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THREE:Irregularity of cooling may be the result of unequal conducting power in different parts of a mould or cores, or it may be [98] from the varying dimensions of the castings, which contain heat as their thickness, and give it off in the same ratio. As a rule, the drag or bottom side of a casting cools first, especially if a mould rests on the ground, and there is not much sand between the castings and the earth; this is a common cause of unequal cooling, especially in large flat pieces. Air being a bad conductor of heat, and the sand usually thin on the cope or top side, the result is that the top of moulds remain quite hot, while at the bottom the earth, being a good conductor, carries off the heat and cools that side first, so that the iron 'sets' first on the bottom, afterwards cooling and contracting on the top, so that castings are warped and left with inherent strains.As a result of the foregoing criticism, Aristotle distinguishes four different causes or principles by which all things are determined to be what they are��Matter, Form, Agent, and Purpose.226 If, for example, we take a saw, the matter is steel; the form, a toothed blade; the agent or cause of its assuming that shape, a smith; the purpose, to divide wood or stone. When we have enumerated these four principles, we have told everything that can be known about a saw. But Aristotle could not keep the last three separate; he gradually extended the definition of form until it absorbed, or became identified with, agent and purpose.227 It was what we should call the idea of function that facilitated the transition. If the very essence or nature of a saw implies use, activity, movement, how can we define it without telling its purpose? The toothed blade is only intelligible as a cutting, dividing instrument. Again, how came the saw into being? What shaped the steel into that particular form? We have said that it was the smith. But surely that is too vague. The smith is a man, and may be able to exercise other trades as well. Suppose him to be a musician, did he make the saw in that capacity? No; and here comes in a distinction which plays an immense part in Aristotle��s metaphysics, whence it has passed into our every-day speech. He does not make the saw qua musician but qua smith. He can, however, in the exercise of his trade as smith make many other tools��knives, axes, and so forth. Nevertheless, had he only learned to make saws it would be enough. Therefore, he does not make335 the saw qua axe-maker, he makes it qua saw-maker. Nor, again, does he make it with his whole mind and body, but only with just those thoughts and movements required to give the steel that particular shape. Now, what are these thoughts but the idea of a saw present in his mind and passing through his eyes and hands, till it fixes itself on the steel? The immaterial form of a saw creates the real saw which we use. Let us apply the preceding analogies to a natural object; for example, a man. What is the Form, the definition of a man? Not a being possessing a certain outward shape, for then a marble statue would be a man, which it is not; nor yet a certain assemblage of organs, for then a corpse would be a man, which, according to Aristotle, criticising Democritus, it is not; but a living, feeling, and reasoning being, the end of whose existence is to fulfil all the functions involved in this definition. So, also, the creative cause of a man is another man, who directly impresses the human form on the material supplied by the female organism. In the same way, every definite individual aggregate becomes what it is through the agency of another individual representing the same type in its perfect manifestation.228

THREE:��I think it did!�� challenged Larry. ��We thought we saw somebody at the back of the hangar��that��s why we came in! I��m going to see where he is, what he��s doing and why he��s trying to fright��frighten us!��