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Treatise on Combined Metalworking Techniques: Forged Elements and Chased Raised Shapes Bonnie Gallagher
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1972 Treatise on combined metalworking techniques: forged elements and chased raised shapes Bonnie Gallagher Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Gallagher, Bonnie, "Treatise on combined metalworking techniques: forged elements and chased raised shapes" (1972). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. TREATISE ON COMBINED METALWORKING TECHNIQUES i FORGED ELEMENTS AND CHASED RAISED SHAPES TREATISE ON. COMBINED METALWORKING TECHNIQUES t FORGED ELEMENTS AND CHASED RAISED SHAPES BONNIE JEANNE GALLAGHER CANDIDATE FOR THE MASTER OF FINE ARTS IN THE COLLEGE OF FINE AND APPLIED ARTS OF THE ROCHESTER INSTITUTE OF TECHNOLOGY AUGUST ( 1972 ADVISOR: HANS CHRISTENSEN t " ^ <bV DEDICATION FORM MUST GIVE FORTH THE SPIRIT FORM IS THE MANNER IN WHICH THE SPIRIT IS EXPRESSED ELIEL SAARINAN IN MEMORY OF MY FATHER, WHO LONGED FOR HIS CHILDREN TO HAVE THE OPPORTUNITY TO HAVE THE EDUCATION HE NEVER HAD THE FORTUNE TO OBTAIN. vi PREFACE Although the processes of raising, forging, and chasing of metal have been covered in most technical books, to date there is no major source which deals with the functional and aesthetic requirements -
Repoussé Work for Amateurs
rf Bi oN? ^ ^ iTION av op OCT i 3 f943 2 MAY 8 1933 DEC 3 1938 MAY 6 id i 28 dec j o m? Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/repoussworkforamOOhasl GROUP OF LEAVES. Repousse Work for Amateurs. : REPOUSSE WORK FOR AMATEURS: BEING THE ART OF ORNAMENTING THIN METAL WITH RAISED FIGURES. tfjLd*- 6 By L. L. HASLOPE. ILLUSTRATED. LONDON L. UPCOTT GILL, 170, STRAND, W.C, 1887. PRINTED BY A. BRADLEY, 170, STRAND, LONDON. 3W PREFACE. " JjJjtfN these days, when of making books there is no end," ^*^ and every description of work, whether professional or amateur, has a literature of its own, it is strange that scarcely anything should have been written on the fascinating arts of Chasing and Repousse Work. It is true that a few articles have appeared in various periodicals on the subject, but with scarcely an exception they treated only of Working on Wood, and the directions given were generally crude and imperfect. This is the more surprising when we consider how fashionable Repousse Work has become of late years, both here and in America; indeed, in the latter country, "Do you pound brass ? " is said to be a very common question. I have written the following pages in the hope that they might, in some measure, supply a want, and prove of service to my brother amateurs. It has been hinted to me that some of my chapters are rather "advanced;" in other words, that I have gone farther than amateurs are likely to follow me. -
Gold in Antique Copper Alloys
Gold in Antique Copper Alloys Paul T. Craddock cent of either gold or silver would make to the appearance of Research Laboratory, The British Museum, London, U.K. the copper. However, although we can accept the story of its accidental discovery two centuries before Pliny's time as Lost continents, lost cities and fabulous materials from past apocryphal it is difficult to dismiss the latter's description of ages have a natural fascination for scholar and layman alike. its popularity with collectors and its high value in his own Since the Renaissance, men have sought examples of Corin- time. It would seem that in Pliny's day the term Corinthian thian Bronze, the precious alloy much extolled by antient Bronze was used to describe a group of alloys which were writers and have tried to establish its nature. As indicative of readily distinguished and appreciated, and for which attitudes towards it, Thomas Corayte (1) described the bronze collectors were willing to pay a high price. horses of San Marco in Venice as being 'a remarkable monu- The first step towards recognizing surviving examples of ment, four goodly brazen horses of Corinthian metal and this material was, of course, to have some idea of its fully as great as life' , apparently for no better reason than that appearance. Small quantities of gold and silver incorporated he thought such noble statuary demanded the most prized in copper are known to have a dramatic effect on the resulting bronze metal of them all. Further, in Pliny's 'Natural alloys if they are subsequently treated in a suitable manner. -
Cupola Practice in Modern Gray Iron Foundry
Scholars' Mine Professional Degree Theses Student Theses and Dissertations 1924 Cupola practice in modern gray iron foundry George E. Mellow Follow this and additional works at: https://scholarsmine.mst.edu/professional_theses Part of the Mechanical Engineering Commons Department: Recommended Citation Mellow, George E., "Cupola practice in modern gray iron foundry" (1924). Professional Degree Theses. 56. https://scholarsmine.mst.edu/professional_theses/56 This Thesis - Open Access is brought to you for free and open access by Scholars' Mine. It has been accepted for inclusion in Professional Degree Theses by an authorized administrator of Scholars' Mine. This work is protected by U. S. Copyright Law. Unauthorized use including reproduction for redistribution requires the permission of the copyright holder. For more information, please contact [email protected]. CUPOLA PHAC11ICE IN MODERN GRAY IRON FlOUNDRY BY GEORGE E. MELLOW A "THESIS submitted to the faculty of the SCHOOL OF MINES AND ~~TALLURGY OF THE UNIVERSITY OF MISSOURI in partial fulfillment of the work required for the Degree Of' Mechanica.l Engineer St. Louis, Mo. 1924 Approved by.?f'..Q... .. Cupola Practice in Modern Gray-Iron Ii'oundry Cupola practice, as described in this paper, 'will include only the practical operation or a cupola and the details of the work necessary in daily routine, and very little of the theory of combustion,or history of cupola development, is presented. A brief ~escription of the cupola will give an idea of its construction, and the names of the parts may be found on the sketch herewith. The cupola consists of a steel shell, cylindrical in shape, which stands veDtically on four cast-iron legs, about four feet off the floor; it is open at the top, and has SWinging cast-iron doors at the bottom. -
S Foundry Solutions By: Ricardo Volkmann Index
Issue #2 Adolf′s Foundry Solutions by: Ricardo Volkmann www.foundrysupply.com Index: Mission Statement & History 3 Style ~A~ Alignment Inserts 4 Alignment Core Prints 4 Wood Cutting Tools 4 Style ~B~ Alignment Inserts 5 Alignment Core Boxes 5 Single Cavity Filtering Basins 6-7 Double Cavity Filtering Basins 6 Pouring Basins 6 Riser Rings 7 Filtering Runner Basins 7 14 Inch Sprues 8 Filtering Sprue Plugs 8 Pop-up Sprue Basins 9 Single Faced Basins 10-11 Pyramid Style Basins 10-11 Three Faced Basins 10 Sprue Pins 10-11 Filtering Basin 10 Four Faced Basins 11 Test Bar Basins 12-13 Inter-Changeable Test Bars 12-13 Test Wedges Basins 12-13 Inter-Changeable Test Wedges 12-13 Test Coupon Basins 12 PIG Boxes 13 Photo Gallery 14-15 Silent Adjustable Vibrator 16 DuraTech Tooling Material 16 Buy direct and save... No sales tax in Oregon 2 www.foundrysupply.com Mission Statement “Doing it Right the First Time” Our mission is to provide new lean manufacturing practices to the foundry industry. Adolf’s Foundry Solutions are products made with the highest integrity, they are dependable, exteremly durable and very cost effective. History 1949 Adolf started his pattern maker apprenticeship in Berlin, Germany during 1949. Trained by German master craftsmen, Adolf excelled as an apprentice and completed a four year apprenticeship program in three years, allowing him to graduate at the top of his class with honors. In Germany, at that time, it was mandatory practice for all apprentices to spend six weeks working in a foundry doing piece work on the molding line. -
American Bronze Co., Chicago
/American j^ronze C^- 41 Vai| pUreii S^ree^, - cHICAGO, ILLS- Co.i Detroit. ite arid <r\ntique t^ponze JVlonumer|tal Wopk.. Salesroom: ART FOUNDRY. II CHICAGO. H. N. HIBBARD, Pres't. PAUL CORNELL, Vice-Pres't, JAS, STEWART, Treas, R J, HAIGHT, Sec'y, THE HEMRT FRAXCIS du POJ^ WIXrERTHUR MUSEUM LIBRARIES Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/whiteantiquebronOOamer Tillr rr|ore prominent cemeteries in this country are noW arranged or) what is l<;noWn as the LfavVn I'lan, which gives the grounds a park-like appearaqce, n]ore in harmony With the impulse of our natures to make tl^ese lastresting places beautiful; in striking contrast to the gloomy burying places of olden times. pences, hedges, curbiqg aqd enclosures of all kinds are prol]ibited and tl^e money formerly expended for such fittings is invested in a central monu- ment, theicby enabling the lot oWner to purchase a better niemorial tl]an could otherwise haVe been afforded. (Corner posts are barely Visible aboVe the surface of the ground, and markers at the head of graVes are allowed ' only a feW inches higher, thus preserving the beautiful landscape effect. JViaiiy of tl]e n"ionum|ents novV being erected, and several that are illustrated in this pamphlet, bear feW, if aiw, fcmiily records, thus illustrating the growing desire to provide a fan]ily resting place and an enduring n-jonu- rqent. Without deferring it until there Fjos been a death in the family, as has been the custom in tlie past. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
Molding & Machining: Metalwork in Geneva
MOLDING & MACHINING: METALWORK IN GENEVA This is a story of change. In the mid-1800s, Geneva claimed the most foundries in western New York State. The metal industry accounted for almost 70% of the city’s jobs in the 1950s and remained strong until the 1970s. Today, Geneva has only one major metal fabrication company. Geneva was not near iron ore or coal but 19th-century canals and railroads allowed access to raw materials. Demand for new products, from farm equipment to heating systems, allowed foundries to flourish. New factories changed Geneva’s landscape and affected its environment. Ultimately, 20th-century changes in technology and economics – and failure to adapt to change – caused most of the city’s metal industry to disappear. A foundry melts refined iron and pours it into molds to create cast iron. It is brittle but, unlike wrought iron pounded out by a blacksmith, objects can be mass produced in intricate shapes. Molding room at Phillips & Clark Stove Company Machining is the shaping of metal, and other materials, through turning, drilling, and milling. Machining tools were powered by steam engines in the 19th century and later by electricity. Machinists bent sheet metal to make cans, stamped metal for tableware, and milled stock to create machine components. Tool Room at Herendeen Manufacturing Company, 1907 This is a companion exhibit to Geneva’s Changing Landscapes in the next gallery, which has more information and artifacts about local industry. Support for this exhibit is provided by Rosalind Nester Heid in memory of her grandfather Samuel K. Nester, Sr. The First Geneva Foundries Refineries require iron, sand, water, fuel, and people. -
Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today. -
Greek Bronze Yearbook of the Irish Philosophical Society 2006 1
Expanded reprint Greek Bronze 1 In Memoriam: John J. Cleary (1949-2009) Greek Bronze: Holding a Mirror to Life Babette Babich Abstract: To explore the ethical and political role of life-sized bronzes in ancient Greece, as Pliny and others report between 3,000 and 73,000 such statues in a city like Rhodes, this article asks what these bronzes looked like. Using the resources of hermeneutic phenomenological reflection, as well as a review of the nature of bronze and casting techniques, it is argued that the ancient Greeks encountered such statues as images of themselves in agonistic tension in dynamic and political fashion. The Greek saw, and at the same time felt himself regarded by, the statue not as he believed the statue divine but because he was poised against the statue as a living exemplar. Socrates’ Ancestor Daedalus is known to most of us because of the story of Icarus but readers of Plato know him as a sculptor as Socrates claims him as ancestor, a genealogy consistently maintained in Plato’s dialogues.1 Not only is Socrates a stone-cutter himself but he was also known for his Daedalus-like ingenuity at loosening or unhinging his opponent’s arguments. When Euthyphro accuses him of shifting his opponents’ words (Meletus would soon make a similar charge), Socrates emphasizes this legacy to defend himself on traditionally pious grounds: if true, the accusation would set him above his legendary ancestor. Where Daedalus ‘only made his own inventions to move,’ Socrates—shades of the fabulous Baron von Münchhausen—would thus be supposed to have the power to ‘move those of other people as well’ (Euth. -
Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting
applied sciences Article Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting Wei-Hao Lee, Yi-Fong Wu, Yung-Chin Ding and Ta-Wui Cheng * Institute of Mineral Resources Engineering, National Taipei University of Technology, Taipei 10608, Taiwan; [email protected] (W.-H.L.); [email protected] (Y.-F.W.); [email protected] (Y.-C.D.) * Correspondence: [email protected] Received: 1 June 2020; Accepted: 29 June 2020; Published: 1 July 2020 Abstract: Lost-wax casting, also called precision casting, is the process of casting a duplicate metal sculpture cast an original sculpture. The ceramic shell mould used in lost-wax casting usually consists of several layers formed with fine zircon and granular mullite particles using silica gel as a binder. However, it is a complicated and time-consuming process. Large amounts of waste moulds that need to be disposed and recycled become an environmental concern. In this study, waste shell sand from the recycled mould and calcium carbonate/metakaolin were used as raw materials to prepare geopolymer slurry and coating. The influence of mixing ratio and the SiO2/K2O modulus of the alkali solution on the setting time and green/fired strength were evaluated. Ceramic shells with one to four layers of geopolymer slurry and waste sand sprinkling were fabricated and tested for their permeability and green/fired strength. It was found that geopolymer shells had higher green/fired strength and better permeability than the original zircon/mullite shell. For foundry practice, metal casts were fabricated using recycled ceramic shell moulds with one to four layers of geopolymer coating. -
Effect of Coke Properties on Cupola Furnace Operation and Performance of FOUNDRY COKE There Are at Present No Reliable Quantitat
Effect of coke properties on cupola furnace operation and performance of FOUNDRY COKE There are at present no reliable quantitative relationships regarding the effect of coke properties on furnace operation. In spite of this, there is qualitative and in some instances, semi quantitative which indicates that coke properties can significantly affect cupola furnace operation. This is, of course, consistent with the cupola furnace as well as in the maintenance of acceptable fluid dynamic conditions. Specifically, coke must provide the following chemical and physical functions: 1.Chemical – Combine with oxygen to provide the following white simultaneously minimizing the introduction of sulfur and slag components which adversely affect furnace efficiency: a) The heat required for reducing iron oxide and melting slag and iron. b) The CO required to reduce iron oxide. 2.Physical – Provide adequate permeability within the burden so that a counter current movement of hot reducing gases and molten slag and iron is maintained. From the combustion point of view, coke is relatively inert and requires relatively high temperatures to initiate a reaction with oxygen that is sufficient to provide the heat necessary for reducing iron oxide and for melting slag and iron. To a good first approximation, this occurs in the immediate vicinity of the furnace tuyeres, where ambient or heated air (greater than 1000°C) reacts with hot coke to produce a temperature sufficient for furnace operation greater than 1400°C). Thus, to provide the maximum benefit as a fuel, the amount of contained carbon in the coke should be maximized and hence the ash content minimized. After taking this constraint into account, there are no limitations on coke as a fuel source other than the obvious criterion that the bulk of it survives the passage through the furnace at the tuyeres.