down in the upright tubes, like the piston of a pump. These, when pushed downwards, force the air through the small horizontal tubes, and, by raising and sinking each alternately, a continual current or blast is kept up; for which purpose a boy is usually placed on a high seat or stand. I cannot retrain from remarking that the description of the bellows used in Madagascar, as given by Sonnerat, Volume 2 page 60, so entirely corresponds with this that the one might almost pass for a copy of the other.
CARPENTER'S WORK.
The progress they have made in carpenter's work has been already pointed out, where there buildings were described.
TOOLS.
They are ignorant of the use of the saw, excepting where we have introduced it among them. Trees are felled by chopping at the stems, and in procuring boards they are confined to those the direction of whose grain or other qualities admit of their being easily split asunder. In this respect the species called maranti and marakuli have the preference. The tree, being stripped of its branches and its bark, is cut to the length required, and by the help of wedges split into boards. These being of irregular thickness are usually dubbed upon the spot. The tool used for this purpose is the rembe, a kind of adze. Most of their smaller work, and particularly on the bamboo, is performed with the papatil, which resembles in shape as much as in name the patupatu of the New Zealanders, but has the vast superiority of being made of iron. The blade, which is fastened to the handle with a nice and curious kind of rattan-work, is so contrived as to turn in it, and by that means can be employed either as an adze or small hatchet. Their houses are generally built with the assistance of this simple instrument alone. The billiong is no other than a large papatil, with a handle of two or three feet in length, turning, like that, in its socket.
CEMENTS.
The chief cement they employ for small work is the curd of buffalomilk, called prakat. It is to be observed that butter is made (for the use of Europeans only; the words used by the Malays, for butter and cheese, monteiga and queijo, being pure Portuguese) not as with us, by churning, but by letting the milk stand till the butter forms of itself on the top. It is then taken off with a spoon, stirred about with the same in a flat vessel, and well washed in two or three waters. The thick sour milk left at the bottom, when the butter or cream is removed, is the curd here meant. This must be well squeezed, formed into cakes, and left to dry, when it will grow nearly as hard as flint. For use you must scrape some of it off, mix it with quick lime, and moisten it with milk. I think there is no stronger cement in the world, and it is found to hold, particularly in a hot and damp climate, much better than glue; proving also effectual in mending chinaware. The viscous juice of the saga-pea (abrus) is likewise used in the country as a cement.