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ONE:It will be seen from the foregoing passage how strong a hold the old Greek notion of an encircling limit had on the mind of Aristotle, and how he transformed it back from the high intellectual significance given to it by Plato into its original sense of a mere space-enclosing figure. And it will also be seen how he credits his spheres with a full measure of that moving power which, according to his rather unfair criticism, the Platonic Ideas did not possess. His astronomy also supplied him with that series of graduated transitions between two extremes in which Greek thought so much delighted. The heavenly bodies mediate between God and the earth; partly active and partly passive, they both receive and communicate the moving creative impulse. The four terrestrial elements are moved in the various categories of substance, quantity, quality, and place; the aether moves in place only. God remains ��without variableness or shadow of a change.�� Finally, by its absolute simplicity and purity, the aether mediates between the coarse matter perceived by our senses and the absolutely immaterial Nous, and is itself supposed to be pervaded by a similar gradation of fineness from top to bottom. Furthermore, the upper fire, which must not be confounded with flame, furnishes a connecting link between the aether and the other elements, being related to them as Form to Matter, or as agent to patient; and, when the elements are decomposed into their constituent qualities, hot and cold occupy a similar position with regard to wet and dry.The expense of forming pattern-moulds may be considered as divided between the foundry and pattern-shop. What a pattern-maker saves a moulder may lose, and what a pattern-maker spends a moulder may save; in other words, there is a point beyond which saving expense in patterns is balanced by extra labour and waste in moulding��a fact that is not generally realised because of inaccurate records of both pattern and foundry work. What is lost or saved by judicious or careless management in the matter of patterns and moulding can only be known to those who are well skilled in both moulding and pattern-making. A moulder may cut all the fillets in a mould with a trowel; he may stop off, fill [94] up, and print in, to save pattern-work, but it is only expedient to do so when it costs very much less than to prepare proper patterns, because patching and cutting in moulds seldom improves them.

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