Concerning The Alloys Of Copper.

IT is customary to make an alloy of copper in the same way, not to increase its quantity as with gold or silver, but to corrupt it for the art of casting and to destroy a certain natural viscosity in it. For this result it is accompanied by tin and also, sometimes, brass. But its proper and true alloy is fine tin, except, however, when you wish to make hammered works. For these, copper must be pure and without any trace [of impurity], otherwise it cannot be hammered thin, gilded in the fire, drawn into a wire, or made into vessels for use as is customary; but in casting, tin is almost essential. When you come to this association, just as it changes nature and appearance according to the proportion of tin which you give it, so it changes name and is no longer called copper but bronze, or, for a greater distinction of the quantity of tin for every hundred or more of copper, it is called by skilled workmen metal of more or less fineness as it contains more or less tin. This is recognized by the whiteness and brittleness: changing from red, which is the color of copper, it becomes white; from soft and flexible it becomes hard and brittle as glass. This admixture removes it so far from its original nature that one who does not know that it is a compound material believes it to be one of the number of metals engendered by Nature. Now, so that you may understand well, I tell you that various kinds of this are made, all according to the proportions of the quantities and according to the kind of work. For one kind of bronze is desired by those who make statues; this is not desired by those who make artillery or by those who make bells, mortars, basins, and similar cast objects. Now in order to alloy it into the species of bronze, eight, nine, ten, up to twelve pounds of tin are put with every hundred pounds of copper. Those who want it to make bells put twenty-three, twenty-four, twenty-five, and twenty-six, depending on the tone, on whether they are large or small in form, and on whether they wish to make the tone deep or sharp and clear. From twelve upwards is used for all other works that need it, either for hardness or to give them fluidity in casting by surpassing the degree of