Proper Crucibles for the Dry Path

david1 wrote:

I am going back to France this week and will start real work.
Can you give me the email of the kiln maker in London, the one where you bought your furnace, I want to contact him directly because I don't want to register on ebay.

The website address is in the book, in the "Method 3" chapter where I have a photo of the kiln. Didn't you buy the book?

@ Salut Frank
Thank you for the link
Where do you leave ?

@ Nick
Thanks for the reminder Yes I bought the e-book, but read it a while ago and didn't remember the address was in. I am overbooked actually and my brain forgets many things
I tried to buy the hard copy version yesterday, at 26USD, but they ask me 24 USD for shipping, that's a total of 51 USD !!!
I thought I would wait for the 3d edition with pictures to buy the hard copy at such a cost !
Thanks for sharing,
Read you soon,
David

Sorry about that, I meant eHow...I apologize, I'm not sure why I mixed those two up. I was just curious about multiplying the stone too much and wondering what kind if any radiative output had been measured from it.
http://www.ehow.com/how_5734659_make-true-_elixir-life_.html

It's not a point I'm at now anyway. I'm still working on the first few multiplications.

It's a very nice photo in that article though.
:-)

Bill

Salut David,

give me your e-mail that I can answer your question.

Frank

Bill,

Since you mentioned it I thought I'd share my experience as far as the radiative output of the stone. It seems to be amplified by your thoughts I presume and it travels through materials like normal radiation but it does not behave like normal radiation.

I've noticed two interesting things from a plant stone I've been making from an underground tuber. Forgive me if I've already mentioned it but the material constantly fluctuates in weight when measured to a high degree of accuracy. It's as if the gravity of the stone is always in a state of flux and one could hypothesize this is due to some kind of radiant field or aura surrounding the stone.

Secondly, when I made this material into a tincture using snow water and digested it it caused the aluminum foil which was covering the jar holding the tincture to change colors. One could hypothesize again that some sort of radiant field travelled through the glass and began decomposing the aluminum in some way that I do not fully understand.

The other material I may have noticed interesting field effects from was a GW evaporite which I had deliquesced under the moon light many times over. It seems to me that the stone absorbs radiation in the form of light and other invisible rays and then re-emits it in a different form. It may be that by having this material in a giant reflector some kind of radiation was sent into the atmosphere which may have caused the precipitation of water from the atmosphere. After the precipitation event I observed a strange reflectivity on the doppler radar which seemed to be in basically the same shape as the reflector.

While I post this for information sake only and I can not be sure, I do know that the first two effects were unexplainable by any other means and quite bizarre to me at the time. Hopefully this has been of interest to you.

I think the radiation is the same from the experiments by Keely (I think that's who it was) who put red hot sand in a nutrient solution to quench it and cool it, then the sand began giving off strange radiation, and all the men in the lab who looked at it too closely each day got conjunctivitis. The radiation went through walls and other materials that normal radiation would not be able to penetrate, like even a lead box.

david1 wrote:

I tried to buy the hard copy version yesterday, at 26USD, but they ask me 24 USD for shipping, that's a total of 51 USD !!!
I thought I would wait for the 3d edition with pictures to buy the hard copy at such a cost !
David

If you use the link I posted for the discount prices, it would only be $20 for the papperback with shipping included.

Hi everyone,

One thing to mention with the red gold. If you make a stone in a porcelain crucible, and then heat that to 2000F or more, the stone might merge into the glass coating of the crucible. It happened to me, it sort of ate a tiny pit in the crucible and left a red ring around the gold that didn't convert. When I pulled it out, the gold was stuck to the porcelain. So, it may be better to use something else, even though porcelain looks nice and clean, if you're going to 2000F or more. Again, I've used zirconium oxide and porcelain successfully to get red coatings on beads of gold, but it can be a challenge to recover the red material if the gold is not powdered because you have to melt and the surface area is an issue. It'll be interesting to try with quartz :-) or graphite. My set up is not as tight as the one Nick has in the book, I usually have to weigh the lids of the crucibles down with a piece of iron or something heavy and heat resistant. Anyway, hope this helps.

Nick, Field, thank you for the radiation info. Nick, I'll try to read more about the heated sand in nutrient water, it's pretty interesting. It reminds me of things relating to quartz crystals (giving off energy through the point, it's not the same, but it is a component of sand), and other things like this.
It's good to know this information though, it helps me to draw conclusions and infer things.

Field, the red sol is pretty interesting. The dose with the red sol is something I am very careful of. I put it in water once, left it there for a while (days), and then took a drop of the water in a larger glass of water and drank it once a day for about a week. It felt like it was knocking me on my rear end every time I took it. Once or twice I had very crazy dreams; other times, I had dreams but couldn't remember them. Intuition improved a bit, but it's hard for me to measure this. I didn't take it for a long long time.

Yes, I have some now in water, but no, I'm not taking it at the moment. Why? Well, I feel weird and feel like I need to learn to work with it more and get used to it.
Also, I haven't been able to dissolve it in water completely and get some of the things Nick has posted in his photos, so it makes me feel like I have more work to do with it somehow.

I'll be working with Paracelsus' processes in the future to learn a little more about the solvents.

I wish you all the best,

Bill

so far then we can agree then that the silicon carbide or graphite tube furnaces are the options for now to do the dew salt and a metal with, the dry path, is this correct? because i'm thinking of getting a few of the same one so i can do multiply samples at once.

phillip

Hi Phil,

I'd go for the graphite crucibles for 2 reasons: They are dense enough for our substances and they cause a reducing environment. Oxidation is not what we want.
Don't forget the Kaowool ( resistant up to 1200°C) for isolation between crucible and lid and the iron weight.

Frank

Hi Bros.,
The posts about furnaces or kiln is here:
http://www.lost-academy.com/practical-alchemy-f1/where-have-all-the-crystals-gone-t295.htm

Please Frank, explain me "between crucible and lid and the iron weight" means...
1) the lid of the crucible
2) the lid of the furnace (I think so)
Thank you.

Zosimo

Zosimo,

I have a furnace which has a bigger room inside than the RD9. Therefore I put the graphite crucible on a block of fire resistant stone and a graphite lid on the crucible. On the edge of the crucible I put some Kaowool and cover it with the lid which I weight down with a piece of iron. Then I close the opening of the furnace with another stone or use a lid that closes both the crucible and the furnace.

Capito?

Frank

Funny to say but I didn't capito!
Probably being so involved in riddles we alchemist begin to riddle and be riddled all the time!

"...and a graphite lid on the crucible. On the edge of the crucible I put some Kaowool and cover it with the lid which..."

I asked you about this because it seems to me that ceramic wool it's a little soft and porous...

So:
______________cover, lid, cap, stone or wathever piece of the furnace or kiln
______________ lid of the crucible
______________ Kaowool (ceramic wool)
______________ edge of the crucible

Aggio capito?

Zosimo

Yeah,Yeah,Yeah!!!!!

You finally got it!

He's finally got it!

Frank

Thanks for that Frank, i know you have a few years behind you in experience on this subject as i saw you wrote here on the forum you had 10 years knowledge playing with crucibles.

phillip

P.s. so how do you get around the darkening of the stone with the graphite then, or does it not matter in the scope of things?

Yeah, BUT!

The reason why I'm craking you is that ceramic wool (cerawool or kaowool) is soft & porous, meaning that something can escape if you put it inside the crucible lid.
And that, on the contrary, cerawool can implement, being outside not inside, the reductive environment.
That's the reason why, as Ramen explained us, the inside of the kiln is all around the crucible so full & thick of cerawool.

So, may be Nick and Ramen posted about cerawool outside of the crucible lid, and Nick wrote, if I rememeber well, that ceramic wool was above the lid of the crucible, under the iron ring, under the cover of the kiln.

KnowhatImean?

Zosimo

Caro Zosimo,

if you put the ceramic wool outside the crucible the heat will not conduct well and you might cause the heating coil to burn through.

Nick said if you insulate the kiln from the inside the fumes from the crucible will still escape.

You can just put a lid weighted down by iron but there is space between lid and crucible where the gas can escape therefore it's tighter with ceramic wool on the edge of the crucible.

Please don't make me an Italian and jump up and down and shout and curse: Mamma mia!!!

Frank

We are using the ceramic wool as a gasket to make to crucible lid seal tighter. Yes it is porous but when just the right amount of it is squashed between the crucible lid and crucible (with a weight on top) it should hold in fumes better.

With two hard surfaces coming together (crucible and lid) there is too much of a chance for air spaces between them because they cannot bend to fill them. So... squashed ceramic wool between them. (Ceramic) so it won't melt, (in cloth form) so it can be squashed tight. And because its 2010 and we have this kind of cool stuff.

Even WITH a koawool gasket we will want our crucible and its lid to be as flat as possible. AND it is my suggestion that we add extra salt (crystals) to allow for some escaping.

This method of sealing might work good and it saves us from having to break our crucible to get it open if we had used cement.

I swear by the Italian President (Prime Minister) Berlusconi that Bluefloor is telling the truth.

Thanks for backing bluefloor!

Frank

Hi Phil,

Quote :

P.s. so how do you get around the darkening of the stone with the graphite then, or does it not matter in the scope of things?

Nick uses graphite too and mentioned that you can wash the mixture of water soluble stone and carbon with distilled water and filter the carbon off. I think it matters to keep the stone as clean as possible.

I like your way of working slowly but thoroughly by prepareing large amounts of dew first and then take all the time of the world to do one step after another . This way you can still make mistakes but you have endless resources.


Frank

Your is only envy.
You're jealous because of my hairy breast and the golden chain on it.

And you can't feel the beatitude of the pizza that's in you.
Repent!
And one day or the other I'll save you...

In the meanwhile wear only expensive italian shoes and never, I say never, drink a capuccino after the meal!

Zosimo

Quote :

You're jealous because of my hairy breast and the golden chain on it.

No, I was elected at the Fontana di Trevi as the Chief Italian Papagallo and received the title "Re di Papagalli" ( King of the Papagalli).

But don't tell Berlusconi about my title he might get jealous.
I don't know what it is but I think it's just the pizza in me that makes me so special.

Ha, Ha thanks for the good laugh.

Franco

Well, dear Brother,
Have a good laugh is very important for alchemist and, generally speaking, for creativity.
Otherwise we can have very bad dreams and think that they are always esoteric…
Or, worse, we can even play soccer in South Africa with the strong convincement that we are the italian team. I know because it's happened today.
I know them all, are fishwifes, they have a stand in the local market of my city.

Some italian words of Gualdi are funny too. One day a servant received as a Gualdi’s gift a rosary. After she repeated some prayers on the beads of the rosary ask him: “I never see you preaching on your knees handling a rosary! Are you an heretic?” (these words are from tribunal files )
Gualdi with a strong Venetian dialect (a funny italian dialect with a quick spanish accent & alcooholic pronunciation) said:”Io non tengo a questi intrighi, le orazion no si digono a conto, le se dise sino si stuffa!”. Transl: “I don’t mind, these are entangles. How can you calculate your prayers: we should pray until we’re sick of it!”


Zosimo

Hi All.
It's my impression or our friends of the R9D kiln rised a lot the price?
Did you find other similar products?

Thank you.

Zosimo

My furnace is shown in the photo in my book. You can see that the graphite crucible itself sticks out a little from the top of the furnace brick. The cover is steel with ceramic wool stuff inside. When placed on the graphite crucible, it completely covers it and then I place a heavy thick iron ring on top to weight it down, so the edges of the steel over are against the stone, but inside the cover, the graphite crucible top is completely cover with compressed ceramic wool. It would take a lot of pressure to lift up the cover and let out gas, but as a safety feature, I feel this arrangement is perfect.

Really the only reason the pressure would get too high is when doing the Golden Water work, where you might have a salt that will turn to smoke and burn with impurities, causing the build up of ridiculously amounts of gas, and that's only if you have a lot of material in the crucible. Most people work with very tiny amounts of gold, so they don't use much.


The graphite is easy to remove because it's not water soluble, but the stone is. And you have to purify the stone of all the insoluble mater anyway, even if you didn't use a graphite crucible -- all that nasty stuff from the Dew or Golden water salt needs to be removed. And that's done by dissolving the stone in water and filering, then crystalizing the normal way via evaporation to supersaturation and placing in the fridge. The stone doesn't really form a crystal matrix unless impurities in the water allow for crystallization of some other chemical to form, trapping the stone inside. Really it should just fall out of solution as a fine red powder, sparkling and beautiful to behold. Photos of it will be in the next edition of "Covenant of Silence" which should be done sometime this year, don't ask me when/ lol