moulds to make terracotta negatives for casting or to produce wax positives. Pliny portrays as a well-reputed ancient artist producing bronze statues, and describes Lysistratos of Sikyon, who takes plaster casts from living faces to create wax casts using the indirect process. Many bronze statues or parts of statues in antiquity were cast using the lost wax process. Theodorus of Samos is commonly associated with bronze casting. Pliny also mentions the use of lead, which is known to help molten bronze flow into all areas and parts of complex moulds. Quintilian documents the casting of statues in parts, whose moulds may have been produced by the lost wax process. Scenes on the early-5th century BC Berlin Foundry Cup depict the creation of bronze statuary working, probably by the indirect method of lost-wax casting. Direct evidence India The lost-wax method is well documented in ancient Indian literary sources. The Shilpa Shastras, a text from the Gupta Period (c. 320-550 AD), contains detailed information about casting images in metal. The 5th-century AD Vishnusamhita, an appendix to the Vishnu Purana, refers directly to the modeling of wax for making metal objects in chapter XIV: "if an image is to be made of metal, it must first be made of wax." Chapter 68 of the ancient Sanskrit text Mānasāra Silpa details casting idols in wax and is entitled Maduchchhista Vidhānam, or the "lost wax method". The 12th century text Mānasollāsa, allegedly written by King Someshvara III of the Western Chalukya Empire, also provides detail about lost-wax and other casting processes. In a 16th-century treatise, the Uttarabhaga of the Śilparatna written by Srïkumāra, verses 32 to 52 of Chapter 2 ("Linga Lakshanam"), give detailed instructions on making a hollow casting. Theophilus An early medieval writer Theophilus Presbyter, believed to be the Benedictine monk and metalworker Roger of Helmarshausen, wrote a treatise in the early-to-mid-12th century that includes original work and copied information from other sources, such as the Mappae clavicula and Eraclius, De dolorous et artibus Romanorum. It provides step-by-step procedures for making various articles, some by lost-wax casting: "The Copper Wind Chest and Its Conductor" (Chapter 84); "Tin Cruets" (Chapter 88), and "Casting Bells" (Chapter 85), which call for using "tallow" instead of wax; and "The Cast Censer". In Chapters 86 and 87 Theophilus details how to divide the wax into differing ratios before moulding and casting to achieve accurately tuned small musical bells.