making bells.  Taking a ball of wax the size of a bucket shot, he put it on the end of a stick (Fig. 26a), and over this moulded the form of a bell in damp ashes obtained from rice straw (b).  When several bells were thus fashioned they were dipped in melted wax and were turned on a leaf until smooth, 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  The top stick was then withdrawn, leaving an opening down to the wax ball inside.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.]

Of even greater importance are the smiths who are also under the care of a powerful spirit for whom the Gomek-gomanan ceremony is celebrated each year, just prior to the planting time.  Their forges are hidden away in the hemp fields, and I was repeatedly informed that no woman might see the smith at work.  Whether or no such a rule is rigidly enforced at all times I cannot say, but at no time did I see a woman about the forge while the fire was burning, and although I was allowed to see and photograph the process, my wife was at all times prevented from doing so.  The forge differs in no material respects from that used by the brass casters, except that hollowed out logs replace the bamboo tubes, and that a metal anvil and iron hammers are used.  After an iron knife or spear head has been roughly shaped, the smith splits the edge to a slight depth and inserts a band of steel.  The iron is pounded down on the harder metal and the