Silver Or Gold: the Color of Brass Instruments in the Late Middle Ages
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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. -
Stepping out of Brunelleschi's Shadow
STEPPING OUT OF BRUNELLESCHI’S SHADOW. THE CONSECRATION OF SANTA MARIA DEL FIORE AS INTERNATIONAL STATECRAFT IN MEDICEAN FLORENCE Roger J. Crum In his De pictura of 1435 (translated by the author into Italian as Della pittura in 1436) Leon Battista Alberti praised Brunelleschi’s dome of Florence cathedral, Santa Maria del Fiore [Fig. 1], as ‘such a large struc- ture’ that it rose ‘above the skies, ample to cover with its shadow all the Tuscan people’.1 Alberti was writing metaphorically, but he might as easily have written literally in prediction of the shadowing effect that Brunelleschi’s dome, dedicated on 30 August 1436, would eventually cast over the Florentine cultural and historical landscape of the next several centuries.2 So ever-present has Brunelleschi’s structure been in the historical perspective of scholars – not to mention in the more popular conception of Florence – that its stately coming into being in the Quattrocento has almost fully overshadowed in memory and sense of importance another significant moment in the history of the cathedral and city of Florence that immediately preceded the dome’s dedication in 1436: the consecration of Santa Maria del Fiore itself on 25 March of that same year.3 The cathedral was consecrated by Pope Eugenius IV (r. 1431–1447), and the ceremony witnessed the unification in purpose of high eccle- siastical, foreign, and Florentine dignitaries. The event brought to a close a history that had begun 140 years earlier when the first stones of the church were laid in 1296; in 1436, the actual date of the con- secration was particularly auspicious, for not only is 25 March the feast of the Annunciation, but in the Renaissance that day was also the start of the Florentine calendar year. -
Hercules Jewelry Project
Hercules Knot Jewelry Series I thoroughly enjoyed my wire wrapping jewelry projects, but in the course of researching and building the class, I was inspired to learn real metalsmithing. I’ve been assembling earrings and necklaces for decades, but suddenly I really wanted to solder, and set gems, and fabricate! Fortunately, my good friend Fjorlief InHaga is a brilliant artisan, and she’s been teaching me and letting me use her studio. THE HERCULES KNOT aka HERAKLES, Reef Knot or Square Knot This motif represents strength and came to be associated with marriage. Brides wore their belts tied this way (see my paper on Roman Weddings). It was a common motif in the Greco-Roman world though the Republic and Early – Mid Empire. 1 2 3 Above, gold bracelet and ring from the 1st century BCE – 2nd CE. Silver mirror, 4th century CE. I imagine this would have been a lovely wedding present. Below: Necklaces dated to the 2nd-3rd century, an armband (#6), and rings from 5rd century BCE to 3rd CE . I have included only a small number of the large quantity of eXtant artifacts. Combined with the variations in assembly technique and clasps, the abundance of pieces shows that the Hercules Knot was a style that was widespread and made by many different artisans. 4 5 6 7 8 9 10 For my first project, I wanted to duplicate the look of these early Imperial necklaces of emerald and gold. For cost purposes, I used brass and glass, which was a commonly-used substitute for stones in period. -
Silver Cas # 7440-22-4
SILVER CAS # 7440-22-4 Agency for Toxic Substances and Disease Registry ToxFAQs July 1999 This fact sheet answers the most frequently asked health questions (FAQs) about silver. For more information, call the ATSDR Information Center at 1-888-422-8737. This fact sheet is one in a series of summaries about hazardous substances and their health effects. It’s important you understand this information because this substance may harm you. The effects of exposure to any hazardous substance depend on the dose, the duration, how you are exposed, personal traits and habits, and whether other chemicals are present. HIGHLIGHTS: Silver is an element found naturally in the environment. At very high levels, it may cause argyria, a blue-gray discoloration of the skin and other organs. This chemical has been found in at least 27 of the 1,177 National Priorities List sites identified by the Environmental Protection Agency (EPA). What is silver? o It may be released into water from photographic process ing. (Pronounced s≥l vír) o Rain may wash silver out of soil into the groundwater. Silver is a naturally occurring element. It is found in the o Silver does not appear to concentrate to a significant environment combined with other elements such as sulfide, extent in aquatic animals. chloride, and nitrate. Pure silver is “silver” colored, but silver nitrate and silver chloride are powdery white and silver sul fide and silver oxide are dark-gray to black. Silver is often How might I be exposed to silver? found as a by-product during the retrieval of copper, lead, o Breathing low levels in air. -
The Use of Titanium in Dentistry
Cells and Materials Volume 5 Number 2 Article 9 1995 The Use of Titanium in Dentistry Toru Okabe Baylor College of Dentistry, Dallas Hakon Hero Scandinavian Institute of Dental Materials, Haslum Follow this and additional works at: https://digitalcommons.usu.edu/cellsandmaterials Part of the Dentistry Commons Recommended Citation Okabe, Toru and Hero, Hakon (1995) "The Use of Titanium in Dentistry," Cells and Materials: Vol. 5 : No. 2 , Article 9. Available at: https://digitalcommons.usu.edu/cellsandmaterials/vol5/iss2/9 This Article is brought to you for free and open access by the Western Dairy Center at DigitalCommons@USU. It has been accepted for inclusion in Cells and Materials by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Cells and Materials, Vol. 5, No. 2, 1995 (Pages 211-230) 1051-6794/95$5 0 00 + 0 25 Scanning Microscopy International, Chicago (AMF O'Hare), IL 60666 USA THE USE OF TITANIUM IN DENTISTRY Toru Okabe• and HAkon Hem1 Baylor College of Dentistry, Dallas, TX, USA 1Scandinavian Institute of Dental Materials (NIOM), Haslum, Norway (Received for publication August 8, 1994 and in revised form September 6, 1995) Abstract Introduction The aerospace, energy, and chemical industries have Compared to the metals and alloys commonly used benefitted from favorable applications of titanium and for many years for various industrial applications, tita titanium alloys since the 1950's. Only about 15 years nium is a rather "new" metal. Before the success of the ago, researchers began investigating titanium as a mate Kroll process in 1938, no commercially feasible way to rial with the potential for various uses in the dental field, produce pure titanium had been found. -
Weights of Various Metals in Pounds Per *Cubic Foot
Weights of Various Metals in Pounds Per *Cubic Foot Aluminum 168.48 Copper 559.87 Manganese 463.10 Silver 654.91 Antimony 419.99 Gold 1206.83 Mercury 849.00 Stainless Steel (18-8) 494.21 Beryllium 113.70 Gun Metal (Aver.) 544.00 Molybdenum 637.63 Steel, Cast/Rolled 490.00 Bismuth 611.00 Iridium 1396.00 Monel Metal 556.00 Tin 455.67 Brass (Approx.) 535.68 Iron 491.09 Nickel 555.72 Titanium 283.39 Bronze, Alum. 481.00 Iron, Cast Grey 442.00 Osmium 1402.00 Tungsten 1204.41 Bronze (Approx.) 541.00 Iron, Wrought 480.00 Palladium 712.00 Vanadium 374.97 Cadmium 540.86 Iron, Slag 172.00 Platinum 1339.20 Zinc 445.30 Chromium 428.00 Lead 707.96 Rhodium 755.00 *1728 CU. IN. PER CU. FT. Cobalt 552.96 Magnesium 108.51 Ruthenium 765.00 Weights of Other Materials in Pounds Per *Cubic Foot Acids, Muriatic, 40% 75.00 Earth, Common Loam 75.00-90.00 Maple, Hard 43.00 Rubber, Goods 94.00 Acids, Nitric, 91% 94.00 Earth, Dry/Loose 76.00 Maple, White 33.00 Sand, Clay & Earth, Dry 100.00 Acids, Sulphuric, 87% 112.00 Earth, Dry/Packed 95.00 Marble 170.00 Sand, Clay & Earth, Wet 120.00 Alcohol, 100% 49.00 Earth, Mud/Packed 115.00 Masonry, Rubble 130.00-150.00 Sand, Pure Quartz, Dry90.00-106.00 Asbestos 153.00 Elm, White 45.00 Masonry, Ashlar 140.00-160.00 Sandstone, Blustone 147.00 Ash, White, Red 40.00 Fats 58.00 Mortar 100.00 Slate 175.00 Asphaltum 81.00 Fir, Douglas 30.00 Mud, River 90.00 Snow, Freshly Fallen 10.00 Basalt 184.00 Fir, Eastern 25.00 Oil, Kerosene 52.00 Snow, Wet 50.00 Brick, Paving 150.00 Flour, Loose 28.00 Oil, Mineral 57.00 Soap Stone, Tall 169.00 Brick, Com. -
Stainless Steel Activator for Gold
CASWELL 7696 Route 31, Lyons NY 14489 Voice - (315) 946-1213 Fax - (315) 946-4456 Www.caswellplating.com [email protected] STAINLESS STEEL ACTIVATOR FOR GOLD 1. Fill a one quart or 1000 ml beaker nearly full with Activator-SS. 2. Check solution temperature to assure it is between 80-100 degrees Fahrenheit. 3. Check connections from power supply to anode and work to be sure the negative (-) and positive (+) wires are connected properly. • The work should be charged negative (-), and the anode positive (+). • Use a Stainless Steel Anode 4. Turn rectifier on. 5. Activate at 6-8 volts for 45-60 seconds depending on size of part. Part should be completely clean prior to further plating. 6. Larger parts require slightly higher voltage, while smaller parts require lower voltage. If part shows any burning such as dark or gray deposits around the edges, you are burning the part and must lower the voltage. If part is not cleaning after two minutes, voltage is too low, therefore, increase voltage slightly. 7. After Activating, rinse part thoroughly in water and continue the plating process with Fastgold brush plating or Caswell Tank Plating Gold at 140 degrees Fahrenheit. Plate 15- 30 seconds longer than normal. 8. If you are not going to continue the plating process immediately, then dry the part thoroughly. When you continue the plating process, re-activate the part in Activator~SS to assure better adhesion. 9. Change solution when Activator-55 becomes inactive, reaches a pH higher than 2, or noticeably dirty. Discard &: Replace: Activator-SSTM is a rugged solution and is designed to help assure long life. -
Gold - Silver Ratio Investors’ Perspective
Gold - Silver Ratio Investors’ Perspective Gold and Silver Prices Jan 2000 - Aug 2011 50 y = 3.2481e0.0016x Here’s a fresh, 45 R² = 0.92 in depth look at the 40 important gold-silver ratio indicator with tell-all charts 35 y = 0.0209x - 2.0747 and ideas to help you inter- 30 R² = 0.8949 pret the ratio and trade the pair. Keep in mind that the 25 y = 13.138ln(x) - 71.585 By: Przemyslaw Radomski - Chief Investment - Chief Radomski Investment By: Przemyslaw Autor Stall - Contibuting Mike and Strategist Profits Sunshine Investments Silver & Effective Gold for Tools majority of investors lose, R² = 0.7914 and that successfully playing Silver ($/oz) 20 the game in the markets is about doing 15 things that the majority does not. In order to outsmart the majority, we need to look 10 at the gold silver ratio in a unique way. 5 The gold-silver ratio is one of the first indi- 0 200 400 600 800 1000 1200 1400 1600 1800 cators traders look at to comprehend the state of the precious metals market. In- Gold ($/oz) deed, it has been out of favor among mod- Chart 1: Gold and Silver Prices ern investors who believe that a simple sinusoidal (smooth repetitive oscillation) instead of standard gold/silver and time started in 2000) is best represented by a movement does not often work. axis does not give you a clear idea about linear trend line, so the trend line is rising the ratio extremities, but it shows a clear and the slope is constant. -
Investment Casting Or the Lost Wax Process
Investment Casting or The Lost Wax Process Apecs Investment Castings was founded in 1963 and is now situated in the Melbourne suburb of Burwood where we have been since we outgrew our Canterbury factory in August 1987. The company name (APECS), stands for Anthony Philip Eccles Casting Service. Investment is a type of plaster that we use in our process of reproducing multiple copies of an original master pattern which is usually supplied to us by our customers. This is a classic 18ct yellow gold emerald and diamond ring taken from the Apecs catalogue. The next series of photos will show the steps involved in producing multiple copies of this ring. An original master pattern is designed and fabricated by our customers and supplied to us to reproduce in the quantities and metals of their choice. It is important to ensure that the master is made as accurately as possible and to pay particular attention to the finish of the master pattern. The better the quality of the master pattern the better the casting result. The finished master pattern ready for the caster. A picture of the master pattern is drawn and a mould number is allocated for identification. When the customer wants to reorder he quotes the mould number for the pattern he wants. A sprue is soldered onto the pattern. This sprue enables the pattern to be easily located in the mould and will provide the path for the wax to be injected into the rubber mould. To make a mould the master pattern is placed between sheets of uncured vulcanising rubber. -
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey -
The Chronicle of Dino Compagni / Translated by Else C. M. Benecke
#m hbl.stx DG 737.2.C613 le i?mnP/!f? of Dino Compagni / 3 1153 0DSMS117 t, % n WRITTEN •T$' FIRST PRINTED • IN • 1726- PLEASE NOTE It has been necessary to replace some of the original pages in this book with photocopy reproductions because of damage or mistreatment by a previous user. Replacement of damaged materials is both expensive and time-consuming. Please handle this volume with care so that information will not be lost to future readers. Thank you for helping to preserve the University's research collections. THE TEMPLE CLASSICS THE CHRONICLE OF DINO COMPAGNI Digitized'by the Internet Archive in 2010 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/chronicleofdinocOOcomp mmyi CHRPNICE 92DINO COMPAGNI TRANSITED ^ELSE CM. BENECKE S§ FERRERS HOWELL MDCCCCVI PUBL15H6D- BY-^M D6NT- •AMP-CO : ALDlNe-HOUSe-LOMDON-W-O PRELIMINARY NOTE vii PRELIMINARY NOTE Though Dino Compagni calls his work a Chronicle, it is not (like Giovanni Villani's, for example) a Chronicle in the sense in which the term is now used to express a particular kind of narration dis- " tinguished from a history ; the terms " chronicle and "history" being in Dino's time interchange- able. Dino's book is in form the history of a particular fact, namely, the division of the Guelf party in Florence into the White and the Black Guelfs, with its attendant circumstances, its causes, and its results : but under this form is unfolded at the same time the history of the steps by which the wealthy traders of Florence (jfropolani, popolani grassi, and collectively popolo grasso) organised in the greater guilds (see Appendix II.) acquired and retained the control of the machinery of govern- ment in the city and its outlying territory (contado), excluding (practically) from all participation therein on the one hand the Magnates (i.e.