after which an opening was cut through the wax at the bottom of each
form (c). Strips of wax were rolled out and laid in shallow grooves
which had been cut in the sides of the bells and were pressed in, at
intervals, with a small bamboo knife (d). The top stick was then
withdrawn, leaving an opening down to the wax ball inside. Into this
hole a thin strip of wax was inserted and was doubled back on itself so
as to form a hanger (e). For three days the forms were allowed to harden
and were covered with several coats of damp straw ashes. Finally they
were laid in a bed of the same material with a thin strip of wax leading
from each bell to a central core (f). [FIG. 26] The whole, with the
exception of the top of the central wax strip, was covered with a thick
coating of damp ashes, and when this had hardened pieces of copper,
secured from broken gongs, were placed in the crucible, melted and
poured into the open end of the clay form. The molten metal took the
place of the wax as it was dissolved and flowed to all parts where it
had been. After being dropped in water the form was broken open,
revealing six nearly perfect little bells which were ready for use as
soon as the ashes were removed from them. The same method was used for
all other casting. Clay forms were made as desired, were covered with
wax, and the final coating of ashes applied before the casting. The
workers in copper and brass are under the care and guidance of a spirit,
Tolus ka towangan, for whom they make a yearly ceremony, _Gomek
towangan_.

FIG. 26. STAGES IN THE MANUFACTURE OF METAL BELLS.

FIG. 26. STAGE IN THE MANUFACTURE OF METAL BELLS.

[Transcriber's note: Two different figures on different pages are both
labeled FIG. 26.]