This left Alan somewhat puzzled. Why didn't they obtain more Flamel alloy from Nicolas Flamel to arm the Order of the Phoenix? Was it truly because the manufacturing process was that difficult?
Alan had no answer, but he knew such advanced materials were far beyond his reach for the moment. Professor Bones continued his tour of the magical metals, moving on to other essential alloys.
There was Agrippa alloy, which was slightly less durable than urim steel. Since this alloy had been invented by the human wizard Cornelius Agrippa, the formula was widely known among alchemists, making it relatively accessible. Then there was the infamous Herpo alloy—a material perfectly suited for carrying curses and Dark Arts, invented by the despicable Herpo the Foul. This metal possessed excellent transformative properties, capable of being disguised as other magical metals, making it an ideal material for setting magical traps or ambushing the unwary.
Evidently, Professor Bones's alchemical skills were not as "shallow" as he claimed. He recounted the properties of nearly every material in the wizarding world like a man reciting his most treasured possessions, revealing a massive and rich knowledge base. Most of these materials were readily available in his office, either as raw ingots or finished items. Observing and touching them firsthand allowed Alan to form a clear, tactile map of the alchemist's palette.
After finishing with the metals, Professor Bones moved on to the role of various woods and products derived from magical creatures. In fact, most alchemical tools on the market today were of this nature; the skin, fur, bone, blood, and teeth of magical creatures were the lifeblood of the trade.
As Bones introduced these biological materials, Alan had a sudden, startling realization: he had been living in a treasure trove without even knowing it. Many of the rare skins and furs the Professor described were items he had seen tossed around Hagrid's hut.
For instance, when Bones introduced unicorn hair, Alan realized that was the very fiber Hagrid used as twine to hang his cured meats—and he used it braided into thick, heavy ropes. Alan had often wondered why the rope never frayed or lost its silver luster; now he knew.
The comfortable cushion Hagrid had given him for his chair turned out to be Manticore fur. Alan had seen an even larger pelt in the hut, which Hagrid used simply to line storage boxes. Even the needle Hagrid used for leatherwork was actually the horn of a Re'em, and the doormat by the entrance was a rough cut of dragon hide. He had stepped over a fortune every single day.
*Goodness, Hagrid is a secret millionaire,* Alan thought. He realized he could no longer look at the giant through the lens of a simple gamekeeper.
Over the next several days, Alan and Professor Bones worked through the identification of dozens of materials. Finally, the day arrived for Alan to begin the actual crafting process.
"These are the essential tools for alchemical enchanting," Professor Bones said, unrolling a leather tool kit. Inside were fourteen carving knives—seven to a set—a magnifying glass, and an assortment of scales, precision rulers, compasses, and pliers.
"There are two primary methods for enchanting," Bones explained. "The first is direct enchanting through spellwork, as seen with standard Invisibility Cloaks. This method has a poor shelf life; a cloak that lasts a few years is considered high quality. The second method is inscription—carving magic runes directly into the material. As long as the magic is periodically replenished, the effect can last indefinitely."
He pointed to the two sets of knives. "And there are two styles of inscription: overt and covert. Overt involves carving the rune patterns physically onto the material with a blade and then infusing them with magic. Covert requires a much higher level of skill. You use a covert carving knife to inject magic power directly into the material, maintaining a perfectly stable output while 'drawing' the runes internally. The control required is immense, but the resulting magical effect is far superior."
Alan examined the tools. The overt knives had razor-sharp tips, while the covert knives ended in fine conduits, similar to the nib of a fountain pen, designed for transmitting magic.
"Give it a try. Your control is steady enough that you can skip the overt practice and move straight to covert inscription," Bones said, handing him a small, flat piece of wood.
Alan took the wood, gripped a medium-sized covert knife, and began to channel his magic. The tip of the tool glowed with a faint, steady light. He focused, attempting to carve the Levitation rune into the grain of the wood.
He quickly learned that inscription was grueling work. He had to balance a perfectly even magic output with the physical accuracy of the carving. Fortunately, he was intimately familiar with the Levitation rune, which reduced the mental strain of the composition itself.
He was halfway through the sequence when his concentration flickered. A sudden surge of magic left the tip of the knife, and the wood piece cracked with a sharp *snap*.
Professor Bones nodded encouragingly. "A very good start. Your hands are exceptionally steady. Wood is a temperamental medium; it's prone to splintering under excessive pressure. If we were working with metal, you'd find a much higher margin for error. You have a natural aptitude for covert work. Try again."
Alan nodded and picked up another piece. He failed the next three attempts, making minor errors halfway through each that ruined the material. Bones remained patient, offering quiet corrections on his grip and posture.
Finally, on his fifth attempt, Alan completed the sequence. When he tapped the wood with a small pulse of magic, the tiny block rose from the table and hovered silently in the air.
"Well done!" Bones said, looking even more excited than Alan. "One success in five tries on a difficult wood grain? Your success rate is already approaching that of a professional."
"Thank you, Professor," Alan said, feeling a genuine surge of pride. Having cleared this hurdle, he could finally begin his own experiments.
"Keep practicing," Bones urged. "I'll lend you this set of covert knives for the term. Once you're comfortable with the feel of the tools, we'll move on to testing your echolocation charm."