Jewelry a Text-Book for Students and Workers in Metal by H. Wilson

THE ARTISTIC C RAF TS SE RIES O F TE C HN I CA L HAN D B OOK S E D ITE D BY W R LETHABY . .

SI LVE RWO RK A N D J EWE L RY THE ARTISTIC CRAFTS SERIES OF BO OK TECHNICAL HAND S .

i R LE HA Ed ted b W . . T B Y y .

E er es will a eal to hand cra tsme i n he nd tr al TH s i pp i f n t i us i h an arts I t cons s ts of au th r tat ve tate and m ec ic . i o i i s m e nts b e x e r ts in e ve r ﬁe ld for th e e xe rc se of n e nu i t y p — y i i g “ y, tas te mag nat on the whole sphe re o f the s o-called de , i i ” i e e nt arts p nd .

BO OKBINDING AND THE CARE OF OO A andb ook for A mateur der B KS . s ookb n s H , B i ,

and brar ans. Douc r a s C ocxn zu W th Li i By . i 1 20 I ustrat ons and D a rams b Noe Rooke and ll i i g y l , 8 co ot e re rodu ct ons of b ndin ll yp p i i g.

WO K AND W Y A Text SILVER R JE ELR . ook for Student an W ork r i n Meta B H B s d e s l . y .

c WI LSON . W th 1 6 d 6 full a c i 0 Diagrams an I p g

I ustrat ons. New Ed t n ll i i io . W O O D CA R V I N G : DESIGN AND WOR K MA NSHI P t oa ; ACK th G c . W . By J i Draw n s b the A u hor and other I lustrat ons i g y t l i .

-G WOR A Text- on for STAINED LASS K . B k Students and W orkers in ass W HA L G . . . W L l By C . W th D a rams b two of his A rentices and i i g y pp , other I ustrat on ll i s.

D . A PPLE TON A ND M A Y O CO P N , NEW Y RK .

’ ’ THE FoUNDREss CUP : C HRIST s OLLE E AMB R D E C G , C I G . S I L V E RW O R K A N D J E W E L R Y A TEXT-BO O K FO R STUD ENTS A ND BY H WIL SON W K M TA . OR ERS IN E L . WITH D IAGRAMS BY TH E AUTH OR A ND O THER I LLUSTRAT I ONS SE COND EDI TI ON W T NEW SEC , I H T I ONS D ONE IN CO LLABORATI ON WITH PROFESSOR UNNO BISEI OF T H E IMPERIAL FINE ART CO LLEGE T OK I O

NEW Y O RK D . APPLET ON A ND COMPANY

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t 1 1 Pu b li s h ed A ugu s , 9 2 “ An Ar t can only be lear ned in tb e wor krb op of ” tb ore wb o ar e winnin tly eir or ead b i t. — g y SAMUEL BUTLER Erewhon

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I b a ed o t/J e b arnan b and. One need not tly er c or e p y , f , o.» I nrpr ired tloat tb er e if I o rnzccly diﬁczclty in tloe ’ oldnni tb r ar t no lerr tban in otb er or ancb er in g , of duf tr in r ocur in tbin : to-da wly i cly b a ve tb e y , p g g y r a r Me ly anif nz loaf dertr o ed cb a rn of nci ent wo k. c y tko b aki t of intelligent per ronal We ? on tbe par t tb e wor ker and lair ener ies ar e now di r ected of , g to tb e imi tation of tbc cold and ar id r egular ity of ” ir rna bin On edi eva Go d and i er t e c e . M l l S lv ” ” W I E DUC ol ii ork V OLL T LE v . . . , , p A New Revised and Enlarged di io i s e i ers f E t n , w th p c al chapt , ully i s r ed sed o n de o s r io s llu t at . ba m n t at n by Pro fesso r Unno Bise i and Pro fesso r o s i Of the I eri Fi e T . K baya h mp al n A rt Co e e o io i i the tra ll g at T k , g v ng ditio nal e o ds O f C s i s m th a t ng, Dama e i I r s io I i En c n ng, nc u tat n , nlay ng, r i and Me Co o rin s i g av ng, tal l g t ll r i ed in i f r er p act c Japan , w th u th chap ers o n ie o o n the i o f Boxes t N ll , mak ng and C rd C ses and er o n a a , a chapt Egyptian and O riental methods O f wor k. EDITOR ’ S PREFACE

IN issu ing this vo l u m e o f a se ri es O f Handb o oks o n the rtisti Crafts i t i b e e to state A c , w ll w ll what are o ur ge ne ral aim s . In the rst a e we ish to ro ide tru st fi pl c , w p v orth text-b o oks o f orksho ra ti e fro m the w y w p p c c , po ints o f Vie w o f expe r ts who have c r itically e xam ine d the e tho ds urre nt i n the sho s and m c p , u ttin aside ain sur i a s are re are d to sa p g v v v l , p p y hat is o o d orkm anshi and to se t u a w g w p, p S tandard O f qual ity in the c rafts which are m ore i d i o nd in e s e ia asso iate d th e s n. Se p c lly c w g c ly , do in this we ho e to tre at de s i n itse f as an g , p g l o d o rkm an hi Durin e sse ntial part o f go w s p . g the ast e ntur ost o f the arts sa e ai ntin l c y m , v p g and s u ture o f an a ade m i k ind e re i tt e c lp c c , w l l o ns ide re d and the re was a te nde n to o o k o ri c , cy l “ ” n a m e re atte r Of Su h de sig s appearance. a ” m c o rnam e ntati o n as the re was was u sually o b taine d by fo ll owi ng in a m e chanical way a draw in ro ide d b an artist who O fte n kne w i tt e g _p v y l l OTthe te hni a ro e sse s in o e d I n ro du i n c c l p c v lv p c t o . With the c ri t ical atte nti o n give n to the c rafts by Ruskin and orris i t am e to b e se e n that i t M , c was impossib l e to de tach de s ign fro m c raft in this wa and that i n the ide st se nse tru e y , , . w , des i n is an inse arab e e e m e nt o f o o d ua i t g p l l g q l y , i nvo lving as i t do e s the se l e c ti on o f go o d and su itab e ate r ia o ntr i an e for S e ia ur ose l m l , c v c p c l p p , ex e rt o rkm nshi ro e r ' finish and S O o n p w a p , p p , , far ore than ere o rna e nt and inde e d that m m m , , o rnam e ntati on itse l f was rather an e xub e ranc e o f fine workm anship than a m atter O f m e re ly ab strac t W km an hi he n se arate d b too ide ine s . o r s l p w — p y w a u f fro m fre sh tho u ght that is fro m design —g l , i ne i tab de a s and o n the o the r hand v ly c y , , , o rnam e ntati o n di or e d fro m o rkmanshi is , v c w p, ne c e ssari ly u nre al,and qu ickly fall s i nto affe cta n Pro e r o rnam e ntati on m a b e de ne d as ti o . p y fi a l anguage addre sse d to the e y e ; i t is p l e asant h e x re s e d in the e e h O f h o tho ug t p s sp c t e t o l . In the third a e we o u d ha e this ser ie s p l c , w l v put art istic c raftsm anship b e fore pe opl e as fur n ishing re aso nab l e occ upati o ns for those who d ain a ive iho o d tho u h ithin the wou l g l l . A l g w b ou nds o f a ade m i art the o m e ti ti o n O f i ts c c , c p , i o a u te that o n a ver fe w kind s s e r e nt . , c ly y p c can fair ly hope to succe e d as painte rs and sc u lp tors e t as artisti raftsm e n the re is e e r ; y , c c , v y prob ab i l ity that ne ar ly eve ry o ne who w o u l d pass throu gh a suffi c ie nt pe r i o d o f appre ntic e ship to workm anship and de sign wo u ld re ach a m e asure

o f succ e ss . In the b l e ndi ng o f handw ork and thought in su h arts as we ro ose to de a w i th ha c p p l , ppy care ers m ay b e fou nd as far re m ove d fro m the dre ary rou tine o f hack l ab or as fro m the te rrib l e in O m r It i de irab e in unc erta ty f acade ic a t. s s l eve ry way that m e n o f go o d e ducati o n sho u ld b e b rou ht b a k into the ro du ti e rafts : there g c p “c v c are m o re than e nou h o f us in the it and g c y , i t is p rob ab l e that m ore c o nsideratio n will be given in this ce ntury than in the last to Design and Workm hi ans p .

Work in the re ious m e ta s the sub e t p c l , j c 8 whi h i s de a t i th i n the rese nt o u m e c l w p v l , se e m s e spe c ially to have su ffe re d fro m the s a ish m e tho ds intro du e d e rha s to c o m l v c , p p , e te w i th m a hine r and fro m the e ne ra p c y , g l b e nu mb ing o f the ap ti tu de for de s ign which affe c te d so m any o f the artistic crafts during the r h ourse o f the ast e ntu . O n t e o the r hand c l c y , the re have b e e n s igns o f a danger that these c rafts m ay b e vic tim iz e d b y glar ing affe c tatio ns in de sign and by u nasham e d c ru de ne ss o f m an — f the two u ari ie f ipu lati o n . O v l g t s that o o mm e r ia du ne ss and that o f the andish c c l l , bl ” m e nts which assu m e the nam e o f new art e atte r is ike to b e b far the r n th l l ly y w o se . O this que sti o n o f de s ign i t is e sse ntial to guard o ne se f fro m a m e re a ri io us o r i ina i t a l ly c p c g l y , str i in for e xa e rate d e e an e and an e n v g gg l g c , de avor to su e st ide as O f uxu r whi h ast is gg l y , c l prob ab ly the m ost e ne rvating and re pu l s ive char a e ristic o f e rtain fo rm s o f m o de rn c t c taste . Sym pto m s o f the se fau l ts are o fte n fo u nd in a re fe re n e for i o e nt urvature o f form an p c v l c , intro du tio n o f unre ate d S ashe s o f e na e c l p l m l , and the ove r-ins istence u pon to o l m arks and r rf h he m i a t e ate d su a e s . O n t e o ntrar c c lly c c y , we Shou d rathe r aim at re aso na e ne ss at the l bl , natura de e o m e nt O f tradi t i o na form s and at l v l p l , e asant uno ru i ni h The rue e tho d b t s e s . t p l , v fi m o f de s i n i a a r h no t ro o t ss e o i m s s o t e s . g lw y g w , l g O f O ld the arts deve l o pe d u nde r the hand by the onta t o f to o s and m ateria Now for l l . , c c “ ” instan e it is far too usto ar to de si n c , c m y g , as i t is a e d the sha e o f so e esse b e it c ll , p m v l , ’ for s i e r o r ass Or o tte r s a and the lv , gl , p cl y , n to coerc e the material into the prec onc e ive d 9 f B u t an o ne who ha wat h orm . y s c e d the pro e ss o f thro wi n a o t o n the whe e o f b o i n c g p l , l w g ass o r o f b e atin u m e ta o ut O f the she e t gl , g p l , w i ll have no tic e d how do ze ns o f vitally b e au ti fu l fo rm s are pro du ce d o n the way to the fi nal du ne ss re de stine d b the dra in The b e st l p y w g. c o m p l im e nt to w o rkshop prac tic e is to stu dy the O ld w ork store d i n o ur m use um s w i tho u t imte n , ti o n to o S e i t e s b u t to athe r ide as c py p c fic yp , g ra a i ab e Fro m thi o int O f i e w ge ne lly pp l c l . s p V all anc i e nt art is a vast e ncycl ope dia o f m e tho ds x ri e n e and e pe c . The L o ndo n stu de nt sho u d fre ue nt the l q . G o l d Ro o m and M e diaeval De partm e nt o f the B ri tish u se u m the e ne ra o e ti o n at So uth M , g l c ll c K e ns in to n and the m ar e s O f the Indian g , v l m He ho u d a so stu d the de i e o n M use u . s l l y v c s n m d and a I i b e an i e nt o i s e a s se s . t c c , l , l w ll fo u nd that such syste m atic stu dy wi ll no t o nly re su l t in the acc u m u l ati o n o f hints fo r trade u r o se s b u t i b e a true fo rm o f se f- u ture p p , w ll l c l ; for all histo ry S tands as a b ackgro u nd to the se Obj e c ts b e q u e athe d to u s by past c ivi l izati o ns ; and the p erfe c t knowl e dge o f o ne thing incl u de s m an hin s the part ial kno w l e dge o f y t g . n o r m to raise the se b o oks b u t I It is o t f e p , m ay b e all o we d t o say that in b o th tho se no w issu e d we have b e e n give n the b e st kno w l e dge o f e x e rt raftsm e n who ha in e x o re d the p c , , v g p l ast o f the arts w ith hi h the de a ha e b e e n p w c y l , v w i ll ing to give o ut the c o m b ine d re su l ts o f the ir e ar andw i tho r r e expe rim e nts and study C l ly ut e se v . LE W R. T HABY . .

o eméer 19 0 N w , 2 AUTH OR ’ S PREFACE TO FI RST ED IT I ON

T HIS b o ok doe s no t de al wi th the histo ry o f ’ th r r It is i nte n de d as a ra ti a e j ewe l e s a t . p c c l gu ide to so m e o f the m o re s im pl e pro c e sse s o f the raft The o rst fau t o f su h a text-b o ok c . w l c , i nte nde d in the rst a e fo r S tu de nts o u d ﬁ p l c , w l b e a u e ne ss I ha e atte m te d to a o id this v g . v p v by de scr ib ing the ope rat i o ns o f e ach proc e ss r i n in o nd c onse c u tive ly f o m b e g n g t e . This O f ne c e ss i ty c ause s a c e rtain am o unt o f h o b re e ti ti o n b u t an thin is b e tte r t an d u t . p , y g F o r the sake O f C l e arne ss the var i o us chap te rs have b e e n wr i tte n ro und the diagram s inse rte d x T he se in m ost ase s ha e b e e n in the te t . c v dra n fro o rk a tua arr i e d o ut It is w m w c lly c . no t ho we e r inte nti o n to im o se c o nc e , v , my p p t i o ns O f de si n u o n the stu de nt b u t o n to g p , ly de scrib e m e tho ds I have fo u nd to give the b e st i n m ow W o rk ho T he m e tho ds re su ts n s . se l y p , wi th such change s as the c o m m o n sense o f the o rke r i su e st m a b e a ie d to ob e ts w w ll gg , y pp l j c o f whateve r form carr i e d o u t i n the sam e m a

te rials . No stu de nt w o rthy o f the nam e wo u l d at t m t t o r him f No e p o c opy the de s igns f se l . t o n is de ib e rate o ism dishone st it he ks ly l c py , c c ’ the deve l opment o f the student s native p owe rs I I and stunts his indi idua it And hi e n o th v l y . w l i ng is m o re p i tiab l e than a to o c o nsc i o us c u l ti ati o n o f o ur o o r itt e e rsona it hate e r i s v p l l p l y , w v fe l t t o l e sse n o ur p ower O f w o rk in any dire c ti o n m ust b e stu di o usly avo ide d and whateve r he lps r u ht If the stu de n i tu d us eage ly so g . t w ll s y m e tho ds m ate r i a s and natura form s erfe t , l , l , p c his Ski in handiwork fe e d his im a inati o n o n ll , g O ld o rk atte nd faithfu t o his in tin s his , y s t , c . - w i ' ll c — “ m “an v b ' ' pe rso nal ity can safelyme Ie ft to take care o f f I i infa ib ﬁnd x re i n t e ss o . i tse l . w ll ll ly p O ne m ost val uab l e stim u l us to the im agina t io n is to b e fo und in the de scripti o ns o f m ar ve lous m e ta o rk b O ld ri te rs oe ts histo l w y w , p , d tra e r h ld in n r r ians an e s . T e o e to ie s o f , v l v hur h ate tho u h the do i tt e m ore than c c p l , g y l l ata o ue the ob e ts e t i o fte n i e m ost c l g j c , y w ll g v hint fo r d i n What ou d b e suggestive s e s g . c l ﬁ ner than this fro m the inve ntory Of the j ewe l s and re l ics b e l o nging to the c athe dral church o f Saru m m ade b aster T ho m as Rob e rtson , y M , tre asurer O f the sam e hur h in the year 15 3 6 : —“ c c , Ite m a ro ss ith b raham o ffe r in u , c w A g p

Isaa and a. amb b e hind him ith an an e c , l w g l ( wanting o ne wing) and o n the l e ft side the im a e s O f b e and Cain e i hin 63 oun e s g A l , g g ” w c nd a uar er a q t . ’ O ne see s the thing thro ugh the o ld scrib e s e es and Strai htwa the m ind b e ins to ork y , g y g w h m f i t o n o n a sc e e o s w . A no ther val uab l e aid is that give n by o ld O f m ho d an ro T he descripti ons e t s d p ce sse s. tre tise o f T he o hi us ub ishe d b urra a p l , p l y M y , m a hin The tran ato r ho e r ontains n ts. s e c y l , w v , not b e i a r ftsm n missed m n oints in ng c a a , a y p 1 2 his re nde r in and the te hni a de s ri ti ons are g, c c l c p I h n no t as cl e ar as c o u l d b e wishe d. ave e de av o re d to re c tify this de fe c t in the ne w re nde rings ’ given at the e nd O f this b o ok; b u t He ndric s The ophi l us wi ll always b e fu ll o f inte rest to ri o u in the arts o f the idd e those c u s M l A ges . It is o f o urse im ossib e in a im ite d S a e , c , p l l p c to trea O f a im it e ss art m ore o e r an ro t l l ; v , m y p e sse s Su h as we t and dr o or in O f o d c , c y c l g g l , die -stam in o d- a in frostin and e e p g, g l l pp g, g, l c troplating and typ ing have to o l i ttl e c onne c ti o n o b o n d r d a I ho ho ith art t e s i e e t all. e w w c p , e er that the ro esses de s r ib e d in this b o ok v , p c c m ay he lp the Stu de nt to acqu ire a te chnique for m If i t doe an hin ho hi se f. s t e er s i ht l y g, w v l g , in that dire c ti on i ts obj ect will have b e en a hi d c eve . H W . . No be v em r , 1902 AUTH OR ’ S PREFACE TO SECOND ED ITI ON

T H E de m and fo r a ne w e dit i o n give s a we l c o m e o ppo rtu n i ty O f c o rre c t ing the m any e rrors O f o m iss i o n and c o m m iss io n i n the ﬁrsr e di t i o n It has al so m ade p o ss ib l e the additi o n o f chap te rs o n Raisin B ox-m akin En ra in and g, g, g v g,

Nie ll o . T he chap te r o n Raising has b e e n adde d to supp le me nt that in the ﬁ rst e dit i o n which was b ase d Upo n the dire c ti o ns give n b y T he o phi l us h T he ne w ha e r i n t e B ook of Diver s Ar ts. c pt de s r ib e s the m ore m o de rn m e tho ds o f rais in c g, and al tho u gh o f ne c e ssity sum m ary and inc o m le te m a e rha s suffi e as an i ndi ati o n O f p , y p p c c h r in i i n o t e p c p l e s v lve d. o re im ortant S t i thro u h the m ost b eau M p ll , g t ifu l ge ne r o sity o f Pro fe ssor Unno B ise i O f the T o ki o F i ne A rt C o e e who rst i n i tiate d m e ll g , ﬁ into the m ste r i e s o f a ane se in a Dam as y J p l y , e ne o rk and Patinas I am ab e to de o te c w , , l v e e ra se ti o ns to the se im ortant ub s v l c p S j e c ts . T he chapte rs de al ing with the m are b ase d o n his instru ti o ns s u e m e nte d b ob ser atio ns c , pp l y v arising o u t o f pe rso nal e xperi e nc e in the m e tho ds de s r ib e d c . K nowing as o ne do e s wi th what care craft I 4

rde shir and to all the kind he fu rafts A , ly l p l c m e n who ose d e x aine d and de m o nstrate d p , p l , ’ the se cre ts o f the ir craft with the swe e t wi ll ing ne ss o f acc o m p l ishe d artists to who m no thing is se re t b ho m n o thin is ithhe d and in c , y w g w l , whose sou l s the creative ﬁre b urns with unfad e r ing l ust . H W . . C O N T E N T S

PAGE ’ ED OR s REF ACE IT P 9 Contents ’ AUTHOR s PREFACE 1 5 CHAPTER I Introduction CHAPTER II — — M aterial s Edu cational Value of Process Com — position Of Pickle Pitch for R epoussé Work z 9 CHAPTER III Tools CHAPTE R IV — — WorkB enches B est Form of B ench The Pin - — — The Skin Tool Rack B oard Sweep CHAPTER V Wire-Drawing The Draw-Bench Draw — - — Plate Tub e Drawing HOW to M ake a Draw-Plate CHAPTER VI — — Repoussé Work Chasing M ethod Of Proce — — dure How to hold the Tool s The B eha — — vior of M etal Work in the Round The Chasing of Castings CHAPTE R VII — — Hammer Work HOW to M ake a Cup B ossing — — — up The S takes Planishing How to PAGE Make a Beaker — Snar n -Irons — rna Contents li g O — mentation - B ase for a C up S oldering the B ase in Position Polishing Another — M ethod for B eakers The Use of the — S andb ag Interlocking Joints for H ammer — Work Drinking Cup with a Stem CHAPTER VIII — — C andlesticks The Socket The Shaft- The — — — Scorer The Knop The B ase Fitting — — Together Polishing A Simpler Form of Candlestick CHAPTER IX — — Spoons The Shape of the B owl The Stem — The Handle or Thumbpiec e Joining the — B owl and Handle S e cond M ethod Of Ma — — king a Spoon Third M e thod B oxwood — — Punches The Lead M atrix Ingots for H andles CHAPTER X — — Silver S older Use of Scrap Silver The Cru — — cible The Ingot M old Enam eling S older — — S olders for Large Work How to M ake Ingot Molds CHAPTER XI — — — Soldering Use of B orax The Blowpipe SOI dering Lamps CHAPTER XII — — S ettings The Kinds of S tones to Use Close — — S ettings S etting the S tone Open Set — tings Paved S ettings CHAPTER XIII C ontents PAG E — Rings -Hoop Rings M aki ng C ompound Wire The Knot Ring Polishing The — — Wreath The Filigree Tabl e Ring An — —l- other Form The C arved Ring The Design of Rings CHAPTER XIV — — Necklace How Designed The A rrangement — - — OfStones Chain m aking Filigree Mounts — — for Pearls B acking the Pearls Wov en — — Links The Snap Polishing Another — W L - Form of N ecklace hat to Study HOW — — to Use y our S tudies P endants Sugges — tions for Design Loop for the Pendant Cleaning and Poli shing CHAPTER XV — — Brooches Suggestions for D esign M ounti ng The M aking of C ompound Twists The Joint and C atch CHAPTER XVI — — Pendants Things to b e Av oided S uggestions — — for Design The Use of Enam el Se tting — the Enamel The H oop for the Pendant Polishing CHAPTER XVII — O rnaments and Comb s Silv er H airpin — The Skeleton Sphere H ardening the Pin — — A Comb in Silv er How to M ake the — — Prongs The Joint The H ead of the — — C omb Arrangingthe S tones The Groups of L a s—The Pin for the in e—S et Contents e ve H g — ting the Pearl s How to Drill Pearls CHAPTER XVIII Bracelets The H ammered B racelet The — — Hinge B racel et The B and The Snap — - The Hinge Fitting the Joints The Flex — ible Bracelet Cleaning and Burni shing CHAPTER XIX — — Gold Work The C are of the M aterial B oard — — Sweep M ethod of Treatment Alloys — — Hair O rnaments The Ingot Drawing the Wire M aking Grains Leav es — — - Flow ers Gold Solder Nine Carat Gold — W for the Pin S tudy of Old ork CHAPTER XX Gold Necklace with Pendant Fleurs de Lis — The Brass M old B urnishing the Gold — over the M atrix Another M ethod of Ma — king Fleur s de Lis Engraved M atrices CHAPTER XXI — — Locket or Pendant C asket The Frame The - — — B ezel The Hinge The B ack Fitting — — the Hinge The Joint Tool Swivel Loops CHAPTER XXII — Carving in M etal Where C arvingis Necessary — — — M aking the Tools Tempering The — Wax M odel The Use of the Chi sels — Fini shing The Spiral Knop The Wreathed Setting 20 I I CHAPTER XX I Contents PAGE — — — Casting The Cuttlefish M old Flasks The — — Loam Sm oking the M old Slate or B ath b rick M olds CHAPTER XXIV — — Enam el Work General Considerations Requi — W — sites Cloisonné ork Filling the Cells — — I M ounting the Enamel Champleve — - Enamel The Tool s Use of Gold S older — — Lim oges Enam el Network Enam el — - S etting the Enamel Deep cut Enamel 200 CHAPTER XXV — — Hinge for Casket Drawing the Tub e The ' — — M an dr el The Liner The J oint Tool — S oldering the J oints The Pin CHAPTER XXVI — — M oldings The S wage Blo ck Filing the — Grooves Drawing the M etal CHAPTER XXVII — — Poli shing M aterial s R equir ed Polishing Silv er — — Work A Simpler M ethod B urnishing — Polishing Gold W ork C are of Polishing — Waste Cl eanliness Of Tools CHAPTER XXVIII

Colorin Darkenin or Oxidizin i ver and g, g, g S l — — Gold Work M aterial s R equired Dark — ening Gold Coloring Copper CHAPTER XXIX — Various M ethods of Gildi ng M ercur y Gilding Contents CHAPTER XXX PAGE A M ethod of Shaping and Cutting the S ofter — Pre cious S tone s The S tones m ost easily — — Cut The C em ents R equired Drilling — ’ — S tone The Engraver s Lathe Polishing 2 40 CHAPTER XXXI — — Piece M olding The M odel The C asting — — Flasks The S and Filling the Flasks — — M aking the Mold The Charcoal The — — Fal se Cores The B ack M old The Core — — of the Model Arranging the Gates Dry ing the M old CHAPTER XXXII

- — W C asting b y VVaste Wax Pro ce ss The ax — — M odel The S and C asting the M old — B edding the M old in the Flasks C asting — — without Fl asks H ollow C astings A Third M ethod of C asting CHAPTER XXXIII On Old Work and Old M ethods CHAPTER XXXIV To B eat up a V ase out of a Sheet of Metal CHAPTER XXXV To M ake a C ard C ase CHAPTER XXXVI Notes on the Whetting and Use of Gravers and Scorpers

Contents CHAPTER XLVI

Japanese M etal Working CHAPTER XLVII Egyptian and Oriental Methods CHAPTER XLVIII On Design

NOTES ON THE COLLOTY PE PLATES COLLOTY PE REPRO DUCTION S MEDIIEV AL CUPS A ND C HALICES ( Illustra ti ons ) PRAcTICAL EC E S ETC R IP , . GLOSSARY

INDEx CHAPTER I

I N T R O D U C T I O N

THE ex isi e e e r Of r ri qu t j w l y Egypt, Et u a, and Gree e o r so fine as os to a c , w k alm t p e r ira o s was the o o e Of e p a m cul u , utc m c ntu ie Of e e W re i t u s r s d ve lopm nt . hat ma ns o is the su m o f an infinite series o f small im rovements in wor and e od dded p k m th , a by o ne ge n eratio n o f crafts m e n after er o r er ro his fr an o th . Each w k b ught ac tio n Of b e auty to the s to re laid up and b equ eath ed to him by th o se who had ’ f re The m e n who e ese go n e b e o . mad th i s i u s i o de r had th ng wh ch fill all w th w n , o e er no t o i eri ed s i to ide h w v , nly nh t k ll gu eir s an e ro th hand d ey es . Each w nt th ugh o re i es i d ri i he a l ng app nt c h p , u ng wh ch was made free o f the results o f an u n

b ro ke n traditio n o f crafts man s hip . H is w ork lay alm o st in the o p e n air ; ere was e in his s rro di s th b auty all u un ng , 2 5 and i s ir io i ed o n him o i n p at n wa t c nt nually . A s alway s the happin ess Of the wo rker was re e ed in the o r s ee s t fl ct w k . Each m o hav e b e e n c o nte nt if he co uld su rpass by e e r S O i e the s i O f his fo r e r v l ttl k ll b a s . Y e t the farth er the dis co veries o f r e o o e u s i o the as a ch l gy tak back nt p t, the o re e r we s ee s o m cl a ly by what l w, e i e o s s i s e s t ntat v , alm t tumbl ng t p that erfe io o f s i has ee i e p ct n k ll b n atta n d . B e tw ee n the p re his to ric fibula hamm ered ou t fro m a nugge t o f o re and the granu lated cl o ak - clasp o f Etru ria and Gree ce the dis e is e o r o s e t we are e tanc n m u , y abl to fo ll o w the lin e O f de v e l o pm e nt and r its es r fr alm os t to ma k s tag . Apa t om the fact that this gradual p erfe cting O f crafts mans hip has b e e n the way to e xce l e e in the s it is the o ‘b l nc pa t, nly way y which the s tude nt can attain to co nfide nce n o i ese no o ne a d kn wl edge . Lack ng th ' ressio to his i e s can giv e adeq uate exp n d a . N o t o nly do e s the s tudy Of m eth o ds and the qualities o f material e nable the worker to i e ex ress io to ide it is so e g v p n an a, ab lut l the os fr i f so r e Of ide s and y m t u t ul u c a , th o se which are s ugge s te d by p ro cess are i ri e and r io The nva ably h althy at nal .

d and the r i o r to ether . and han b a n w k g , 26 the o utc o m e o f their partn ers hip is a sanity O f o e io i is re to see in c nc pt n , wh ch g atly k o s e e O f the es o r o f to —da m t v n b t w k y . The re aso n is p e rhap s that the z e al O f the ar tis t has no t b e e n te mp ered by kn owl The re so o f is a aIn IS edge . a n th g that fo r m o re than a c e ntu ry the painter and the s culpto r hav e s to o d b efo re the public as the so e re rese i es o f the r s and l p ntat v A t , in co nse qu e nce all the crafts and arts hav e ee ro ed i o ri e e o se b n app ach p ct ally , v n by th who r ise e as if e ere o p act th m , ach w nly o r f r f i — i an the o m O p ctu re mak ng. is is no t o r e o the Th wh lly unt u , nly m eth o ds o f the painter do no t alway s a in the r f s e as the S i es pply c a t . Tak mpl t ex i rri W is it ? am pl e a Rh o d an e a ng. hat —a ro e r S e e o e o f o d ugh p a l , a k l t n cub g l ire i ‘ r i o f e ds and . d w , a t ny py am b a , a o o W o b e o re S i e ? et h k . hat c uld m mpl y the cunning co ll o catio n o f th ese ele m e ntary form s has p ro duce d a thing o f b r sse b eauty that can no t now e su pa d . N O am o unt o f fumbling with a p e ncil Th co uld ev er l ead to a like result . e material was th ere in fro nt O f the crafts and o n the e ri the re i e man , mat al c at v f rt A rt ide a e nge ndere d the w o r k o a . is crafts man s hip plu s in spiratio n ; and 2 7 f o s o s insp iration is the ru sh O unc n ci u f memo ry alo ng channels made by a hab i t o i Bu t the r f s s i o f craftsmansh p . c a t man h p was fr and fe r ess the early wo rkman ank a l , i d the the worker o f to d ay is hidden beh n e H is eri 13 s ree sto n es he u s s . mat al a c n S o es and no t a m edium o f exp ressio n . t n and j ewe ls to the e arly artist were m eans o f ddi e sis to his or or ere a ng mpha w k , w u sed as the germ o f a design ; by the m o dern th ey are u sed as sub stitutes for i TO the fo r er the e e was des gn . m j w l an added b eauty to the se tting ; to the latter the j ewel is a m e an s O f hiding the setting an the r s i The O l or d wo kman h p . d w kman o o the ro r s Of s ire or t k ugh c y tal apph , r o r e er d and o is ed it ee i uby , m al , p l h , k p ng the s o e as r e as o ssi e dis i t n la g p bl , play ng to the o s its i e e The utm t nat v b auty . m odern wo rkman splits and cuts his gem s i o re r - f e ed eo e ri nt gula , many ac t , g m t cal fo rms o f inﬁnite inge nuity and intol erable ideo s ess h u n . Th e m o dern m e th o d Of cutting equal i es the o o r i z c l and nten siﬁ es the glitter o f the em the i er g , but gl tt takes away s erio s i i i that my t u mag cal qual ty , that nner s er O f i id i i fo r lu t l u l ght , wh ch the artis t is its iege st e an r ch b auty, d eplaces that 2 8 beauty by a m echanical Shee n Offen sive

to e er i ed e e . Mo reo er the v y cult vat y v , machin e-made p erfectio n Of the cut stone has as it ere re ed o n the o i , w , act m unt ng, and is er s o ne se o m Of , p hap , cau am ng any the m echanical hardn ess and lack Of artistry o er o r The s e so visible in m d n w k . tud nt who is seeking to avo id these defe cts mu st e i the e i i e r o ro b g n at b g nn ng, l a n th ughly the rudi e s Of his raf and i d his m nt c t, bu l up sy s te m Of design by S l o w degrees ou t o f the res s Of his d i ex erie H e ult a ly p nce . mu s t l ear n to rely at ﬁ rs t o n exce ll e nce o f handiwo rk as the fo undatio n Of his i to b e o s idere r i The cla m c n d an a t st . o ne guiding p rincipl e of all tru e crafts man s hip is this : the fo rm s u sed in de sign S h ould exp ress natu rally and simply the p ro p erties Of the particular material e o mpl y ed .

CH APTE R I I

— — Material s Educational value Of Proc ess Composi — ' W tion of Pickle Pitch for Repousse ork

THE s tude nt will p ro bably find that it M aterials is b e tter at fi rs t to buy his silv er plate re d ro ed to the i es s re ired al a y ll th ckn qu , 2 9 the de er Materi als and hav e the wire drawn by al ; but late r o n he will find that he can draw

- s mall quantities o f wire with a draw e xed in ise and i i e plat ﬁ a v , w th a l ttl ca re and p ractis e he can thin ou t small ingo ts O f m etal o n a s take o r small anvil H e i in to any re quired thickn e ss . w ll this way ge t a kn owl e dge Of material s quite imp o ss ibl e o f attainm e nt under any o r o i i The Old r f s e th e c nd t o n s . c a t m n t o o k full advantage o f the native quali ies Of eir eri s and ese o t th mat al , th can nly b e l earn ed by daily practise in wo rking e I n the ro e ss o f r i e r th m . p c w o k d as a e ma tu red which w o uld o th e rwise have lain o r an se ess The esi r d mant d u l . d gn g adu ally acquires th o se inde ﬁnab le qualities O f r ess s i i i and si eri natu aln , mpl c ty , nc ty which are fo und to a suprem e degree in o s l o r alm t all O d w k . The co pp er u sed sho uld b e Of the b e st i ro r r qual ty p cu abl e . F e nch or Swedish o e r s as is sed for e e i is c pp , uch u nam l ng, th e es . F o r o iso ire o o er b t cl n w , all y c pp , i is er e r re S o b e wh ch v y n a ly pu , h uld

sed. e ro e o er i is er u El ct typ c pp , wh ch v y re b e sed to pu , can u alloy S ilver and o g ld. F o r oo s the es oo s ee in ro t l ﬁn t t l t l und, 3 0

o ri id and i ri id i Materials hydrochl c ac , n t c ac w ll i i so b e wanted for the various p ckl ng lu e S o d be i ed fro tio ns . Th y h ul Obta n m i a who lesale chem st .

i id Nitric acid pickle I part nitr c ac er and 6 parts wat . 6 Sulfu ric pickle part acid and r parts wate . Hydro chloric pickle I part acid and r 8 parts wate .

A pound o r two Of best boxwood sawdust will b e wanted and kept in an x It is sed fo r o rdinary biscuit b o . u r i The drying the wo rk afte wash ng. drying can b e hastened by putting the b ox o n an iro n plate supp orted over

“ s ri - o r a The s s a pi t lamp g s ﬂame . awdu t must not b e allowed to burn o r the wo rk will b e stained and the stain is rather diffi cult to re move Pitch fo r repoussé wo rk is best made as fo llows Pitch Rosin Plaster Of Paris Me the i an o i lt p tch d r s n together in M ateri als i i and e o e ee e a p pk n , wh n b th hav b n w ll ixed and s irred in s o o f m t , put a mall kn b tall o w o r an inch o r two o f tall ow candl e an i s ir the ix r d aga n t m tu e . N ow add the s er df s and s ir it in We pla t by han ul t ll . Th e n p o u r it o u t into a b ox w e ll white n ed

% i dr i e i and e e it to o o w th y wh t n ng, l av c l . F o r winter wor k the pitch may b e fo und o r It b e so f e e re t o ha d. can t n d by m e lt ing and adding an o th er pie ce o f tallo w h ix re candl e to t e m tu . 1 So e o x o o d s i s i s re fo r m b w t ck , 7; nch qua , i b e er ef p o lis hing w ll v y u s ul . A h orn malle t is alm o s t n e ce s sary fo r r isi o r i e few differe si ed a ng w k , wh l a nt z stak es to ﬁx in the vise fo r hamm er w o rk are quite indis p e n s abl e ; v ery go o d o n e s can b e made ou t Of p o ker h eads o r the f ﬁr - o handl es O e t ngs .

CH APTE R I I I

Tool s

TH E to o ls m o st like ly to b e required are : To ol s F o r R e p ou ssé work i es C i ers fi . two s has ng hamm ( g z , i o ne h e avy and o ne l ght . o o s fi Tools Various punches or chasing t l ( g. sso r e o f ese fro for to An a tm nt th , m ty f i ro su fli ce for os S i e fi ty, w ll p bably m t mpl

work . x e fo r er s e i r oses s as E c pt v y p c al pu p , uch d s e i and i o r or for o ama c n ng nlay w k, t uch in s o r o id the u se Of g up ca t w k, av mat i oo s o r o o s i e ded to rod e t ng t l , t l nt n p uc a er e or r e s rf e It is far patt n d g anulat d u ac . better to rely o n m odeling and design for rod i rie f f p uc ng va ty o sur ace. A s e t o f do ming punch es fo r do ming the e and s do i o m tal , a mall m ng bl ck . — se t o f file s ro d and ree A un , flat, th — s re and se t O f ee e es qua a n dl fil . ir o f S ide iers A pa l pl . s et o f o rdi r s o r ers A na y c p . se t Of e r i s o r er A ng av ng c p s . few dr - es A aw plat . Th es e can Often b e r sed se o d— pu cha c n hand . S r i iro na l ng n s . Th ese y ou can make for o rs e f ou t o f e s Of b ar s ee y u l l ngth t l . s o d ise A mall c l ch l . e ise A b nch v . Th o se which revo lve o n i o are h a p v t t e m o st u se ful fo r ge n eral r o ses pu p . o i o o fo r i i es A j nt t l mak n h n . — g g Two o r ree iers ro d- o sed th pl un n , flat, and o rdi r na y . 3 4 ’ Two airs o f i s e rs o ne p cutt ng h a , Tools i and o ne r e s tra ght cu v d. ’ A j ewe l er s fram e saw and fine pie rcing

s aws . s re e s e i b e A qua b nch tak , wh ch can O f e The o o O f —ir i s t e l . b tt m a ﬂat o n w ll e e fo r i do almost qually w ll th s . A few S lip s Of b o xwo o d fo r making punch es and fo r light mall e ts will b e f ou nd very u se ful . dri s o i s o d b e o ne O f A ll t ck , wh ch h ul the o rdi r S is s e rif ri s The na y w c nt ugal d ll . drill s for this can eith er b e b o ught o r de as the s e esir ma tud nt d es . s d—b a i o i A an g, a p tch bl ck w th a l eath er co llar to k ee p the wo rk in its e and o i e and s o e fo r o f plac , a bl wp p m m s iri - i o o d r e e i p t lamp w th a g la g ﬂam , w ll ’ c o mpl e te the lis t of s tude nts require e m nts . The stude nt s h o uld make as many ‘ i is to o l s as p o ssibl e fo r him self. Th s r i r the se i dri s re o ss pa t cula ly ca w th ll , p u é

o o s a nd dies and es o f i ds . t l , punch all k n I n f ere is er i e i deed act, th v y l ttl n that f the s tude nt can no t make for him se l . Apart fro m the valuabl e exp erie nc e to b e i ed in is o o is de ga n th way , a t l that ma fo r a particular purp o se is alm o st alway s 3 5 o ne is o ; i e Tools b e tter than that b ught wh l de It for o ne the pl e asu re O f having ma for the se lf m ore than co mp e nsates e troubl .

CHAPTE R IV

— f en h—The Pin Work B enches B est form o B c — — The Skin Tool R ack B oard Sweep “ TH E b es t b e nch for the w o rker is the ’ ” Fre o r e e er s e i co n nch j w l b nch , wh ch 2 o f rd ee o rd i sists (fig. ) a ha b ch b a w th a semicircular h ol e cut ou t Of the fro nt to re ceiv e the b ody Of the worker wh e n he e er o f is b ow se ed . I n t at c nt th , a s mall wedge - s hap ed pie ce Of w o od call ed “ ” the pin is in serted to fo rm a res t fo r the o r e i o r e i w k wh n fil ng ngrav ng. The b e nch s h o uld s tand v ery fi rmly and b e xed to the o o r so ere fi fl , that th is no sp ring in the b o ard wh e n s tru ck i the er U w th hamm . ndern eath the o rd ro d the b ow Of the se i ir e b a , a un m c cl , a l eath er s h eep s kin is nail ed to form a re ceptacl e for the filings Of go ld and i s lve r and to h o ld the to o ls whil e work in . M g any j ewe l ers p refer tin trays to the i s the er catch fil ng , but latt have this 3 6 dis d e o r dro e fr a vantag , that w k pp d o m Wo rk h i t e b e nch s m o re lik e ly to b e inju re d B enches

I FIG . . o n h i e i t e tray than if it fe ll nto th sk n . O n the right- hand s ide o f the b ow the 3 7 Work flam e fo r the bl owpip e Sh o uld b e ar Benchcs r fi 1 i o s e e d se e . s ang ( g , wh ch h w a b nch rr e fo r fiv r r If as b e s e a ang d e w o ke s) . g u d the o rdinary b e nch bl o wpip e is fixed

s f ie e r to h u ﬁc ntly n a t e e dge to e nabl e the e to b e dir ﬂam ected toward the c e nter Of the s e i i r r s e m c cula pac . If a lamp b e 3 8

FIG . 3 . - ﬁ r draw b e nch ( g. 3 ) th ough the succes sively di i is i o es in dr — e ﬁ m n h ng h l a aw plat ( g. If the ro ds are s mall in sectio n and the

‘ i Of wire re ired is so s the quant ty qu al mall , draw-plate can b e fixed in a b e nch -vise and the ro ds dr ro awn th ugh by hand . To do is rs er the e nd th , fi t hamm O f the ro d tap er s o that it will co m e th ro ugh the h o l e n earest in siz e to the diam e ter o f the is er ti s b ro d. Th tap p mu t e — s tro ng e n o ugh wh e n it has — c o m e th ro ugh to s tand the f -Vi e th pull O a hand s . Rub e ro d with b eeswax and draw it th rough the plate ; the ro d will b e fo i er an o r und th nn d l nge . D O is i the ex o e and th w th n t h l , the ex i ou e dr it n t , unt l y hav awn do to t he re ire d S i e i wn qu z , tak ng care to ann e al it frequ e ntly as each drawing natu rally hard e ns and co mp resses the su b FIG . 4. e f If the ire stanc O the ro d . w has to b e er red e d in s i e o r v y much uc z , if ere is r e i to do it i th a la g quant ty , w ll b e e er to u se dr - e the b tt a aw b nch , but p rincipl e Of the o p eratio n is the sam e in o a b th c ses . b dr in is Tub e Small tub es can al so e awn th Drawin Cu t g way o u t o f s trip s o f s h ee t m e tal . a i es strip O f m e tal O f the l e ngth and th ckn s o u re ire and the re d ro ri e y qu , b a th ughly th c h the inte nded diam e ter o f the tub e ;cut t e i e nd tap er and with a hamm er fo rm it nto a s o rt o f gutter l e ngthwise ; ann eal it and o il it o r ru b it ov e r with a littl e b eeswax inside and o u t and put the tap er tip thro ugh the wide e nd o f the h o l e which m o s t n early fits ;insert the tip Of a p o inte d bu rnisher under the h o ll ow o f the trough O f the m e tal and into the back o f the h o le fi e dr the e ro the ( g. th n aw m tal th ugh o The r is er e s to ee the e h l e . bu n h h lp k p m tal tru e as it fo lds ro und it whil e b eing drawn ro the o The ro e i th ugh h l e . ugh tub wh ch results fro m this o p eratio n is anneal ed and dr ro the ex s er o e and awn th ugh n t mall h l , S O o n i the desire d si e is i e unt l z atta n d. The s tude nt will find this v e ry u seful in the p reparatio n o f tubing required fo r i es O f ro o es o e s oxes and h ng b ch , l ck t , b , s e s If ca k t . the tub e is no t large in i d am eter all the w o rk can b e do n e in the ise and i o dr - e v w th ut a aw b nch . H o ll o w tub es O f any s e ctio n can b e dr — awn by u sing draw plates with h o l es O f the re ired s e io o r the s qu ct n , tude nt can 42 Tube Drawing

FIG . 5 . - o u t o f Old Tub e make his o wn draw plate an Drawing file rs s o f e i it e i flat , fi t t n ng , th n punch ng f graduated h o l es with a tap er punch O the required se ctio n fil ed up o u t o f b ar steel The er s and pro p erly harde n e d . tap mu t b e very slight o r the edge o f the h o l e will b e to o s r and i s ri the e ih ha p , w ll t p m tal o r i i s tead Of c mp ess ng t . Th ere are v ery few things n ecessary in the wo rksh o p which a s tude nt can no t make fo r i se The rse o f o der o r h m lf. cu m n w k s h o p s is the dep e nde nce Ofthe workman o n ' i - i R er than m elt mach n e made th ngs . ath an ingo t and ro ll a s mall pie ce o f m etal fo r i se f to the ex S i e he eeds he s h m l act z n , cut a s trip fro m a s h eet in s to ck which is n earest to the S i The e ffe o n th z e . ct e work is de lo rabl Th i — p e . e ch ef b e auty the quality — i e di or is se and g v n by human han w k ab nt, o i e for the o n th ng can mak up l ss .

CH APTE R V I W — — Repoussé ork Chasing M ethod of Procedure How to — hold the Tools the B ehavior of M etal —_ W k in h — or t e Round The Chasing of Castings

R EPO US S E wo rk is m o deling in relief pro du ced o r i i er fi by w k ng w th hamm ( g. 6) and es fi n punch ( g. 7) o the back Of a sh eet 44 o f xe o n s o e ie i eri R m etal fi d m y ld ng mat al . epoussé i is o r o n the f e O f the e W ork Chas ng w k ac s h e t . The te rm is al s o u s ed fo r finis hing up the i The re ire re ie f su rfac e o f cas t ngs . qu d l

6 FIG . .

may b e Obtain ed eith er by b e ating do wn the ro d o f the o r e o r g un nam nt , by punch ing ou t the back and afte rward finishing o n th f e ac e . If the re ief re ired is er s i l qu v y l ght , it may b e Obtain e d by laying the S h ee t 45 o f e o n o O f e d ie e Of m tal a bl ck l a , a p c so f i e o r o n ie e o f t p n , a p c l F or thick co rk matting. 0 high er relie f the m e tal mu st b e laid o n a co mp o sitio n o f n pitch made as al re ady de i The o es the s cr b ed . tall w mak o o si io o re ie di c mp t n m y l ng, and m o re will b e required in in he s er the winter than t umm . The m etal is warm ed and laid fi up o n the pitch bl o ck ( g. A tracing o f the pattern is se cu red to the m e tal by bits o f ax th o r Wi w at e c rn e s . th — a fine p o inte d punch the o utlin e is de licately p ricked th ro ugh to the surface o f the e O r if h . t e o r is to o m tal , w k de i e to d i O f is the l cat a m t th , design may b e trans ferred with r o r i e . s do e ca b n pap Th n , take ro unded punch es and b eat down the gro und Of the O o rnam e nt acco rding to y o u r i e i 0 nt nt o n . Get the re lief Pro . . r d let the o s b e 7 g a ually , bl w e e in fo r e ide the v n c , gu punche s S O that the re sulting fu rro w 46

i the s s es mu st b e av o ided unt l la t tag , few s ed o r the m e tal will tear . A hap i b e fo d er sef as in ﬁg. 9 w ll un v y u ul The s de fo r m o deling the su rface tu nt f the s h o uld p ractise until the trace O punch fro o n the m etal is s m o o th and ev e n m e i i to e nd and the i es fro the b g nn ng , l n m U ess is tracer cl e ar and unb ro ke n . nl th

FIG . 9 . is do n e much tim e will b e sp ent in cor recting defe cts which might have b ee n i de o r fro the rs to av o ded . En av m fi t acquire the right m eth o d o f handling the er and o di the hamm h l ng punch . Any ser i S o is in o e I n cha w ll h w th a m m nt . case n o n e is at hand the app e nded diagram i e it e r fi . 1 Th ( g 0) w ll mak cl a . e punch is h eld b etween the thumb and the first 48 and seco d ers the tO Of the ird n fing , p th finger rests o n the m e tal as a piv o t and i e i e r ise i e is gu d . A l ttl p act w ll mak th io rs diffi f e r rd o s act n , at fi t cult , a t wa alm t i unco n s c o u s . u

1 0 FIG . .

In high re lief w ork the re lief is pro du ced by alter nately w o rking o n the back and fro nt ; driving the gro und down fro m the fro nt and the fo rm ou t fro m the Wi i e an . re e d back th ca , pat nc , many e i s o r b e do e o s ann al ng , w k may n alm t in th F r is o r es e ro d . o un th w k punch , S hap ed s o m ewhat like the tip o f the 49 are o s sef fo r e ti the thumb , m t u ul g t ng re ief fro the and ro ded f ed l m back , un ac fro punch e s fo r the wo rk o n the nt . Th es e mu st b e made by the s tude nt i e I n re o ss o r the i h m s lf. all p u é w k ma n i i to re i e e is s i th ng s al z that m tal pla t c , and with care can b e led into fo rm s o r s p read o v er su rfaces like s o much hard i i es e i r e Of o er wax. s s Th p c ally t u c pp ,

fine si er fine and so e rei o d . B r ss lv , v gn g l a , e e the e s is ess r e . v n b t , much l t actabl The s tudent sh o uld b e ev er al ert to seiz e the sugges tio n s O f de co rative tre at m e nt o f the m e tal which co n stantly aris e i e his or is in ro ress The wh l w k p g . b ehavior Of the m etal is m o re in structiv e r o i h than any teache . Av d t e u se Of matted o r r i ed s rf es ex e in s r g a n u ac c pt ca t wo k . — Wor k in the R ound Small o bj e cts irds i s i e fi u res— b e do e b , an mal , l ttl g may n in rep o u ss é by making the b odies in two

e s . S o der the two o e er in the halv l t g th , de s ri ed f r er o n e i s a way c b a th , l av ng a m ll h o le in the back o r wh ere it will l eas t b e see . Fi the i side i i is n ll n w th p tch . Th mu st b e do n e by putting in s mall pie ce s and rm i the e o er the wa ng Obj ct v lamp . I t b e fo d o e er the i may un , h w v , that p tch i b o l s o v er and th erefo re that the o bj ect 50 i no t b e ed ro er Y ou w ll fill up p p ly . mu s t th e n take so ft pitch and with a m e tal s patu la o r the flat e nd o f a chasing to o l ress the i i o the o o r i p p tch nt h ll w , wa m ng h fro i e to i t e m e tal m t m t m e . C i s are s ed as fo o Th ast ng cha ll ws . e ro ugh p ro ductio n s and the p ou r which is l eft wh ere the m e tal ran into the m o ld are rs s Off the r s Of the se s fi t awn , ma k am are re o ed s ise s the e is m v by mall Ch l , Obj ct e r ed and xed to the i - o th n wa m fi p tch bl ck , and the su rface m o del ed o ver with mat i e e s an o er defe s t ng punch s . V nt d th ct in the cas ting are re m edied by s oldering pi ec es Of so lid m e tal to make go o d the de ie . o es are dri e d o u t e fic ncy H l ll cl anly , and e s Of e s re ed in ed do p g m tal c w , fil wn , and chased to the re quired surface .

CH APTE R VI I — — Hammer Work HOW to m ake a Cup B ossing up — — — The Stakes Planishing HOW to m ake a — - B eaker Snar ling Irons O rnamentation B ase — for a Cup S oldering the B ase in Position — — Polishing Another M ethod for B eakers The - — Use of a S and b ag Interlocking Joints for Ham — mer Work Drinking Cup with a S tem ‘ A K E s ee Of e si e 1 if the ammer T a h t m tal , z 4 H W rk cu p is to b e small to 1 6 if the cup o 5 1 Hammer Work

. 1 1 FIG . Cu t o u t ir e h f ir r e . t e is a ly la g a c cl H ammer W diam e ter Of which is a littl e larger ork h than the c o nto u r O f t e cup . Take the co mpasses and lightly s cratch o n o ne side o f the S h ee t a series Of c o nce ntric ir es the s es o i in c cl , mall t ab ut an nch di e er i re si the r di s o f the am t , nc a ng a u 1 i s e edi ir es es . ese ucc ng c cl by 3, nch Th i ar o i e the er ro c rcl es e t gu d hamm st kes . N ow tak e a round- h eaded b oxwo o d mall e t

and b e at the m e tal into a ro ugh cup s hap e by b e ating it into a cup -s hap e d o o in o o e i - is h ll w a w de n b at ng bl o ck . Th ' rough cup o r s hall o w b Owl mu s t now b e hamm ered into s hap e with a hamm er ﬁ I 2 o n s e s e s hap ed as in g. a tak hap d in ﬁ i he i i e as . 1 e e o n t s d g 3 . Th n b g n n and i the ro d f ed er and w th un ac hamm , ee i the e o o se to the side e k p ng lb w cl , b at 53 ro d in ir es si the er fro un c cl , u ng hamm m Re the wris t and no t fro m the e lb ow . e is i re to e e the o s p at th , tak ng ca k p bl w in c o nce ntric circl e s and to wo rk regu larly until the m e tal b egins to take shap e i and to fee s ri . e e t l p ngy Th n ann al , and s i si the s e s e e o n , t ll u ng am tak , b at the outside fro m the inn erm o st circl e o u t rd i re to e e the i ess wa , tak ng ca l av th ckn

I FIG . 3 .

f h ri o e I t o t e b m unt uch d. may happ e n that the cup has b e c o m e un ev e n in S hap e ; this can b e rem edied after h eating by e i it ou t i fro the i side i b at ng aga n m n , w th the b ox e i o the - s ed de mall t , nt cup hap res sio o n the e i — o C re p n b at ng bl ck . a mu st b e take n no t to s tre tch the m etal unduly i e o i wh l d ng this . The wo rk is th e n co ntinu ed and is 5 4

Hammer Work

I FIG . 4. H ammer Work Hammer l e ngth O f the p ro ﬁl e lin e y ou pro p o se Work ﬁ M ir the s i e I A . e e r e ( g. 5 ) ak a c nt al c cl z o f the base O f the b eake r and place the tip Of the cu rved s take again s t this lin e ;

I A . FIG . 5

o n this driv e the m e tal away fro m y ou by regular s tro ke s O f the ro unde d e dged e the ir e O f s hamm er . K ep c cl s bl ow o e ri an h in f r c nc nt c d t e bl ows e ve n o ce . The m e tal will p ro bably assum e s o m e

1 6 FIG . .

i Of is se io f e r s o r i th ng th ct n a t a h t t m e . The re cu rve d e dge s mu s t b e drive n o u t ward O u the s take with the mall et 5 8 1 and the o r o f the er ammer (fig. 4) w k hamm H W k resum ed until the ge n eral s hap e has b e e n or I t no w b e is ed as attained . can plan h The o d o f the b e fo re des crib ed . b y i b eaker o r cu p may b e de c o rated w th fi I ro d ed fro raised surfaces ( g. 5) p uc m — fi i iro s . the in side by u si ng s narl ng n ( g These are cranked punch es Z S hap ed with e nds of differe nt fo rm ; o ne

arm Of the Z is xed in the ise the fi v , o ther adju s ted b e n e ath the part o f the i i i cup wh ch s to b e ra sed . T Use S lin -l —The he of tlze nar g r on. cup 13 e d in o si io i the eft d and h l p t n w th l han , the l o ng arm o f the s narling- iro n s truck r i is s ma tly w th the ham m er at A . Th cau ses the p oint Of the s narl er to stri ke again s t the inn er side o f the cup with n early the sam e fo rce as the o riginal 5 9 o is e o d is e o ed ere bl w . Th m th mpl y wh e er it is i o ssi e o i to the de v mp bl , w ng pth o f the o r o to u s e the er cup b wl , hamm o r r i o o and i re o s a t ac ng t l , w th ca alm t O f re ief i e any am ount l can b e Obta n d. B u t as the m e tal is no t supp o rted by i i no t o de de s the for e p tch , wh ch nly a n c O f the bl ow but h o lds the m e tal up i s the o ess fo r e s aga n t bl w, much l c mu t b e e o ed and the o er io o f r isi mpl y , p at n a ng s b e o re r W e o u e mu t m g adual . h n y hav ro the the u se Of the b ught cup , by er to the S e o u re ire and hamm , hap y qu , e is ed it and de its s e r e hav plan h ma hap t u , it can b e fill ed with pitch and fixed o n a — — pitch blo ck o r o n a sand b ag and Co m e re fro th f i i o o pl d m e ace w th chas ng t l s . namentati — W e er o r e Or on. hat v nam nt y ou require mu s t b e such as exp resses o r e si es the fo r s o f the S ir mpha z m cup . p al i es o r es o r ri s o r o i io s l n flut b , c mb nat n O f ese b e de to ro d e the th , may ma p uc o s de i f ri io s o f s rf e m t l ght ul va at n u ac . o e es i s e ro s o ne L z ng , z gzag , ch v n , any O f ese so e e e e r fo r s th ab lut ly l m nta y m , re e ed r mi o n the s rf e p at hyth cally u ac , i ro d e the e s es effe Y ou w ll p uc pl a ant t ct . — mu st no t set th em ou t to o exactly tru s t rather to ey e and hand ; the variatio n 60 fro m geo m etric accu racy rev eals the H amm er o r er and it is the r e O f the Work human w k , t ac human to uch which makes the m ean es t i rro material p re ciou s . A cup w th a na w wreath o f strictly fo rmaliz ed l eav es and fl o wers b ordered ab o ve and b e l o w by o o d ro d d Of i s rf e a g b a ban pla n u ac , and e e ri ed e o ere the d th n n ch b l w, wh han r s s it i e er o r o i o s g a p , w th a ch qu c nt nu u patterning Of ch evro n s do n e by traced i es fro the o side i o o di i ed l n m ut , w ll l k gn fi , i n or i r o r a d e . O u ch , w kmanl k y may raise a row Of largis h b o sses with the s narling- iro n and trace co nc e ntric lin es ro und th e m and p o wder the su rface with s o sses ere r s do e mall b , m punch ma k n fro the i side and e ir ed fro the m n , nc cl m o side or ou i res e ut ; y may , w th a c c nt s ed fo r the r o se e hap punch cut pu p , mak rings o f p etal s ro und o ne o f th ese punch — marks as a ce nter alway s u sing as su g gestio n the e ffe cts p ro duced natu rally by o the tOOlS y ou e mpl y . If it b e desired to add a base to the e er ou i e ir e of e b ak , y w ll tak a c cl m tal as much greater in radius than the b otto m Of the cup as y ou wish the p ro j ectio n b Y ou i e o f the m o lding to e . w ll th n do me it up in the ho llowed wood-blo ck 6 1 et the ro s e f er rd fin to g ugh hap , a t wa he s e ishing it with hammers o n t tak he O r ou yo u u sed fo r t cup . y may put i i the do me o n pitch and shape t w th re o ss es a i re to o id p u é punch , t k ng ca av io The si es to o much e labo rat n . mpl t ro ds fers and o o s wi ood un , cham , h ll w , th g broad surfaces to catch the light and re

fl ectio ns e o is ed are s es . wh n p l h , alway b t The student must not forget that these suggestio ns o f design are o nly those which have arisen in my own experien ce . They are not to b e take n as the o nly If the possible means o f deco ration . — wo rker has any imaginatio n few are re i o it fo r i i io is o ally w th ut , mag nat n nly active lo ve o f beauty whether in Natu re — o r in A rt then he will find the way for i se f his s iri and its ifes h m l , p t man ta tio n in his wo rk will b e S haped to the ’ i he o es o he th ng l v . A man s w rk is t irror Of his i m m nd. The j o int between the base and the cup now b e e Th may mad . e flat center Of the se s b e i the saw ba mu t cut away w th , i e i ro d e ro Let l av ng a b a fill t all und. each b e we ll pickled in diluted sulfu ric id s r e the o i s e o n ac , c ap j n w ll the base and o n the i b oth with orax cup , pa nt . b 6 2 to r e ou e se s ee i any cu v y pl a , alway k p ng the hammer blows in co nce ntric ho ri th zo ntal rings round the cup ; make e se as efo re ex so der to the se ba b , n t l ba ri o f i f-ro d o r is ed a ng pla n , hal un , tw t wire the exact S ize o f the botto m Of o f he is s e dies the the body t cup . Th t a body o n the base and makes it easier to tie the two to geth er fo r the final o eri The b e is ed s d . l ng cup can plan h , In ed r e and o is ed as efore . fil t u , p l h b stead Of planishing y ou may p re fer to add bands O f zigzags o r waves o r mo ldings o r re Of If S O the e es . a w ath l av , fill cup i e ed i i re to s e r w th m lt p tch , tak ng ca m a the inside with O il o r with whitening and er efore l oo W r d and et it . wat b han , c l a m the i o n the o ress the p tch bl ck, p cup mouth downward o n the melted su r face and put a weight o n the top until oo o r is S i er ou c l , , what mpl , y can lay it o n s d-b a and do i o the a an g, w th ut l i -b lo ck h o p tch . T e fi rst method is h w e er the os se re e S e o n v m t cu . Th n k tch

1 W - ork can b e held on a sand b ag by a strap of stout eather one end Of wh h is ﬁxed to the eve l , ic l l , the other end w th a oo on it asses o er the ob e t i l p p v j c , and throu h a se ond ho e in the e The foot is g c l l vel .

a ed in the oo and the work he d ﬁrm b ressure . pl c l p, l y p 64 the o r e and o i e it i r er Hammer nam nt utl n w th a t ac , W k lightly if y ou do no t want the lin es to or r if o u Sh ow in side and ﬁ mly y do . If fo r ex e o u is to r ise , ampl , y w h a a ro unded band arou nd the cup n ear the r e i e o ve and e o b rim . T ac a l n ab b l w all ro d the the dis e r un cup , tanc apa t Of the o i Y ou b eing the width m ld ng.

1 8 . FIG . will th e n re m o v e the cup fro m the i - o r it s i in the p tch bl ck , wa m l ghtly o i h i e e and e o u t t e . bl wp p ﬂam , tak p tch e re r the i o n the o Th n wa m p tch bl ck , the o n its side and ress it e lay cup , p w ll i o the i The s e e ee the nt p tch . pac b tw n two traced lin e s can th e n b e b eate n o u t with ro unded punch es to the p roj e ctio n 65 O e r ro e io s i H ammer re quired . th p j ct n wh ch may W rk hIn the o b e required l o wer do wn w1t cup — i the s r i ir o mu s t b e do n e w th na l ng n ,

1 FIG . 9 .

ese s o d o b e ver S i but th h ul nly y l ght , as the cup wo uld b e diffi cult to cl ean 66 w e in u se . e e o is and h n Th n cl an , p l h , Hammer f Work finis h as b e o re . An o th er kind O f j o int which may b e sed In e s o r ses o r in se u m tal j ug va , any ca wh ere the j o i nt do e s no t er is the i er matt , nt i s ee fi l o cking j o nt ( g. Cu t o u t the m etal to the s e re ired h p qu , a1 i i “ ' i o r mak ng t 2 nch l nge than is n e cess ary fo r a o i i i s butt j nt, g v ng thu a Of i and di ide lap i nch , v e ach Of the edges to b e j o in ed Into an e qual num b er o f spaces no t m o re 1 ‘ ‘ i n than 2 nch o r l ess than i {5 nch ;cut th ese with the s h ears a littl e m o re than inch inward and s crap e o si es B e b th d cl e an . nd the alter nate lapp e ts o f m e tal up and do wn o n FI O . 20 . e f the two ach hal , fit o e er and so der r s i the t g th l fi mly , flu h ng o i s o ro The res i e o r j nt th ughly . ult ng tub co n e can now b e hamm ered into S hap e and planis hed alm os t as if it were in o ne pIece . F i 1 S o s o n i r- i e g. 9 h w a cup a p lla l k The o d b e de se r e base . cup w ul ma pa at ly as o e des ri ed and the se o d ab v c b , ba w ul a if it re r The b e made s w e a b eake . r is e o i s o n th 20 a d m ld ng e stem (fig. ) wo uld b e do n e with the s narling- iro n and chased up fro m the fr Th r o nt . e g ap es and m o ldings o n the cup w o uld all b e do n e fro m the in side The cup and base w o uld th e n b e 2 1 FIG . . so ldered toge th er as ef r I n the o o Of the ou b o e . b tt m cup y might plac e a s mall pane l o f the vin e fi S e ro i i ( g. e n th ugh w n e a l ttle o r nam e nt in a s ilver cup l o o ks as if do n e in fine e nam el .

CH APT E R V I I I — — — C andlesticks The S ocket The Shaft The Scorer — — — The Knop The B ase Fitting Together — Po lishi ng A Simpler Form of C andlestick

Cand esti ks I R ST e dis o f s i er o r o er I o l c F tak a k lv c pp , e i es in di e er e it intc~ gag , 3 nch am t , b at 6 8 Candl esticks

LV ER KNO SI P .

2 2 . FIG . andles ic k a f ri is is to C t s cup as b e o re des c b ed. Th f ex h o ld the s o cke t O the candl e . N t e the s f i b e S ix—side d mak ha t, wh ch may an eri e ie e O f e o f d tap ng. Tak a p c m tal the s e S i e and dr o it o ne f e am z , aw up n ac O f the eri s f tap ng ha t, and e si e th n , u ng ach side o f this face as o ne side Of the two

ei o ri f es n ghb ng ac , mark th e m o u t also fi 2 i er ( g. 3 ) w th a cutt made o u t O f a file by b e nding the tang ri es fi at ght angl ( g. the e nd b eing s harp e n ed to a chise l o i the ed e ru n p nt, g nin len thwi g g se . Cu t do wn the two inn er angles until y o u have f ro the 2 cut hal th ugh FIG . 3 . e e d the sides m tal , b n to eir ro er e and s the e th p p angl , flu h angl i si er s er w th lv old . R ep eat this fo r the o er f o f the s f and tie and th hal ha t , so der the es o e e F l halv t g th r . il e up the two isi e o i s e and s o o v bl j n cl an m th . N ow e the o ss fi 2 mak b ( g. 7) ou t o f I O gage 70

- ndlesti k o ne ir e ei ri the o er e f d Ca c s c cl b ng ght, th l t han is o ne ir e s i o side the tw t, c cl ju t fitt ng ut , o th er ju s t fitting in side the rim Of the ' n rd—dis and s o der e to is ed e a h , l th m th g fi 2 6 g. ) On the circular raising y o u will so lder s ix- s ided e ri - e and s i i a b a ng plat , ju t w th n the e dges O f this b e aring- plate y ou will The s o lder a lin e O f s tro ng square twis t . s pac e e ncl os ed mu s t exactly fit the base

2 FIG . 5 .

o f the s f i i b e s re e ed ha t, wh ch w ll t ngth n ‘ b and o f i e s r o ed by a th ck m tal , u m unt by ri O f is and s o e the o o a ng tw t, ju t ab v b tt m edge a s e co nd ro w o f reve rse twis t arranged to fit exactly o v er the twis t. so ldered o n the e o n he r — i T h e t d d s . O e t e s plat gua h mak ba , e ie e f N O 1 2 an it O . d e tak a p c , b at up into a cup with a flat b o tto m and tap ering s i o s i The ri f i l ghtly h ll ow des . m o th s i o f o rse b e the o o and cup w ll c u b tt m , the e dge S h ould hav e a b ro ad flat b eading 7 2 o r n e it Y o raised ro und it t s t e gth n . u may Candl esticks now arrange a fe w s p rays o f fl owers ro und is se and f er o ssi e ou t fro th ba , a t b ng th m m the the se i i and se back , fill ba w th p tch cha fro the fro The s o e fo r th em up m nt . ck t h e is si e i der O f N O t e d . 8 can l a mpl cyl n ,

to ro e e s ‘ ‘ i l o ng e n ough p j ct at l a t 2 nch o e the e d e Of the s er and ab v g mall cup , having two ri ngs o f twis ted wire so ldered e ro und the upp er edg . Y o u e now to the o e o e er hav ﬁt wh l t g th . F o e in the o ﬁ 2 irs t cut a h l kn p (s ee g. 7)

2 6 . FIG .

large e n o ugh to let the h exago nal S haft th ro ugh to the p ro p er h eight ( see fig 2 file the ed es r e and e do e S g t u , th n m up a hal lo w cup Of 1 4 m etal to c o v e r the b o tto m f he Cu i i r x o t kn o p . t a s m la h e ago nal h o l e in is and e it fits the S f and the th , wh n ha t o ro er e e r and s o der kn p p p ly , tak th m apa t, l th o h ex e e shall w cup to t e kn o p . N t cl an the kn o p in pickl e and s lip it into place o n the s f and r d O f ha t, tu n up a ban

1 i r h s f m e tal ab o ut 1; nch b o ad to fit t e ha t 73 Candlesticks er e the o So er two ro f und n ath kn p . ld ws O Candlesticks square twis t with a plain flatte d wire b e to the er e e O f is twee n upp dg th band. A S imilar but s mall er band having b ee n fitted to the er r o f the o the er upp pa t kn p , latt can now b e s lipp ed into p o s i tio n and riv e ted r r Y ou no w f s e is In fi mly th e e . can a t n th its place o n the S haft with s mall s crews o r ri e s B e ou t s o o u t Of v t . at a hall w cup 1 i o I i . o er dee and 4 c pp nch p , ab ut nch o si e i r s re o n the ut d d am e te . Tap a c w e n f i f - i G r s i er ir d O a p e ce o 95 nch e man lv w e o I i o er the s f and o n ab ut nch l ng than ha t, the o th er e nd s o lder the shall o w cup y ou e s e ou t Y o u i now ee hav ju t b aten . w ll n d to es Of i e si e 1 o r 1 6 cut plat th ck m tal , z 4. , and after drilling a h o l e the siz e Of the e er ro d to e i side the to and c nt , fit th m n p o f th f ese es are to b tto m O e s ha t . Th plat p reve nt m o ve m e nt wh e n the wh o l e candl e i i r Y ou i now st ck s s crewed toge th e . w ll e a n r- F it n ed s crew nut a d a was h e plate . the r s ref o e er and s re all pa t ca ully t g th , c w the i If er b e o e e nut t ght . th e any m v m nt it m ean s that the b e aring su rfac es do no t ' e o er and the i e i ies s fit ach th , n qual t mu t b e e W e r i fits the d . e e fil away h n v yth ng , wh o le can b e p o lish ed with O il and pumice and is ed i ro e s o e o r ro s fin h w th tt n t n c cu , 75 k he er r s . Candlesticks but do no t rem o ve t hamm ma W e it is e it o e er h n all cl an put t g th finally , and darke n the who l e surface with a w eak s o lutio n Of su lfid o f amm o nium in ho t it dr and i o is er . e s wat Th n wa h y , aga n p l h s i i leather and i e ro e l ghtly w th a _ a l ttl ug , r i o and the wo k s c mpl ete . An o th er fo rm may b e made thu s B eat up two deep funn e l - shap ed cup s n r er kthe o u t Of 1 . o er o e 4 c pp , la g than o er fo r the se the s er o ne fo r th ba , mall h W h e re r e e t e to . e t e S s a p h n hap t u , mak — a Shall o w s aucer s hap ed cup a littl e larger the to ir e and r the ed es than p c cl , tu n g o er s e i ed e to it o r O er v a tak w th an g , v h in th is t e edge o f a hamm e r h eld e v e .

Th e n ﬁt it o n the to p and . carefu lly hamm er the edge O f the s aucer do wn i it ri s th e o f the is unt l g p e e dg cup . Th e s the to o f the d es i Y ou mak p can l t ck . will now n e e d a b o ss to co v er the m ee tIng Of the upp er j o int and l ower p o rtio n s Of the e i is i i candl s t ck . Th s made e th er by e i dee as e fo re des ri ed b at ng up a p cup b c b , e f er i it i i se th n , a t ﬁll ng w th p tch , cha a re Of i e o r re o r i e e es w ath Ol v lau l v n l av , dr re f fro re and rr e d awn ca ully m natu , a ang s ir ro d the o ss e i i the p ally un b , b g nn ng at o o b tt m . 76 Candlesticks

2 8 . FIG . Cand est ks ou e o t the re ie f ou l ic Wh e n y hav g l , y e do the ro d and f er can b at wn g un , , a t re o i the i ier e the o e i s m v ng p tch , p c p n ng ro i s r r er and e th ugh w th a ha p t ac , th n ﬁt it i o its e as des ri ed efo re and nt plac , c b b , faste n the two toge th e r with a c entral ro d n s r —n The e—so e is a d a c ew u t . candl ck t

2 FIG . 9 .

e e ou t o f i der its to ed e b at n up a cyl n , p g ex e an r e o er see ﬁ an pand d d tu n d v ( g. d b eate n down carefully into a r1m ; a fal se o o 13 ex s o dered I n and the so e b tt m n t l , ck t ﬁtte d lightly o ver the cylindrical h ead o f the e r S f a efo r o r o s c nt al ha t s b e . An th e b s b e de e i two s o ne may ma by b at ng up cup ; , i e r er the o er has its ed e s a l ttl la g than th , g 78

Spoons that as the m e tal exte nds it will crack at the ed e if S O ﬁle the r i g , away c ack w th a triangular ﬁle ; this p rev e nts the crack r i W e o u e s r fro m sp ead ng. h n y hav p ead it ou t i e ore e ise and a l ttl m , tak a ch l divide the wedge into parts as s h o wn i n

the di r ﬁ . e it e and ag am ( g Ann al w ll , o r io s o r ﬁ b e nd the cut p t n utwa d ( g. and hamm er th e m carefully into l o ng r i s W e ou e do e is tap e tw g . h n y hav n th e e the e i and o i n atly , ann al m tal aga n c l

the i s a n ﬁ s o . 0 o r in tw g up g 3 , any s e ri o Y o u ymm t cal way y u may pl ease . i now so der the o i s to e o er w ll l c l ach th , and fu rth er stre ngth e n the j o in s by adding grain s or gro up s Of grain s at the vari o u s o i s Of i Yo u i now e p nt j unct o n . w ll hav to ﬁx the b o wl and handl e toge th er . er the e nd o f the d e er H amm han l tap , e i o e er s ris ro e io l av ng, h w v , a qua h p j ct n at 8 1 e is is to Spoons the v ery e nd O f the handl . Th giv e a b ro ader bas e fo r the attachm e nt f the o U es s the e nd O f the o b wl . nl

2 FIG . 3 .

handl e s p re ads o u t o v er the b owl wh ere it o i s the s r i u o the s o o j n , t a n put p n p n in p o lis hing will s o o n tear the b owl and 8 2 e r W d . e ou e e re d o han l , apa t h n y hav tap S p ons the d e i e e o u t the s re han l n c ly , flatt n qua — p roj e ctio n fan wis e and the file it to fit b o wl . Take a narr o w s trip o f iro n ab o ut fi th thick and fi th wide and tie it firmly to the handl e i ire S O the w th w , that iro n p roj e cts b ey o nd the s p o o n e nd o f the handle by m o re than the l e ngth o f the Y o u b o wl . can now tie the b o wl and h a n d l e t o ge t h e r w i t h binding- wir e and s o lder th o r i e tw toge th e . Th s do n e planish the b o wl o ro ded s e up n a un tak , b o th to harde n the m e tal and to co rre ct any al teratio n in s hap e that may hav e co m e ab o ut i n the s eri D o the o ld ng. s e i he le am w th t hand . FIG . 3 3 . The wo r k can now b e s o ed and o is ed i i e and Oil t n p l h w th pum c , is i i r e fin h ng up w th o ug . An o th er way is to cas t an ingo t O f the 83 ro ugh s hap e o f the b owl and s hank to r s ee fi The o e s o o is ge th e ( g. wh l p n the n s hap ed up with the hamm er and the file f er the i o has e e ssed ro , a t ng t b n pa th ugh the ro lling-mill o nce o r twice to co n so li h e The e io to is date t e m tal . Obj ct n th is it is o re s ef o f the e that m wa t ul m tal , but if y ou preserve the l em el with su f ficie nt re the s e b e o s e ire ca , wa t can alm t nt ly r o er ec v ed . An o ther way o f p reparing the b owls is to take a go o d-siz ed pie ce o f b oxwo od fi and r e it i o the s e o f the ( g. 3 4) ca v nt hap i f th i ressio n co nv ex s de O e b owl . An mp O f is is e in o de i wax and th tak n m l ng , s er s e fro the wax ri a pla t ca t mad m . T m the s er- s i o s re o e d pla t ca t nt a qua bl ck , b n up a pie ce o f thin s h ee t m e tal so that it makes an e dging alm o st an inch high o e the to s rf e o f the s fi ab v p u ac ca t ( g. Tie this edging tightly round the cas t with i di - ire and ro d the ed e b n ng w , fill up un g o f the s i i e i er D r ca t w th a l ttl th n plast . y the wh o le n ear the fire o r in an o v e n until e er r e Of o is re has dis e r v y t ac m tu app a ed. O er is s o r o d e it is er v th ca t m l , wh n p fectl dr o r e ed e d and ou i y y , p u m lt l a , y w ll have a m o ld o f the co ncave side o f the s o o . e is o d o the i p n Plac th m l up n anv l, 84 - and a pie c e o f I o gage silv er o n the Spoons Wi re e e o s n the o m old . th p at d bl w o b x wo o d punch driv e the m e tal into the

o d e i a s o f e as b e m l , ann al ng t n may e ess r Y ou i now e ro n c a y . w ll hav a ugh S hap e o f the b owl ; the sup erflu o u s m e tal s b e and the ri ed ed es mu t cut away , c nkl g 8 5 hamm e re d o u t s m o o th up o n a ro unded i - s tak e with a small tapp ng hamm er . A go o d deal o f hamm er w o rk in the p reparatio n o f the handl e can b e av o ide d by making the ingo t m o re n e arly the i r I s hap e and s z e o f the finish ed w o k . t b e fl e e d and the end i ed ou t can att n , th nn

FIG . 3 5 .

- The is i b in the rolling mill . ﬁn h ng can e do n e with the hamm er o n the s tak e as D o no t b e fr id o f e i th b e fo re . a a l av ng e hamm er marks wh ere th e y are s ee n to have b ee n n e cessary to p ro duc e the S hap e ; i o th th ey w ll alway s l o k b eautiful . B u t e m o dern vice o f putting in hamm er ma rks to e b ad fo r o o We is ore mak a m l k ll , m re re e si e— it is f i o o s , than p h n bl l h . 8 6

F o r o rdinary wo rk take two parts o f silv er cuttings and o ne part o f fine b rass S and e in s fire cut mall , put th m a mall fi i i e o r x clay crucibl e ( g. 3 6) w th a l ttl b a . Place the crucibl e carefully in the co ke o n the f r e and ore o e ro d u nac , put m c k un

FIG . 3 7 . it e i o e nI n I n fro and o n , l av ng an p g nt h to e i the as o i t e p. Th n w th g bl wp p e and fo o t- b e ll o ws dire ct the flam e o n the r i e r d i re si the fo r e o f c uc bl , g a ually nc a ng c the s i the e is f C re bla t unt l m tal u sed. a mu st b e take n no t to give m o re he at than 8 8 is so e e ess r or the i in the ab lut ly n c a y , z nc r ss i b e oxidi ed and the s se e b a w ll z , ub qu nt i i o h o er i ire fu sib l ty f t e s ld mpa d . e re i o o fi Hav ady an ng t m ld ( g. 3 7) we ll greased ; p ou r the fluid m etal into an e to W the o d d e o o . e m l , l av c l h n c o o l y ou can ro ll it thro ugh the m etal ro ers do to si e 6 e e o r ll wn z m tal gag , thinn er if y ou want it for v ery s mall r wo k . If fine r ss no t b e i ed fine b a can Obta n , e er o r o o d i s i do e e sp lt g p n w ll qually w ll . A very hard so lder fo r u se in e nam eling is made as fo ll o ws

02 . dwt rs. . g Fin e S ilver 1 0 0 All o y co pp er 0 5 0

I 5 o F or a large piece o f w o rk re quiring many so lderings the successiv e so lderings may b e s afe ly do n e by u s ing a m o re fu sibl e o er fo r e s ld ach o p eratio n . The range o f so lder may b e as fol lows

No I r ﬁne si er to I Of ﬁne r ss . . . 7 pa ts lv b a 2 I . 5

3 ~ 3

2 1 4 . ” il er It is o e e r r re e ess r to u se S v , h w v , a ly n c a y d r S ol e S O much p re cautio n ; care in the a rrange m ent o f the j o ints and in the regulatio n o f the flame will make it p ossible to do i o o ne so r w th nly lde . ow to Make Molds —If ou H . y have not go t an ingot mo ld o ne can e si b e e a ly mad . Take a piece o f dth square iro ire e d n w , b n it up into the s hap e o f a l o ng U fi ( g. file the e d e s r e g t u , and o n o ne S ide

o f the U ﬁle cro ss nicks with -s re ﬁle a 3 qua . Th ese nicks al low the air to e s ca p e w h e n the m e tal is b e in o r in g p u ed . Th e n take two ie es o f i p c th ck s h eet iro n a little larger the U and e o n n than , plac e o each side o f the U and tie the , wh o l e to e er i i di — ire g th w th b n ng w . I ngo ts Of 90 Silv er S older

FIG . 3 9 . i th Silver any siz e can b e made by vary ng e Solder thickn ess and co nto ur o f the iro n en o i ire cl s ng w . By u sing narrow ingo ts y ou can cast slip s of m e tal which can b e afterward drawn down into wire through a draw e xed in ise See er o n plat ﬁ a v . ( chapt Wire r i D aw ng) . Y ou will need b ro ad ingo ts if y ou wish

to ro e rro i o s for ire . ll plat , na w ng t w Several form s o f ingo t are giv en in the

i r ﬁ B and C . d . ag am ( g 3 9 , A , , )

CH A PTE R X I — — So ldering Use of B orax The Blowpipe Soldering Lamps

derin S ol g T H E art o f s o ldering with the fu sibl e all oys give n ab ove is o ne which is much writ ten o and er r re des ri ed ab ut but v y a ly c b , alth ough the p ro cess itse lf is exceedingly si e I t e s re n mpl . d mand o nly ca a d scru pu o s e i ess o f the eri The l u cl anl n all mat als . parts o fthe m e tal to b e j oin ed mu st b e ab so lu tel e — is s r ed ri the y cl an that , c ap b ght ; solder i se f s b e e so Firs e t l mu t cl an al . t, tak a lump o f b orax crys tal ; grind up a little i er o n s ie e of s a e e w th wat a mall p c l t . Tak 9 2 a S lip o f so lder cut a numb er o f Slits S oldering e ise do o ne e nd and e l ngthw wn , th n , by a few ro ss- s s i o ff er o f i c cut , n p a numb t ny e s o f s o er ese e s bits o r pan l ld . Th pan l are e di ed in the o r x s o e th n pp b a , that th y are c o mpl e te ly co v ere d by a thin c o ating N the ie e o f o f o r x . ex s e b a t, p c m tal hav in e e s r ed e o the o i are g b n c ap cl an al ng j n , b o th painte d o v er with a so lutio n o f b o rax ’ s o f e s - ir b r I h The by m ean a cam l ha Is . piec es are now to b e tied togeth er in th eir ro er o s i io s i i - ire C re p p p t n by b nd ng w . a

‘ mu s t b e take n h ere no t to b ring the e dges o f the e to o o se o e er o r e se m tal cl ly t g th , l the s o lder wh e n fu s ed will ru n al o ng the e i e o f e eri the o i W e angl n st ad nt ng j nt . h n this happ e n s the w o r k l o o ks as if it w ere erfe so dered o n i o r i p ctly l , but ﬁl ng putt ng any strain o n it the j o int imm ediately fall s to Ieces p . I t is th erefo re imp o rtant for silv er s o ldering that the wo rk S h o uld b e ﬁtted

o se no t to o o se . o cl ly , but cl ly En ugh s pace sh o uld b e l eft fo r the m e tal to ru n i al o ng the j o int by capillary attract o n . W e the two ie es o f e are ed h n p c m tal ﬁtt , and b o und toge th er as de s crib e d with iro n i di — ire the o i is e o is e ed b n ng w , j nt th n m t n with a b ru sh charged with b orax so lutio n ; 93 S oldering the littl e chip s o f s o lder are th e n placed i e r s f ir o se o the o i at nt val a ly cl ly al ng j nt . The wo rk is th e n ge ntly warm ed in the ﬂam e o f a bl o wpip e to drive o ff the water in the o r x W e is is r s ro er b a . h n th d y a t ng

0 A FIG . 4 .

m e is dire ed o er the o e o r ﬂa ct v wh l w k , e i it r d a d e e i h at ng g a ually n v nly , tak ng care that no part Of the m e tal exc ept that e r the o i s e s re ho t W e the n a j n g t d . h n o i has o t o ro e e ed j n g th ughly w ll h at , a 94

der n the s rro di r s the o i ere Sol i g than u un ng pa t , j nt th i b e i erfe and the o r s b e w ll mp ct, w k mu t o o ed the e e ed ei di ed c l , m tal cl an by b ng pp — into pickl e which is a mixtu re o f o ne part hydro chl o ric acid and te n parts water ; a stro nger s o lutio n much u s ed is half and — half Of e ach and th e n the o p eratio n b egun i i the i s re f aga n unt l all j o nt a ull . So ldering can b e do n e eith er with the as e and o o i e i the g ﬂam m uth bl wp p , w th

oc . FIG . 4

fo o - e o s and d o i e i t b ll w han bl wp p , w th an O il o r s iri o r as o s lamp a p t lamp , , alm t o ld o r was do e o n r o fire all w k n , a cha c al , i f s an e o s w th an d s mall b ll w . The s iri fi 0A n p t lamp ( g. 4 ) a d the o il fi i th o lamp ( g. w th e m uth bl owpipe fi r ( g. ge n e ally are o nly suitabl e fo r s or as the o o f e re red mall w k , am unt h at qui fo r o r Of si e is er re B u t w k any z v y g at . a 96 f o r b very gre at deal o w k can e do n e with S oldering il B o are r the s pirit o r o lamp . th v e y easy to e o i n the se o f the o il manag , nly ca lamp m o re care i s n e e de d to k eep a go o d e an to o id s o i the o r flam d av m k ng w k . I t is m o s t imp o rtant to acquire freedo m in the u se o f the o i e and to is bl wp p , th e nd the s tude nt s h ould p ractis e with two — siz es o f bl o wpip e o ne fo r large and o ne or fo r small w k .

CH APTE R X I I — — Settings The Kinds of S tones to use Close S ettings — — -S etting the S tone Open S ettings Paved S ettings

I N o o si s o es to set o id o se ch ng t n , av th that i o f e s Se e o se are cut nt ac t . l ct th that are ro unded or cab o cho n cut ; if y ou can do so u se s o es are s er , t n that cut by Ea t n The O ri as e for lapidaries . e ntal h an y e o o r and fo r and has no fo o is fe rs c l m , l h a Of o — e The s o es re e ed s call d ﬂaws . t n j ct by the j ewel er are alm o st always well o r f r i s See w th the att e ntio n o the a t t . that th o se y ou buy have a fairly l ev e l b ed fo r the se i and the s o e is e tt ng, that t n w ll e e ed so the se i i o d b v l , that tt ng w ll h l 97 r Se i s be whe n it is rubb ed o ve . tt ng may r The o s ed s e i is o p e n o cl o sed . cl tt ng b ox the er e d e o f i is r ed a , upp g wh ch ubb r h e The o e s e i b e o ve t e s to n . p n tt ng may ere rim i o o o o r ir e a m w th ut a b tt m , a c cl t o f s O r the two b e o i ed claw . may c mb n , and a cl o se s e tting s et in a large o p e n - w ork s e i o f r es and e es as in e r tt ng b anch l av , a ly r F re nch o r German w o k . I n incru s ted wor k the s to n es are let into re ce sse s carve d ou t b el ow the su rface h Th es o f the o e i o f t e m e tal . e e dg p n ng are th e n drawn up to the s to n e by care ful o r i an r is e rs his w k w th punch d bu n h . T ’ m e th o d is c o mm o n I n I ndian and Persian

wo rk . — To M ake a Close Setting Cu t a band o f “ si er S i e o r 6 e e s o e lv , z 5 m tal gag , m what wider than the inte ndedheight o f the s e i tt ng, to all o w fo r ﬁling l ev e l and r i o er ubb ng v , be nd the s trip ro und so that it ﬁts cl o se ly o v er the s to ne

(fig. Wh e n y o u have fitted the band o se to the o o r of the S o e o ff cl ly c nt u t n , cut the s er o s e file the x o sed up flu u m tal , ju tap 9 8

ettin s the o i the se i b e oo ed and S g j nt, tt ng may c l made tru e by tapping it round with a light hamm er o n a tap er s tee l mandrel fi 2 — an o ld s ee o o -s i d e es ( g. 4 ) t l c tt n p n l mak — an exce ll e nt mandre l and the b o tto m edge e ie o f si r 6 ed . e e e fil flat Th n tak a p c lv , o r 8 ordi to the u se to i ou , acc ng wh ch y i e d to the se i and i e nt n put tt ng, a l ttl r er ro d it s r e the s rf e la g all un than , c ap u ac e tie the s e i o n i i di - ire cl an , tt ng w th b n ng w fi an o i the s rf es to b e ( g. d an nt u ac o i ed as efo re and j n b , se t a few paill o n s ro und the j o int and ro ee as efore p c d b . Wh e n the j o int is FIG . 43 . o e e file Off the c mpl t , s er o s e and o u i e up flu u m tal , y w ll hav a b ox i s es th i e s o e . s wh ch ju t tak t n Th , if the or is ro er do e i es the w k p p ly n , g v i f S e s o r o f s e i . If desired mpl t m tt ng , a hearing for the s to n e can b e made by fitting a c o nce ntric but narro wer band i i n s de this . The s to n e is now supp o rted ro d and the o r o f r i r all un , w k ubb ng o ve

‘ is de e sier Th ma much a . e edges o f the se i are e ed r e the s er o s tt ng th n fil t u , up flu u e the se and the o e m tal at ba cut away , wh l de e and o r i e S i ma cl an w kmanl k . e tt ngs 1 00 b ro e o e r an can e g up d t g th e d united by S ettings fi i re e— o r to fo r ro o es s s l g w k m b ch , cla p , n ecklac es ; but this will b e des crib e d in r r a late chapte . O e se i s o e s o r ro se i s p n tt ng , c ll t , c wn tt ng , are made by taking a s trip o f thick m e tal 1 0 e e di it i e s er ( gag ) , b n ng a l ttl mall than the s o e an so deri as ef d o re . e t n , l ng b Th n e s r r i —o o we t the o i tak a ha p g av ng t l , p nt , and cut away the m e tal in side the top

FIG . 44. edge so as to l eav e the l edge ab o ut a six tee nth down in which the s to n e mu s t fit fi e e s file and fo r ( g. Th n tak a mall m the se i i o e es o r s o r tt ng nt l av claw , what e er o u is i re rs to o v y w h , tak ng ca fi t bl ck o u t the i fo r s s re e eri ma n m , alway m mb ng to l e av e e n o ugh m e tal at the to p to h o ld he o Th r rf e o f the s t s e . e o e s t n ut u ac claw , o r l e av es may b e carve d with the round grav ers to what ev e r s hap e is desired (fig. Or the drill may b e u sed to p ro duce 1 0 1 he i e o f the S ettings p erfo rated pattern s b e l ow t l n se o f the s o e in f ere Is no e nd ba t n ; act , th to the varie ty o f fo rm s which may b e pro

FIG . 4 5 .

i The i i is to du ced in th s way . ma n th ng se cure the s to n e fi rmly in its place ;unl ess this is do n e in the fi rs t S haping o f the s e i It no t b e do e ro e r f er tt ng, can n p p ly a t r wa d . ed S ttin s ese are i Pav e g . Th se tt ngs o r u t o f the s o i Th sc rpe ed o l d m e tal . e m e th o d is o ne which has ee se d b n much abu , but is y e t capabl e of much b eauty wh e n p ro p erly ie The o i appl d . utl n e o f the s to ne is mark ed o n the e the ro d plat , g un is th e n care fully cut away with the s co rp er . 6 FIG 4 . until the s to n e ju s t fits in its e fi Y plac ( g. o u th e n cut a o rde r ro d the s o e s o i ou t b un t n , l p ng away 1 0 2

CH A PTE R X I I I — — Rings Hoop Rings M aking Compound Wire — — — The Knot Ring Poli shing The Wreath The — — Filigree Tabl e Ring Another Form The — Carv ed Ring The Design Of Rings

TH E Simpl es t form is a h o o p o f ﬂ at te n ed wire o r a band of m e tal co Iled is round a mandrel and so ldered . Th is the foundatio n o f m o re e lab orate fo r m s . A pl easant- l o o king ring may b e m ade a f ie f f- ro s o ll ows . Take a p ce o hal und

0 FIG . 5 .

l S i er ire o th i ide s o der lv w ab ut T g nch w , l two fine wire s l e ngthwise down each S ide O f it e e e is i o o e i , th n w av th nt a kn t l av ng o e i in the e er fi an p n ng c nt ( g. At every o ne ; o f the cro ssings o f the kn o t s o lder a tiny b e ad o f silver m ade by 1 04 ff s i e f cutting o n pp ts o m etal and running Rings the m up into b e ads o n a pie c e o f char o e e s s o e r e c al ; th n tak a mall t n , a ga n t o r o o r r so r se and set it an pal a ch y p a , n i F it th i i a clo se se tt ng. e sett ng in side the o e i in the o fi an p n ng kn t ( g. d so de r it ere i re to e e ro o l th , tak ng ca l av m fo r r i the se i o er the s e ubb ng tt ng v to n . Th e n make the band o f the sam e co m o d ire and so der two V-S ed p un w , l hap bands to it as wide apart as the width o f the kn o t ;th e n so lder the kn o t in e ee ese ar b tw n th , ranging the arm s ’ o f the V s so that e ru n in i th y w th 1 FIG . 5 . the lin es of the o s o er the oi s i e ds ei er kn t ; c v j nt w th b a , th si e o r ro ed ree fo r or five to ngl g up th , u , e er o r i si e e ds e ed ou t g th , w th ngl b a flatt n o n the s e e i e the ri s o e tak , th n p ckl ng, t n it i s i s o f W er o f A r s o e w th mall b t at y t n , o r s i s o f S e o r i o i ed s i s o f l p lat , w th p nt l p b oxwo o d dipped in pumice p owder and il e i it o n the e i the o . Th n p o l s h lath w th scr ru s and f er se i the s o e atch b h , a t tt ng t n

finis h o n the buff with ro uge . Y o u can vary this patter n to alm o s t 1 0 5 Rings any exte nt by u sing differe nt se ctio n s o f wire and differe nt arrange m e nts o f the h e r ire he a . t e o s and ds e. kn t ; g , c nt al w in stead o f b e ing ro und can b e flat with h o ll ow n o tch es fil e d o u t o f each side b e ir r ere to it The fo re the side w es a e so ld d . kn o t can be made m o re co mpl e te by inter ~ lacing thinn er wires in and o u t o f the o ers o r o u add i s and e es in th , y can tw g l av the i ers nt paces .

2 . FIG . 5 — To M ake L eaves Take a wire o f the i ess ou re ire the i to b e th ckn y qu tw g , e the e nd i n the o i e e h at bl wp p ﬂam , e it in the o r x e dire the plung b a , th n ct e e o n the ti The i blu ﬂam p. w re will quickly m e lt and ru n up into a b e ad

fi . A S s o o as the e d fo r s ( g n b a m , e the ire i o er and f er plung w nt wat , a t flatte ning o n the s tak e y o u can file it i o e er s e ou e se Gro s nt what v hap y pl a . up 10 6 quite dry and hard re m o ve the wax care The S i er i b e fo d xed fully . lv w ll un fi r e o e the s er i in the plas te . R m v pla t w th a b rus h fro m b e twee n the j o ints and ro d the se i do is i o a un tt ng, but th w th ut D r dis tu rbing the patter n in any way . y the plaster th o ro ughly in an o ve n or by the fire e i or x o n the se i , th n pa nt b a tt ng and o ver the cro ss i s o f the ire and ng w , everywh ere y o u wish to so der i l . Put pa l l o n s in the n e cessary places and play the flam e o v er the wh o le gradually so that any chance m oistu re may b If e drive n off. this is do n e to o sudde nly the plaster FIG . 54. i o ie es may fly nt p c . Y ou will th e n dire ct the flam e o n the setting and the wreath until the so lder has ru n e er r e r ri ou t v ywhe e . Th n tu n up a ng o f s ri o f si er an so er it e a t p lv d ld . Tak a c o il o f wire twis ted fro m right to l eft and an o ther twis ted fro m l eft to right and a l e ngth o f plain wiré a siz e or two

r er. Boi ou t the d in di e id la g l ban lut ac , co il the plain wire round the middle 1 08 o f the d and so der it o i the is e Rin s ban l , c l tw t d g wires o n e ither s ide o f it and so lder t e si e r s i o s o f so der h m , u ng v y mall pa ll n l , as if much is used the co ils o f twist will b e e W e the fill d up . h n bare ring is is ed s far o i it ou t e it fin h thu , b l , cl an in i e i e so the se i and a l ttl p ckl , al tt ng the i ree e ie e o f r fil g . Tak a p c flatted wi e -twisted wire o r o rdinary round wire passed o nce or twice th rough the ro llers fi —and e d it to the o i e o f ( g. 55) b n utl n the e o f i ree and f er i it tabl fil g , a t ty ng o n wi fine wire th , so lder it to the edge to i r g ve st e ngth . FIG . 5 5 . The n tie this table to the ring with wire and so lder the two o e er and rr e r ie es Of t g th , a ang b anch p c fl atted wire o r do e ro s o f wis ire ubl w t t w , so as to strengthe n the junctio n of the fi ese ring with the table ( g. Th branch pieces will go fro m side to side Of the ri e ind the i ree and eir ng b h fil g , th junctio n with the ring s hould b e covered i S ie d ou t o f i e o r w th a h l cut th n m tal , a ed head o r o o f is ire o r flatt , a kn t tw t w , a o er The i group o f grains like a fl w . ma n r thing is that the j o int must b e co ve ed. The junctio n o f the branch pieces with the table o f filigree will th en b e strengthen ed 1 09 It is im Rings by round grains so ldered in. i p o rtant to remember in all ring des gns io that there mu st b e no spiky p ro j ect ns ; b e ro ded and s oo and all must un m th , h e d for e s to the o . A S t e pl a ant t uch . fi l the display o f wo rkmanship is o nly the er re o f the rs o i o f the er u pp a a fi t j nt fing , all ornam ent S hould b e co nfined mainly M i s oo e in to that space . any th ng l k w ll a sketch which look ridiculous er o n the fing . It is best there fo re to build 6 5 ° FIG% up the effect o n the ri i se f s i i e rd wax ng t l , u ng a l ttl ha to ho ld the pieces o f s ilver and whateve r ou u se o e er Y o u i sto nes y may t g th . w ll so o n find ou t what effect is best if y ou re me mber that every design mu st — have three p rincipal featu res the ring r h i n t ro e t e o a d he e e . p p , junct n , b z l Many O ld rings were carved ou t Of the so i e fi To e ri l d m tal ( g. mak a ng o f is i d o u wi rs s i o th k n , y ll fi t ca t an ng t o f the s e ou re ire fi o r hap y qu ( g. hammer a cast b ar into the rough form ; e e the e and it o n the th n ann al m tal , put

pitch . The n S ketch o n the des ign in black er- o o r i r s and e re d wat c l w th a b u h , hav a y 1 1 0

All art is translatio n fro m o ne state into o er and the er of the r s io an th , mann t an lat n i reveals the quality o f the art st . Wh en y ou have model ed the wreath o r the o as as ou is ou kn t much y w h , y can t he n carve the remainder o f the band with r i re o r e ro o r i a unn ng w ath a ch v n , w th a graver ho ll ow ou t symmetrical cuts all Fi e and s r e the in round the band . l c ap s ide s oo o is i a ri s i i m th ; p l h w th ng t ck, wh ch is a taper rod o f wood covered with Chamo is ‘ e er and ar ed i ro e . l ath , ch g w th ug

CHAPTER X IV — — Necklac es How Designed The Arrangement of tones Chain -m ak ng il gree ounts for S — i F i— M Pearls B acking the Pearls Woven Links — — The nap olishing Another orm ofN ecklace — S P — F What to Study HOW to Use y our S tudies endants— u est ons for Des n—Loo for the P — S gg i ig p Pendant Cleaning and Polishing

Necklaces NECK LA CES could b e design ed on a circle — _; o f f ih . di e er and e d s s o d 4 am t , all p n ant h ul

1 Rings ( hollow ) can b e chased up after the lining has b een soldered in by b oiling the ring ( after a tiny hole has b een pierced in the lining) in a strong solu t on of b orax or a um his m akes a stron founda i l . T g t on for hasin and can b e removed b b oi in in i c g, y l g

w ater afterward. b e rr ed o n r di i es N o e N a ang a al l n . p ndants ecklaces s h ould go b ey o nd the se micircl e o r th ey will hang awkwardly o n the S ho ulder wh e n o r w n . Cu t a cir cl e o u t o f thin c o pp er o r b rass i i m e er e r in n . e the s 4% . d a t H av ady to n es ou desire to u s e and so e e e d ire y , m flatt n w i M e fe o r ro ll ed tw s t . ak a w flatte n ed e ds and e S e o u t the desi b a , th n k tch gn which sugges ts itself wh e n y ou have ar ranged the s to n es acc o rding to th eir pre n an o o r Y o u i fin Ciou s ess d c l . w ll d that the m ere symm e trical arrange m e nt o f the s to n es ro und the cir cl e will sugges t alm o st in stantly any numb er o f m e tho ds o f tre at C o o se se e s the si e . es m nt h what m mpl t, and twis t up y o u r wire to fo rm kn o ts o r re s ro the s o es fi n w ath und t n ( g. a d th e n arrange fo r the chain s and l o o p s which will b e n eeded to link all up to er geth . Av o id the u se o f sh o p - made chain s ; th e y s p o il the effe ct o f the m o s t carefu lly e ise e The o i o ssi e d v d n cklace . nly cha n p bl to u se is ed e e i i that call V n t an cha n , but e i f o The v e n that is no t quite sat s act ry . way to se cu re a go o d e ffe ct o f chain - wo rk is to i r is is coil up the l nks y o u self. Th b es t do n e by taking a pie ce O f flatte n ed 1 1 3 Necklaces

. 8 FIG 5 .

’ N n Wi e e er s fre ecklaces the pap er o t u sed . th a j w l t saw cut o ff the links l e ngthwise do wn the s ir e e i is as e as p al , k p ng th cut cl an si e You e o i o n o er p o s bl . can th n c l an th f iff ir r se io dre o d ere e. . man l nt, g c cula , ct n and s i r er o er i d o f ire l ghtly la g , an th k n w , si e o r o o d as b e e ess r mpl c mp un , may n c a y

to i e o r s to the rs series and g v c nt a t fi t , saw ese r in i e er Y o u th apa t l k mann . will th e n lo o p the two to ge th er in such l e ngths as y ou may n ee d fo r co nn e cting the vario u s featu res o f the n e cklace fi an ou s o r ( g. d y mu t s lde e ach link se r e o n the m o i re pa at ly p, tak ng ca by 1 1 6 o i e an u sing a s mall bl wp p d a s mall flam e N eckl aces to co nfin e the h eat to the link y ou are so ldering. A pl eas ant effe ct can b e p ro duced by se tting ro ugh p earls o r s to n e s in a backgro und o f wire i r see fi 60 o r fil g ee ( g. ) - re o r o f e es Fro 6 1 w ath w k l av . . an i s fi s 6 1 an d tw g ( g . d 1 A I t s b e e as fo o 6 ) . mu t mad ll ws e the s o es ou e se e e d e Tak t n y hav l ct , mak ei er o se o r o e se i s i e er th cl p n tt ng , wh ch v ou refer and se t e ro d the y p , th m un r e If o u o o se ro r m e tal ci cl . y ch ugh p ea ls o r e r is ers e S ie e s o f p a l bl t , tak mall p c si er si e o r 6 and lv , z 5 , do m e th e m up with a ro ded do i — un m ng punch , e ith er o n the l ead- bl o ck o r o n the do i - o m ng bl ck , to fit the backs o f the Ifthe e r s are ir p earl s . p a l re r in sha e ou s gula p ,y mu t s hap e the m e tal backs 6 1 A FIG . . with ro unded punch es o n e i e e r i l ad . Hav ng fitted ach p a l w th a ou ei er file the back , y can th away back i i rd b e see fro the fro unt l t can ha ly n m nt, 1 1 7 Necklace s o r y o u can k eep the edge well to the fro and file it i o s e ri s es nt nt ymm t cal hap , o r y o u can b order it with twis ted wire o r

6 2 FIG . . with wire b e nt into a rippl ed shap e (see fi an so ere i de the 6 d d . g. 3 ) d l Hav ng ma backs fo r the p earl s or the se ttings fo r the s o es rr e e ro d the e t n , a ang th m un m tal — circl e natu rally k ee ping the b es t and r r r f r the r la ge s t s to n e o p ea l o ce nte . B end up s o m e flatte n ed wire into wo ve n o s as S o in the di r and so der kn t , h wn ag am , l h h r e t e cup s o r se ttings o n t e w eath . Th n make l o ng interwo v e n l o o ps o f wire with circl es o r square s o r gro up s o f b e ads sol i n dered at the cro ssings (fig. This s o t o to s re e the o r to i e the nly t ngth n w k , but g v n e cessary co n r s o f ro d t a t b a , s i e s u r 6 m p l FIG . 3 . f es i the ac , w th wreathing lin es o f the l o o p s and back ro ds o f the s o es o r e r e g un t n p a l s . Th n e o i s as des ri ed o e and mak val l nk , c b ab v , o o the i s o e er l p l nk all t g th . I I 8

Ne k a es o f r ss ire o r i es o o o in c l c b a w 4 5 nch l ng, bl ng

io “ ‘ in r s e . o d ct n S b a , ﬁle the angl es until it is n e arly o val in se io o r ou ct n , y may p a s s a p i e c e o f ro und wire thro ugh t h e ro i - i ll ng m ll . This is to s erv e as he re ﬁ t mand l ( g. B e nd a s lip

o f N o e 1 . 5 m tal } i ide s o nch w , that it fits r o und the dre o se man l cl ly , and so der the o i l j n . On o ne end y o u will s o lder a bit o f the sam e siz e m etal and a ring o n the ce nte r o f this ; at the o th er e nd y ou will file a n o tch half-way acro ss the e and in is tub , th n o tch s o lder a nar ro w s ri Of si er t p lv , l e aving a S l o t b e 6 FIG . 5 . tween the tub e and h h t e edge o f t e strip this is to tak e the Necklaces o e o f the I n the e er o f th t ngu catch . c nt e s tri p y ou will file o u t a n o tch dividing it e ire and so the e nd o f the e for nt ly , al tub h o f i e e ab out gt an nch . Th n tak a S lip o f si ver as ide as the e and f as i l w tub hal th ck , f N e so lder a plate o O . 5 m tal at right es o n the e nd e e o er s i angl , th n tak an th l p the s e id as the rs and s o der the am w th fi t, l two toge th er at the o pp o site e nd to the - is i the o f right angl ed plate . Th s t ngu e o the and ou s e e s e catch , y mu t l av a pac b e tw ee n the e nd plate and the e nd o f is s s i o r o e s o e it th la t l p t ngu , that wh n is pu sh ed into its plac e the t o ngu e may s pring up and catch b e hind the s l o tted n f h o o f h e d plate o t e b dy t e catch . A tiny s lip o f S ilver is now p re pared which will ju s t fit in the S l o t al re ady fil ed in the b o dy o f the s nap ; this mu s t b e so ldered o n th en o f the N ow tr if e d to ngu e . y it i the and if no t file the w ll fit catch , , s ides o f the s l o t n e atly and truly until the to ngu e s lip s in quite e as ily and s prings up and h o lds the catch in its place and o es n t Y ou i e file d o wriggl e ab o ut . w ll th n it r e and e e i i ed up t u cl an wh n , hav ng l nk ' o ne part o n e ach e nd o f the n e cklace and so ldered the j o in s the wh o l e is co mpl e te . 1 2 1 Necklaces Y o u will th e n b o il o u t the wh o l e n e cklace I n i i i it o es o u t i e i d lute ac d unt l c m qu t wh te . — Afterward p o lis h the silver work with the s r — r s si i e s e e er as c atch b u h , u ng a l ttl tal b ex s it o u t in r a lub ricant . N t wa h wa m er set the s o es and ru b the se i s wat , t n , tt ng h r i r the s o ver with t e bu n s he . At am e tim e y ou may burnis h bits o f the o rna e the o o s and r i r the m nt, l p , pa t cula ly flat e r i h te n ed b eads . Th n ep o l s h t e wh o l e o ri i with rouge t a b ll ant su rface . Y ou may wis h to mak e a n e cklace e n W e i s o se it is to b e tirely o f silv er. w ll upp N w fo r e - or r d o f ro ses . o a ga lan , m tal w k , it is imp ortant that all the natural fo rm s y ou e mpl o y s h ould b e ge n eraliz ed ;that is to sa i e ou no t s d to o o se y , wh l y can tu y cl ly the m e th o d o f gro wth and the characteris tic s es o fthe e es ds o ers and fr i hap l av , bu , fl w , u t, y ou mu s t avo id slavis h imitatio n o f acci de ntal fo rm s o r the minute de tail s o f the I n o r ies b e as i e as gro wth . y u s tud m nut o u e s e ou no t b e to o i s i y pl a , y can pa n tak ng ; in e r i B u t e o u e o u s e e .

put v yth ng y wh n , y r s e ese s dies i o o r e r to t an lat th tu nt w k , l a n e e o u t The r is is o as l av . a t t kn wn much by he o i r what m ts as by what he puts in his wo k . H e s e eks fo rm s typical o f his subj e ct and et s i e to his eri y u tabl mat al . 1 2 2

Ne kla es o s s o f r s the e f e do c c b se o se . Lay m tal ac wn — o n a thick pie ce o f co rk or c ork matting and o u t ese ro ses fro the punch th m back , and th e n punch o u t the s mall er gro up o f ds dis ri i e ref s o as to bu , t but ng th m ca ully i e ffe e f er e i e t s r . g a pa kl ng ct Th n , a t h at ng the i la the e do f er o i i p tch , y m tal wn a t l ng h er rf e Y o u i now o i e t e und su ac . w ll utl n the e e s and r es ee i the l av b anch , k p ng arrange m e nt as symm e trical and as s imple o i r as p o ssibl e . Av d cu ly e es o i i r es l av , c l ng b anch , o r i e r o o s and w ml k t , ir i fo r s ee s qu m ng m . K p the drawing o fthe l eaves cl ear and accu rate and i W e o de c ded. h n y u e do e is e ou t hav n th , th n lin e the ro ses and draw the e s o n the o sses 6 p tal b , FIG . 7 . eith er o p e n o r partly o e e i cl s d . Th n w th a s harp tracer o utlin e the s e s to b e ier e d i i ro pac p c , wh ch w ll p bably ' b e the o e O f the rou nd and e wh l g , th n wh e n y o u have do n e all y ou c an to the re o ss e the si er o ff the i e p u é , tak lv p tch , cl an it and i e it e p ckl . Th n lay e ach pan e l o n its face and file away the ridges made by the o i i r er and so o the i utl n ng t ac , n t ny 1 24 f h i s crap s o t e gro und w ll dro p o u t and N eckl aces the o rnam e nt will S h o w cl e ar again s t the i ex e ie e o f si er f l ght . N t tak a p c lv o r the Of the e si e o r i e r er back pan l , z 4 5 , a l ttl la g ro d o r e do e it u er all un than y u pan l , m p v y . s lightly so that it may p ress agai n s t the s o f the i s an back tw g d l eav es . Wh e n it fits s crap e the su rface all o ve r and tie the two secu rely togeth er ;u se pl e nty o f b o rax et ee the o i s the and b w n j nt , tack back fro nt togeth er In two o r thre e plac es ro und an in the e er W the edge d c nt . h e n the so der has ru n ress the o i s o se to l , p j nt cl ly ge th er wh erever the m etal has b ee n warp ed the e o r ere er the o i e by h at, wh v j nt may hav e i erfe ed o r se re e b e n mp ctly fitt cu d. Th n cl ean the wh o l e I n acid and re charge with b o rax and with e n ough but no t to o much so der and se e the so der s es l , that l flu h n i h o i Y o u we ll under a d nto all t e j n s . can th e n pierce the ground o u t with a fre —a D o no t saw to o o se drill and t s w. cl ly to the o r e e e rro e to nam nt , l av a na w fill t b e ed f er rd and efore fil away a t wa , b cut ting away the waste m etal ro und the edge c o il up s o m e rings o u t o f 1 4 wire and so lder th e m o n the back plat e in co n tact with the pan el wh ere th ey are re ir If ese ri s are si so dered qu ed. th ng mply l 1 2 5 Necklaces again s t the pan el th ey are apt to pull o ff f er er i o f e r T o o o a t a c ta n am ount w a . l p es e els o e er ou i re ire th pan up t g th , y w ll qu l o o p s o r links which carry o u t the desi gn f i ese b e ei er o the ma n pan el s . Th may th r o ses i few e es or o s wi ed w th a l av , b ugh t n i o i up nt cl o sely kn t b osses . W e the ir e is o e ed ou i h n c cl t c mpl t , y w ll e the and the o e f er i mak catch , wh l , a t p ck i i b e re d l ng, w ll a y to b e sto n ed and i e If ou p o l s h d. y wish to m ake a p e ndant for this e e it s n cklac , mu t no t m erely b e an e or ed e lab at pan l , but s h ould have som e centralpo int o f i eres Y o u nt t . m ay eith er read “ The R o maunt o f the o se and 6 8 R FIG . . tak e th e nce what e er s es io os e s to o u o r v ugg t n m t app al y , yo u may p refer to put a nightingale Singing i n the idd e o f o er o f e m l a b w l aves (fig. The er i b e the e s diffi as the latt w ll l a t cult, for er s o ses o ed e o f the re m upp a kn wl g figu , 1 2 6

N k a es the e s i f r er ro d i he ec l c m tal t ll u th un , unt l t ro ugh re lief is as high as the thickn ess ir e e thro ugh the b ody Of the b d . R ann al the e it o n the i and s e m tal , lay p tch , hap the bird carefully with chasing and re o ss o o s dri i the e r d p u é t l , v ng m tal g a ually ro d e i d the o f the ird i un b h n back b , tak ng care that y o u do no t crack it in tlie p ro c e ss Y o u i find it o ssi e to et the . w ll p bl g b o dy quite in the ro und sav e fo r a narrow W e ou e o p e ning at the back . h n y hav o de e d the s rf e as ou is m l u ac y w h , cut away the gro und and s o lder a piece o f e o er the o e i i re if m tal v p n ng, tak ng ca , ere b e no o er e s e fo r the air to th th cap , drill a small ho l e wh ere it will l eas t b e e o u i r i see n . Th n y w ll take an o th e p ece o f e si e 6 or i e ess and e m tal , z , a l ttl l , mak the b ower o f l eav es o r b ranch es within i the ir i b Y o u s wh ch b d s to e set . mu t k e e p it wreath - like and cle ar and simple i n o utlin e with o ut any spikin ess o r to o re irre ri O f s rf e I t s o d g at gula ty u ac . h ul b e de do e the er o n the ma ubl , patt n back ei de e o e fro o n th f e b ng v l p d m that e ac . The two can th e n b e fil ed and fitted to e er and i e an so er d d d ed. g th , p ckl l Wh e n the wre ath is c o mpl e te y ou can tie the bird in its place and s o lder it to the 1 2 8 b o o u e re re fo r it Wh N ugh y hav p pa d . e n ecklaces the wo rk is cl e an y o u can th e n take a ro ded r er and e e -s i and un g av a c m nt t ck , after faste ning the bird and wre ath o n the wax o u s r e the o de i o f , y can ha p n up m l ng the e es s e r o s so der and l av , cut away up flu u l , e the o e e and o r i e mak wh l cl an w kmanl k . The wre ath can b e hung to the n ecklace o ne o r two i o r Y o u i by cha n s l o o p s . w ll p ro bably find that six l o o p s offlat wire e n rich ed with twis t so ldere d ro und er e i s i ro se alt nat l nk , w th a b o ss in the ce nte r o f the six i s i b e s ffi ie l nk , w ll u c nt fi The lo o s s ( g. p mu t b e fairly b ro ad and no t to o o o r the e d l ng, p n ant will twis t ab o ut and will no r e t hang t uly . Th n l o o p the wh o l e n e cklace h ffe I t te mp o rarily toge th er to see t e e ct . s o d i n o ne e e r e and h ul hang v n cu v , any irregularity mu s t b e c orre cted by l e ngth e n ing o r s h o rte ning links wh erever n e ce ssary . Y o u will p ro bably find that a se co nd dro p o r sub o rdinate p e ndant Is n eeded b e n eath the ir M e e r—s e ro o f b d . ak a p a hap d g up l eaves and ro ses in two halv es (fig. 1 29 h Necklaces s o lder th e m toge ther with a l o o p at t e to and is e s o f re e or p, hang th by m an th

ﬁve links to the wre ath . Wh e n it all see m s as co mpl ete as y ou e it it in the i e and can mak , put all p ckl i n S o e l e ave it till quite wh te a d cl e an . t n it carefully and p o lish o n the lath e — with the s cratch b ru sh and s tale eer e s e i so b . Th n wa h cl an w th ap s ds and ho t er and dr it in u wat , y the It i o o s ri sawdus t . w ll l k ta ng FIG 0 . 7 . n i and unpl e asantly white a d b r ght . This defe ct can b e rem o v ed by bru shing it o ve r with a ho t so lutio n o f am m o nIa su l ﬁ in er e re it do es no t d wat . Tak ca that ge t into the se tting o r the e ffe ct o f the s o e b e ir s i W e the t n may e nt ely po lt . h n s rf e e s as d r as o u is s it u ac g t a k y w h , wa h e in ho t er and o is it d cl an wat , p l h by han i s - an i e ro w th a wa h l eath er d a l ttl uge .

CHAPTE R XV — — Brooches Suggestions for Design Mountinn he — M aking of Compound Twists The Joint and Catch

roo hes B R OOC HE S s o d b e e r er s B c h ul k pt ath mall , and b e design ed o n the sam e p rincipl es as 1 3 0

i M e the B rooches b e at the s tag o u t in re l ef. ak s e tting fo r the s to n e and fit it into its e re f and if the s o e is to b e plac ca ully , t n s et in the ro d rr e the or s backg un , a ang h n so that th ey will take the s e tting o f the s o e and se e the s o e is ed t n , that t n plac nice ly in relatio n to the res t o f the e ncl o sing W e th re o ss is do e o i it s e . e pac h n p u é n , b l e and if the ro d is to b e ier ed cl an , g un p c , make a back as des crib ed for the s ilver l e If it is no t ie r ed do e e . n ck ac p c , m i o f N o si er s ffi ie slightly a p e ce . 5 lv u c ntly r to -i r i ro la ge l eav e a 95 nch ma g n all und. After the back and fro nt are tacked to e er dri o e o f s o es o ne g th , ll a c upl mall h l , at each e nd o f the h o riz o ntal diam e ter a littl e within the places fo r the j o int and is is to le t the air es e o er catch . Th cap , th ise the im riso ed air ex ds and ei er w p n pan , th rs s the o ff o r dis o r s the fro bu t back , t t nt i it ou t in its e es by bulg ng w ak t place . Y o u i now re ire r r e w ll qu a b o de . Tak ro d ire si e 1 2 ss it ro the a un w , z , pa th ugh fl atte ning-ro ll er o r hamm er it into a rib b o n o r dr ie e o f ro d ire ro , aw a p c un w th ugh dr - e i o o o e e a aw plat w th bl ng h l s . Tak e o f s er ire o in the a l ngth mall w , ab ut 4 e e do e it and is i m tal gag , ubl tw t up t ghtly fro m right to l eft ; twist ano th er pIece 1 3 2 ri fro m l eft to ght . Take two l e ngth s o f B rooches o er ire the s i e o f the si er ire b e c pp w , z lv w fore it was e ed and tie o ne o n e flatt n , ach side o f the silver ribb o n with Iro n binding e fix o ne e nd o f is o o wire . Th n th c mp und wire in the vise and o ne e nd in a hand vise or ir o f s ides and is the o e a pa l , tw t wh l i the s ir is as o se as o u i i unt l p al cl y w s h t . Y o u can the n re m o ve the co pp er wires and re e i the si er is s and f er plac w th lv tw t , a t i e in eir e o u s o der ty ng th m th plac , y can l e ere and ere si s i o s th m h th , u ng mall pa ll n and taking care no t to fill up the twis ts N o o i n i so der . w e a d s o der w th l b l , cl an , l r a fr e it ro und y ou pan el s a am . I n s tead o f do ing this y o u can mak e a ir e o f s s rs ei er in re o ss c cl mall ta , th p u é ro d the e o r ou e un pan l , y can mak a numb er o f gro up s o f grain s and so lder o The e r ha h o re th e m r und. latt s t e m s r i effe it es o er pa kl ng ct, but tak much l ng W e h r e r i file the to do . t e o d s de h n b ma , su rplu s m e tal fro m the back and ro und the ed e and it i b e re d to re ei e g , w ll a y c v the o i o r e ie e o f i j nt catch . Tak a p c th ck , half ro und wire and b e nd It i nto the s hap e o f a C with a l o ngtail th e n file the o o o f the i and f er rd b tt m ta l flat, a t wa so der it in o si io o n the ro o e r l p t n b ch n a , 1 3 3 n h ex ou B roo che s but no t actually o t e edge . N t y in mu s t make the hinge fo r the p . Take ie e o f fine e o si e 1 2 in the a p c tub , ab ut z e e and m tal gag , s o lder a s h ort l e ngth,ab out fil th i o o n nch l ng, a

s i o f N o . a l p 5 , little larger e ach fi e e Iece o f way ( g. Th n tak a p s to ut silv er wire and ru n the e nd up i o o —i e fi F e nto a g d s z d b ead ( g. latt n th e an file it i o s e as s o e b ad d nt hap h wn . Up o n the flat side o f this y ou will s o lder r n r er o f e fi an o th e a d sh o t l e ngth tub ( g. File ou t o f the ce nter o f the first

FIG 2 . . 7

tub e a s pace wide e n ough to take the f e o n the e nd o the in see ﬁ A . tub p ( g. 73 ) W e the two erfe e o er h n ﬁt p ctly , tak an th i f an o er i p e ce o N o . 5 d s ld t at o ne side 1 3 4

i B rooches back the sto n e with a pie c e o f Wh te fo il o ive it re er ri i o er t g g at b ll ancy . An th way o f s etting s to nes in the backgro und of any pan e l is to b e at o u t a h o ll ow fro m the i o i the s o e ex fits back nt wh ch t n actly . Y ou will th e n pierc e o u t all o f this except a narrow pie ce ju s t sufficie nt to re tain the Y o i e r s to n e firmly . u w ll th n tu n up

FIG . 7 5 .

a narrow s e tting o f thin s ilv er and ﬁle the e dge eith er wavy o r s callo p ed o r s er r ed and s o der it in e i d as s o at , l b h n h wn

fi . is for s s sidi r se i ( g Th m a ub a y tt ng, 1 3 6 and wh e n all is c o mpl e te the s to n e can b e B rooches ' dro pp ed into its place and a pie ce o f ro und ire e to the r e o f the se i w , b nt cu v tt ng, can e b e e d in e i d the s o e and the th n fitt b h n t n , s o ed o r s err ed ed es o f the wavy , call p , at g s e tting b e nt o ver the wire and bu rnis h ed n i he s o e is se t i e r Th u t l t t n qu t fi mly . e d e o f is is the o r o n the a vantag th , that w k backgro und can b e carried ro und the s e t ting with o ut any o f the awkward j o ins which are alm o s t imp o ssibl e to av o id wh e n a separate s etting is so ldered in o r up o n the s e i e o u the gro und . At am t m y mu s t no t mak e the wo r k l o o k as if a h o l e had b ee n made I n the m e tal and a s to n e dro pp ed in The se i s b e fr casually . tt ng mu t ankly de to o o i e se i and the fo i e ma l k l k a tt ng, l ag o r b ranch es in the backgro und mu s t b e made to l ead up to the se tti ng as the cul h minating p oint o f t e wh o l e j ewel .

CH APTE R XVI — — Pendants Things to b e Avoided Suggestions for De — — sign The Use of Enam el S etting the Enamel - The H oop for the Pendant-n Polishing

PEN DA NT S s h o uld no t b e large o r sp rawl Pendants in . o i s ro e io s and ro esses g P nt , p j ct n , ughn s o b e i The i es o f the h uld av o ded . l n I 3 7 Pendants o rnam e nt s h o uld te nd toward the ce nter o r to som e p o int o f interes t within the o i e The s o d b e de in utl n . back h ul ma M e ho te resting as we ll as the fro nt . y m t d o f design 13 to make e ach j ew e l e n shrin e r I tr to e the s o m e s to ry o symb o l . y mak o r e si e to the em to its le nam nt allu v g , g e ndar is o r to its i ies o r to the y h t y , qual t , i F o r x e ide s s es ed t . e ou a ugg t by ampl , y e - ri e thc e i se f no tak an aqua ma n ; nam t l , ess the o o r o e s es s i s l than c l , at nc ugg t th ng f h a o er e o is er is o t e se . Any th m th d p m f i i r H e sible i the s tude nt s s nce e . must fo ll ow whatev er in spiratio n is give n him o an in i o f e r in s s d s e e . at all c t , p t v yth g The design now suggested is m erely a peg o n i to the e i es ri io wh ch hang t chn cal d c pt n . o r s o e o r s o e s o n bit o f si er Lay y u t n t n a lv , and draw fi s h es swimming s pirally to o r fro m the s to n e as a ce nter ; make s tudies o f fish o idi ro es e o r ex r o rdi r , av ng g t qu t a na y fo rm s ; pay gre at atte ntio n to the b o ny s tructu re o f the h ead and the set o f the fin o o r s . L k at any Japanese d awings o f fish ou et o d o f and fo o eir y can g h l , ll w th e m th o ds . After y ou have made the se tting fo r the s o e dr the fish o n the si er o ss the t n , aw lv , b o e e ou t fro the rr e wh l w ll m back, a ang a I 3 8

Pendants the e e Is to o e and the e d es nam l c m , g o f the ro d s b e der s o g un mu t un cut, that i the s ilv e r itse lffram es the e nam e l . N o th ng l o o ks w o rs e than e nam e l m e lting away into m o de l ed wo rk with o ut a lin e to fram e it and k e e p it in its p ro p er place in the co m o si io e is no t i d o f i p t n . Enam l a k n pa nt which can b e applied anywh ere as a m e an s o f hiding inferio r w o r k ;it mu s t b e treated as re io s eri and e o ed in a p c u mat al , mpl y i i The o er e de to s mall quant t es . m d n t n ncy c o v er large su rface with e nam e l vulgariz es the eri i it o o i e s o mat al , mak ng l k l k much o o red r is and is i o co r c l va n h , th w th ut any res o i e Y o u i e e p nd ng advantag . w ll th n cl an the e o i i o u t in id and m tal by b l ng ac , ere er the e e o es the ro d wh v nam l c m , g un and the back o f the m e tal al s o is to b e s r e i e e an ri o er c ap d qu t cl an d b ght all v . C o o se two o r ree o o d ri e e s h th g ch nam l , r i fro d r to e sea- ree and ang ng m a k pal g n , ri d it f ir fine and s it e g n up a ly , wa h w ll till all milkin ess dis app ears ; th e n paint the o f e e ere er ere is back ach plat , wh v th to b e e e in fro i u m r nam l nt , w th g t aga and er and d s the i s ee canth wat , u t back ng ( er o n e Wo r o er S e chapt Enam l k) all v . hak o ff the s r s and e e to r e d . u plu , l av y Th n e the ro d ree s add i dro tak g un g n , a t ny p 1 40 o f u m to e ix re in the s e s endan g ach m tu , fill pac P ts ef for the sea s di the re e s fro l t , ha ng g n m d r the ed e to i the e er a k at g l ght at c nt , making the lighte s t gre e n a littl e darker the e r s o e e se e er i than c nt al t n , b cau v yth ng to e fire mu s t l e ad up that . Th n carefully in the m u file until the e nam el fl ows s m oo th and s i i re o e fr o the f r e and h n ng, m v m u nac , co o l s l o wly in a sand bath o r in fro nt o f he s o e t t v . W e o o o u re o e irre u h n c l , y can m v any g larities o f s u rface with a co rundum file If e r r -fir and er . ess e e to et wat n c a y , g all n ri Y o u i n e s m o o th a d b ght . w ll ow hav o rr e the i o f the t o o e er t a ang fitt ng w t g th . e ie e o f 1 0 si er i e r er Tak a p c lv , a l ttl la g the o i e o f the e d r than utl n p n ant , ma k the o i e ro d i o i e i utl n all un w th a p nt , l av ng ro e io s ere o o s o e e saw p j ct n wh l p c m , th n o u t the ce nter l eaving o nly a band § th f i e Cu t rro d o N o . inch w d . a na w ban 5 si er e d it ro d the o i e and lv , b n un utl n , e it fits so der the e ds o e er and wh n l n t g th , so lde r the wh o l e to the plate y ou have s e d ou t so o u e as it ere aw , that y hav , w , a s e e o e i re the o er s ide k l t n s tt ng. T at th in i i Fi e the se i i o a s m lar way . l tt ng nt e- i e i e and f er s o deri two a wav l k l n , , a t l ng s ro o o s to the e r e file t ng l p c nt al plat , away 1 4 1 endants the s r s e and e the o e P u plu m tal , mak wh l se tting s m o o th to the to uch and pl e asant fin ri and xi to o o . e e d l k at Tak a ll , , fi ng the fro in e dri o e ere and nt plac , ll a h l h n h r ie there thro ugh the se tting a d t e el f. D i i th so M e er o th s w th e back al . ak tap ' pin s o f s ilv er wire to t he o e s fit h l , and f er r i , a t ubb ng the edges o f the se tting o ver with a r is er i ser the bu n h , n t pin s and p ress th em r o e Cu t fi mly h m . the m o ff cl o se to the se i and e tt ng, tak a s mall graining- to o l fi or o o ( g. 77) a h ll w e ded the h a punch , h o ll ow o f which is no t larger than the e d o f the in h a p , FIG . 77 . grain the p o int o ver with a circular m o v e m e nt until the ro ugh e d o f the in is e ro is xes h a p w ll unded . Th fi the in r in its Y o u i now p fi mly plac e . w ll e ed to e the o o and i e o n mak l p , a l ttl kn p to act as a sp reader fo r the su sp e nding ai s Y o u t ch n . may make he kn o p to su g 1 42

ndants ri s and s o der e to the o o s ee Pe ng , l th m l p ( fi r i ee the fi . 8 D and x e two g 7 ) , a g a n b tw n fo r the sak e o f s tre ngth no l ess than fo r e r e M e i o o s as efore app a anc . ak cha n l p b d e s r i e d an d c b , b e at up fo ur littl e o e b sses . Th y may b e sh e ll s o r little c o il ed fi s h es ;make e do e s ol th m ubl , der e o e er th m t g th , s o lder l o o p s top and o o and b tt m , th e n l o o p the who le up temp o rarily to h it s see ow hang . After correcting i e i i e s any n qu al t , s o l d er al l t he i s o e e r Fro 3 , . 7 . cha n t g th th e n p o lis h with the s r - r s and e er and f er c atch b u h b , a t rd is it ro e The e e or wa fin h w h ug . nam l p tio n can b e p o lish ed with putty p owder and i e a l ttl water . CHAPTE R XVI I — — Ornaments and Comb s Silver H airpin The — — Skeleton Sphere H ar dening the Pin A Comb in — — Silv er How to m ake the Prongs The Joint — The H ead of the Comb Arranging the S tones — The Groups of Leav es The Pin for the Hinge — — S etting the Pearl s How to Drill Pearls

CO MB S and o th er o rnam e nts fo r the hair s b e er i and free fro s r mu t v y l ght , m ha p The re ir angles o r roughn esses . qu ed lightn ess is o btain ed eith er by u sing v ery i e o r i di the desi th n m tal , by bu l ng up gn i r o u t o f wire o r fil g ee . Le t u s e the si es rs and e tak mpl t fi t, mak in f r th ir a l o ng p o e ha . Take a ro unded iro n do ming- punch an e ou t two f- o es o u t o f N o d b at hal d m . 2 o r si er file the ed es e e and 3 lv , g l v l , so lder the two halv es togeth er to make o e e e to i a c mpl et ball . L av e a h o l 3; nch wide in the ce nter o f o ne o f the half-do m es and a s mall er h o l e o pp o site this and fill it i i e r the i - o w th p tch . Th n wa m p tch bl ck , and we t the silver ball and p ress it into the pitch ; th e n take a fine tracer and trace s ir i es ro d the do e i re no t p al l n un m , tak ng ca to drive the punch in to o deeply ; th e n 1 45 with o th er punch es chas e the su rfac e int o ro unded s ir ri s e i er i p al b , th w th a narro w rib b e twe e n each ir o r si series o f pa , mply a ro e s ir s ex und d p al . N t e is ed ' ire the tak tw t w , s es si e ou et mall t z y can g , and so lder it into the ho l h ri l ows b e twee n t e bs . is do e ie e o f Th n , cut a p c s to ut s ilv er wire 6 inch es l o ng and file it into a tap er pin so lder the chased ball o n the to p o f this pin s o that the e nd o f the pin r o e s er s i p j ct v y l ghtly . N ext tak e two rings o f } ire o i i n w , ab ut 7 nch di e er so der the two am t , l o e er ro ss ise and t g th c w , s o lde r a s mall b ead at the to e so r is n p. Th n lde th o the to p o f a tiny pie ce o f ro d ire i e o un w l k a c lumn , and put a grain o f silv er in each angl e (s ee fig th e n s o lder a tiny half do m e o f the silver o n

Hair O rna width o f each half-do m e and fl ower b eing meri ts and ri exactly the width apart o f the b s . So lder Comb s o ne to the e er o f e rib and le t the c nt ach , all fl o wers and small half- do m es b e s o ldered to r ex file the ro each o th e . N t away c ssing ires i i the to and o o ri s and w w th n p b tt m ng , s lip the co mpl e ted ball into its place o n the pin ; find the p o int at which it l o o ks es and ere so der o r o f ire o n b t , th l a c lla w th in Y ou i no so er the skele e p . w ll w ld to n s ere in its e e i i the ph plac , b g nn ng at ro th lf no t ei s o er to p. P te ct e ha b ng ld ed W e the with l o am or whiting. h n upp er oi is de e the o o r whi j n ma , cl an away l am ting and b oil the m e tal cl ean and white in i e S r e the oi ri and s i p ckl . c ap j nt b ght, l p an o ther ring o n the pin to make a co llar B efo re ro e under n eath the s ph eres . p c ed in to so der e two s o ri s i g l , mak t ut ng nch i side e s re and tie e o o si e e n m a u , th m pp t ach o er er h in an s er th wh e t e p d ph e m ee t . Th e n pro tect the res t o f the work with o or i i as efo re and is s ol l am wh t ng b , fin h eri ex i o d ng. N t make s x s mall h o ll w s ere f 2 an i s o o . e d i o ed ph N m tal , hav ng c l up a numb er o f s mall rings o f fine wire o r fine is e re d e r o f s tw t, hav a y a numb mall e ds o f si er and so der the ri s ro d b a lv , l ng un the o sides o f the s and r i in ut ball , put a g a n 1 48 r e ir e very alte nat c cl e . Th e n so lder a ring o n the to p o f e ach and e ball , mak s ix l e ngth s o f fine chain as de s crib ed for n e ck es o r si lac , mply o f ir es o f ire c cl w , alter nate twis t and i r e pla n , la g and s and mall , l o o p three ball s o n e ach l o o p as n fi s h own i g. 79 . N ext hamm er the pin carefully o n a b e nt stake to make it hard an r i d s p n g y . The wh o l e can now b e cle an ed an o i e d p l s h d . To M ake a

C mb — e o . Tak a s ri o f si er t p lv , siz e 1 0 o rdinary e and r gag , ma k o u t a simpl e

FIG 8 2 . three o r fo ur . ro ed o as in the o er o r io o f p ng c mb , l w p t n f s r ﬁ 8 2 . e e s e o e ee g. L av a pac at l a t th quarters o f an inch b efore y ou b egin the r e saw o u t the ro s and ﬁle p o ngs . Th n p ng o r up the edges cl e an and s m o th . D aw a

' ie e o f fine e as de p c tub , l s ri ed e fo re o ‘ c b b , ab ut T s i in di e er and so l nch am t , der a l e ngth al o ng the back o f th ese p ro ngs as at A in fi 8 . g. 3 Y o u will now re quire to f h make the to p o t e co mb . The b es t way is to ge t a few cl e ar s to n es and arrange e i o e s er th m nt a pl a antpatt n , FI G 8 ° ' 3 with differe nt shaped b o sses f n f i r fi o m etal a d wre ath s o fil g ee ( g. This was an arrange m e nt o f aqua r n r The e r s s o ma in es a d p e a l s . p a l h uld b e o f irre r s es and dri ed so gula hap , ll b e e a ro e Firs that th ey may m ount d s s s . t e s e i s fo r the - ri es and mak tt ng aqua ma n , — so lder th e m o n a back plate hamm ered i i io e e up nto a do m cal se ct n . Th n mak s tro ng twigs o f thick wire hamm ered tap e r and s o ldered togeth er in a simpl e i er i er r i h i nt lac ng patt n emb ac ng t e sett ngs . The er s no t b e to o re r patt n mu t gula , I SO

i Orna e er in ro s o f ﬁve i r i s b e Ha r g th g up , w th g a n ments and n f e e tw e e n e ach pa o l eav es . Th n mak a Comb s calyx o r s k e l e to n s etting fo r e ach o f the e r ro se s and s o der x o n the ti p a l , l a caly p o f e ri i i e i e o o f ach p nc pal tw g, l av ng n ugh the twig to pass thro ugh the p e arl and b e r iv eted o r grain ed o v er wh e n the p earl is is i b e do e e the ﬁxed . Th w ll n wh n all so deri e i and o is i has ee l ng, cl an ng, p l h ng b n

co mpl e ted . Hav ing ﬁxed the p o si io o f the ro ses t n , y o u can now arrange the gro up s o f l eav es in o rder o n the

s e and s o der t m , l e si o o r th m , u ng l am whitiiI to Pro te ct FI 8 G ° ’ 5 th gints The e j . c e nter lin e o f e ach l eaf s h o uld b e tan n ia h fi ge t l to t e main curve ( g. Wh e n all the l eav es hav e b ee n s o ldered o n y o u will n e ed to s tre ngth e n the b o tto m plate b o th fo r the attachm e nt o f the hinge and to bind up the s ettings fo r the s to n e s i o o e e o e ie e o f nt a c nn ct d wh l e . Tak a p c s o s ee - i r 8 s e s ed as B in fi . t ut h t lv hap at g 7 , and i file d it s o o tie it r , hav ng up m th , fi mly i ire o r s ro i s o f e iro w th w , t ng cl p b nt n 1 5 2 ire to the od o f the o W . e w , b y c mb h n the so lder has flu s h ed we ll in and around e er oi oi the o r e I n id and v y j nt b l w k cl an ac , th e n file a gro o v e with a ro unded file al o ng the o o ed e o f the ro e i o e b tt m g p j ct ng t ngu , and so lder a tub e o f the sam e siz e as b efore into the gro o ve ; file s paces into each r tub e to re ceive the proj e ctio n s in the o th e . Th ere sh ould b e no t l ess than five j o ints ree o e an tw fi is th ab v d o b el ow ( g. Th

FI G . 8 6 .

o f i the i e is e s o ne way mak ng h ng an a y , but it is no t the es e se it is o s Im b t, b cau alm t p o ssibl e to file the j o ints o f the hinge er o p fectly tru e and s quare with o ut the j o int o o If ou is to s e o re i e o n t l . y w h p nd m t m the wo r k y ou can make the hinge In s h ort e s as descri ed for the s e i e l ngth , b ca k t h ng , and e i s i ed the r s o f th n , hav ng l pp all pa t the oi o n r ss in ed to tie j nt a b a p fil fit, the h ead and the tang o f the co mb to I S3 O na e er i the i e e ee e s H air r g th w th h ng b tw n , th n ju t — ments and tack the tub es thre e to the tang and two Comb s — to the h e ad with a tiny panel of so lder to e ach ;do no t flu s h the so lder o r y ou will s p o il the wh o l e hinge by ru nnIng the so lder A s io ou into the j o ints . a p re caut n y s h o uld paint the in side o f the tub es and the face s o f the j o ints with a littl e r o uge and W e the ar s are ed e er . wat h n p t tack , tak r the wo rk apart and so lder it all fi mly . ex m e two o o s and so der N t ak h ll w ball , l n fi 8 i o ne to the end o f a pi ( g. 7) wh ch exactly fits the i e and h n g , , havin dri ed FIG 8 i ll . 7 . the o tfier ball , file a s h oulder o n the o th er e nd o f the pin r i h i ju s t wh e e t co m es thro ugh t e h nge . Wh e n the c o mb is finally fitted toge th er the pin will b e se cu rely rive ted o v er

the ball . Wh e n the wh o l e is s to n ed with Water o f A r s o e and has ee o is ed ou y t n b n p l h , y se t the s o es as f re ri may t n b e o des c b ed . I n ﬁxing the p earl s y ou will n eed to u se s e to e e e to eir se i h llac c m nt th m th tt ngs . e s i o f s e and f er e i Tak a t ck h llac , a t h at ng o ne e nd in the as e dr it o u t i o g ﬂam , aw nt

o re d. e e the se i o f a l ng th a Th n h at tt ng [ 1 54

Y ou can now drill the h o l e with o ut danger I he r r o r own er o f nju ring t p ea l o y u ﬁng s . Th ere Is no n eed to drill the p earl right ro e de e e e e ed th ugh , a w ll ma p g w ll c m nt i o d i e e e e if it o o es w ll h l qu t w ll , v n nly g f- i o the e r If the e r Is hal way nt p a l . p a l sp e cially valuabl e the peg may b e keyed n is is o e ri i o e an o . Th d n by d ll ng a h l d making it larger at the b o tto m than at the o The e se is e o f two f t p. p g u d mad hal ro und wires put to ge ther and so ldered to the the two e ds are e n s i cap , n th l ghtly ed y and er i ed e o f e ﬁl awa , a v y t ny w g m tal inserted ; the peg is th en c em e nted and r sse i o the o e The re ss re o n p e d nt h l . p u the wedge driv es the two halv es o f wire o utward and the peg can no t b e with I b i r . t o e r e o u t C re d awn can nly d ll d . a is n ee ded in do ing this o r the p earl may b e s i pl t .

CHAPTE R XVI I I — — B racelets The H ammered Bracelet The Hinge — — — Bracel et The B and The Snap The Hinge — — Fitting the j oints The Flexible Bracelet Cleaning and Burnishing

B racelets B RA CE LET siz e s range fro m 6} to 7 inches in ir fer e c cum e nc . 1 5 6 Take a s h o rt l e ngth o f thick silv er wire BraceIets o th i In di e er e It and ab ut f1 g nch am t , ann al , ﬂatte n it ou t to a square s e ctio n in the c e nter and fan s hap ed and feath er- edged ﬁ at the e nds ( g. Wh e n y o u hav e s tre tch ed it o u t to at l eas t two inch es l o nger than the circum fere e re ired e s r ise and nc qu , tak a ha p ch l — divide the fan s hap ed e nds as s h own in

FIG 8 . 9 .

h i r e the o r t e d . e o ag am Ann al m tal th ughly , n ext o p e n o u t the strip s o f m e tal and er e i o m o r re r er hamm th m nt a e gula tap . D i i es an e i o s to o s d d . th b th , ann al aga n M r ou t the ri e s o f the r e e a k ght l ngth b ac l t, and e d the e ds to s r e so b n n a ha p angl , that the tip s o f the e nds will ju s t re ach the x re i i o f is i e S o der o n e t m t es th l n . l each b e nd a s h ort piec e o f silv er the I S7 i es s o f the r e e i the Brac elets th ckn b ac l t , mak ng d o f the r e e s the ri e ban b ac l t ju t ght l ngth , n and file up the e nds tru e a d cl ean . With — ir o f s o o ro d o sed iers e d a pa m th , un n pl b n up the tap er twigs into simpl e s cro ll s 0 an o e e i e (fig. 9 ) d c nn ct th m w th ach o ther by m e an s o f large b eads made as b e o re des ri e d and e ed i c b , flatt n w th

FIG 0 . 9 .

er n the s re e s e W e hamm o qua b nch tak . h n is has ee do e to o sides e d th b n n b th , b n the band ro und with two pairs o f stro ng iers i o the s e o f pl nt hap a ﬂatte n ed circl e . T o av o id marking the m e tal y ou must make thin c o pp er o r b rass s hields to slip o er the s o f th i W v jaw e pl ers . h e n the r e is erfe and the e ds e cu v p ct , n butt cl anly o e er e s e e sa r so t g th , tak a mall j w l , y a ch y 1 5 8

ra e ets e ss ou is to oxidi e the o r i B c l unl y w h z w k , wh ch b e do e as des ri ed e se ere the can n c b l wh , o e is i wh l fin s hed . — To M ake a Hinged B r acelet Cu t an ellip se o f the siz e required o u t o f s to ut s ee r fi is is to ser e a h t b ass ( g. Th v s a guide wh e n b e nding the band o f the r e e two s o f s r b ac l e t . Tak l e ngth qua e silver wire and make two o val s to fit

FIG 2 . 9 .

r So der the cl o sely o ver the b rass patte n . l two e ds o e er and rro s i n t g th , cut a na w l p o f N o 6 o r 8 s e e - si er as ro d as o u . h t lv b a y h is b e wis h to make t e band. Th can deco rated in re p o u ss é with v e ry simpl e pattern s o f symm e trically arranged do ts o r si e r i er a mpl unn ng patt n . B e nd the band to fit the o utside o f the o val rings ; tie the band and the rings 1 60 r o e er as in the di r fi fi mly t g th ag am ( g. B racelets and s o der the o e so d o e er l wh l un ly t g th . is es the d o f the r e e Th mak ban b ac l t . Y ou e now to e the i e and s hav mak h ng nap . M e lee the Hin e or int — To g yo a D raw a l e ngth o f thin silver tub e as wide as the i ess o f th e r e e ed e and o er th ckn b ac l t g , an th e s to i side is ri l ngth ju t fit n th tub e . D ll a ho l e thro ugh the edge wires o f the

r e e and e r e is i the eed e b ac l t, nla g th w th n l file so the r er e i s i co m , that la g tub w ll l p fortab i o i s e N ow o ff ly nt t plac . cut a s h o rt l e ngth o f the larger tub e a littl e o er the de o f the r e e d l ng than pth b ac l t ban , and halv e it l e ngthwise with the fram e sa I o o ne f o er two e s o f w. nt hal s ld l ngth the s e i s e e ee e — mall tub , w th a pac b tw n th m e ach pie ce b eing a third as l o ng as the 1 6 1 — f h o h Bracelets j o int and into the c e nter o t e t er half s o lder an o th er pie ce o f tub e fil ed to fit exactly b e tw ee n the fi rs t two (see fi F it ese g. th two halv es o f the j o int to ge th er after painting e ach with a littl e r o uge and water to p re v e nt th e m fro m s ticking t oge th er whil e b eing FI G s o ere d i o the . 94. ld nt S r e the b racel e t . c ap o side o f the e i e e and tie it ut tub qu t cl an , in place with i i - i r b n d n g w e . See that the j o int in the tub e lies acro ss the edge o f the b race l et as in fi g. 9 5 . Put so m e s mall pan el s o f so lder o n e ach side o f the e an , d Fro tub . 9 5 . so lder it with o ut

“ i i to o e o r the so der g v ng much h at , l may o r ﬂu s h into the j o int and sp o il the w k . 1 6 2

n Th e o u Bracelets to the o th er e d . e plat A sh ld rs b e so dered in o si io i i - e ﬁ t l p t n , a l n ng plat , B ei so dered i side e f o f the , b ng l n ach hal

r e e fi s . b ac l t ( g 99 , and a s l o t fil ed at C to B admit the thumbpie ce o f h F ix the s n t e s nap . ap e ref in e plat ca ully plac , ro e it and tie it i ug , w th F1 6 ° 9 9 ° ir S r e the w e . c ap back o f the s nap-plate and the e nd o f the b race let which abuts o n this ; tie binding-wire ro d the o e r e e and so der the un wh l b ac l t, l back- plate o f the s nap to the p ro p er half f th Fi the o i e an o e band. l e j nt cl an d s oo and re e se the s ressi m th , l a nap by p ng the p o int o f a file o r a knife up o n the spring- plate thro ugh the T i s o C . he e e l t thumbp c , de o f s ri o f si er ma a t p lv , can now b e so ldered in o si io and the s is p t n , nap co mpl ete . A l o o p may b e so ldered o n e ach side Fm ' fo r the attachm e nt o f the s fe - i if ou is it is not a ty cha n y w h , but so e e e ab lut ly n c ssary . All the c o n s tructiv e e n richm e nt o f the d— as for i s e e o f fili ree ban , n tanc , a pan l g 1 64 or fo i e or s et s o es— s o d b e w k , l ag , t n h ul B racelets do e efo re the o i and s are de n b j nt nap ma , o th erwise the b racel e t may no t s nap o r r cl o se p ro p e ly . — How to M ake a F lexible B r acelet Make a numb er o f s mall half-do m es i r s e . o u t o f N o . 5 lv e si er ire o Tak a lv w , ab ut 20 e and o i it ro d gag , c l un a pap er - guarded mandre l ; e it s i o ff the o i s o f ann al , l p c l FIG . 1 0 1 . ire and i the saw w , w th cut o ff the l o o p s o ne by o ne until y ou have r B i h i o o d e . o t e r s e a g numb l ng cl an , an rr e e o e er se fi 1 0 1 d a ang th m t g th ( e g. ) n i So r o a l ev e l p ec e o f charc o al . lde th em o e er and s o der f- do e in the all t g th , l a hal m m iddl e and a grain in the i i f h ir nters e ct o n s o t e c cl es . Make a numb er o f th ese i M s sa e . e l nk , y tw nty ak a similar numb er with group s o f ree s r i s dded FI I o z th mall g a n a G . . in the inters e ctio n s o f the ir es fi e e are the o r c cl ( g. Th s na m e ntal l o o p s to the chain o f which the

fl exibl e part o f the b rac e l e t will b e made . Take a mandrel o f flatte n ed iro n o r b rass ire o i s ri o f i er ro d it and w , c l a t p th n pap un , 1 65 f er the er e ed o r f- ro d ire B racelets a t pap flatt n hal un w , Saw es e i s o ff and 1 8 o r 20 . gage th l nk , with th e m l o o p the fi rs t made links in gro up s o f three and so lde r e ach link ; the three ce ntral o r na car b e m e ntal links . l o o p ed together al so Y o u i l (fig. w l now b e abl e to l o o p i up the wh o l e 6 1} nch e e si o r ou l ngth a ly , y can make the b racel et with a single row o f rin e dlo o s as s o g p , h wn FIG 1 0 . 3 . in fi 1 is g. 04 . Th do e e the two e nd e s o ne to o d n , mak pan l , h l the an the o er fo r the - e s nap d th catch plat . Y o u can do th e m in re p o u ss é o u t o f 8 i e r ir f i b e s . o e ra ts or gag lv A pa l ttl , s quirre l s in a b o wer o f e es o d l av , w ul o o e and the l k w ll , relief s h o uld b e f ir i The a ly h gh . FIG 1 0 . 4. gro up s h o uld b e do e in o ne ie e e i e r ine n p c , l av ng a cl a l do the e er fo r th o i W e the wn c nt e j nt . h n o de i is o e e o i it o u t and m l ng c mpl t , b l 1 66

CHAPTE R X IX W — — Gold ork The C are of the M aterial B oard — — — Sweep M ethod of Treatm ent Alloys Hair — — Ornam ents The Ingot Drawing the Wire — — — M aking Grain s Leav es Flowers Gold Sol — - — der Nine Carat Gold for the Pin Study of Old Work

Go d Work GO L D or o n o o f the re er l w k , acc unt g at o s o f the eri eeds er c t mat al , n v y much r re o n the r o f the or m o e ca pa t w kman . B o rd s ee e e o is i s the s ee a w p , l m l , p l h ng , w p in s o f the fl o or undern e ath the wo rk-b e nch —g mu s t all b e carefully p reserv ed for t e fining wh e n a sufficie nt quantity has b ee n The eri s o d s b e o btain ed. mat al h ul alway sed so it i es its o s de or i e u , that g v utm t c at v The or s b e i o u t valu e . w k mu t bu lt up o f i s e e s o r ires no t ed ou t th n h t w , fil up o f the so i Go d its er d i i d . l l , by v y uct l ty and e i i i i es is e o d of mall ab l ty , nv t th m th tre atm e nt ; and it is the o ne m o s t u sed in the ri To o r in all fin es t p e o ds . w k s o lid go ld is to waste pre cio u s material ee e U e i it i es e n dl ssly . s d th n g v a b auty i The i unatta nabl e by o th er m ean s . qual ty o f the go ld to b e u sed de p e nds o n the r f F o r s natu e o the wor k . e nam el ed pan el 1 68 fine o d is es o n o o f its ex W g l b t, but acc unt Gold ork re e so f e ss it i no t s d e r t m tn w ll tan much w a . To i e it rd ess it is o ed i g v ha n , all y w th r i i ies o f o er and si e r va y ng quant t c pp lv . Co er i se f i es the o d red o o r pp by t l g v g l a c l , silver by itse lf a gree nis h co l o r ; the two togeth er gives the all o y alm o s t the i i Th o r i o o r . e es o g nal c l aga n b t all y , b o th for w orking and app earance after rd is r i is o s wa , natu ally that wh ch m t — - T fin viz 2 2 r . he e r e o d . n a ly g l , ca at ex es is 20 - r i e the o rdi r n t b t ca at, wh l na y o f r r - r B u t g ld o t ade j ewe l y is 1 8 ca at . is if o ed i o er o is no t th , all y w th c pp nly , e s in o or is rder to o r pl a ant c l , much ha w k , and is liabl e to crack if u se d fo r re p o u ssé o r If it is o e i si er o the w k . all y d w th lv nly a o is er in o o r o d it ll y pal c l than g l , but is er e s to or and is er du c v y pl a ant w k , v y i e an i F or re o ss o d t l d k ndly . p u é g l may — b e allied with silve r do wn to 1 2 carat ; but b ey o nd 1 2-carat the all o y l o o ks much ore i e si er o d and the m l k lv than g l , effe o f it is no t er s e er ct , p hap , much b tt - i r Y e t it is as than go ld wash ed s lv e . well to re m e mb er that the additio n o f e ve n a small quantity o f go ld to silver gives a richn ess o f co l or which can no t

b e o btain ed in any o th er way . Gold Work W e will supp o se y o u wis h to make a pair o f hair or nam e nts in 2 - r o Firs ou 0 ca at g ld. t y will buy fro m any o f the io er s 1 z bull n m chant o . o f ﬁne o e 1 0 g ld. Tak f t hi s i . . o ne dw s . o e t , f an r d to e e dwt. hal , v y add two grain s o f ﬁne silv er and two o f all o y in 1 t 1 o er dw . 6 c pp , all rs it in r i e g . Put a c uc bl i i e or x e w th a l ttl b a , m lt and cas t it in a narro w W e o o r i o . d ng t h n c l , aw it o u t o n the anvil into a s re ire er the qua w , hamm ti er and f er an p tap , a t n e aling draw it down with the draw plate until y ou et it to si e 0 Co i it g z . l up and ann eal it care fully o n the m o p ; b o il it o u t in ro o ri i hyd chl c p ckl e . N ext ru n the e nds into e ds so e r e fo r b a , m la g e es and so e s l av , m mall fo r erries and s i o ff b , n p s o r e Y ou i h t l ngth s . w ll

the Gold Work is fo r the foundatio n band round edge . This circular band mu s t b e s oldered to a ir e o f e ed ire the ire ei e c cl flatt n w , w b ng b nt i Y ou i ex do e edgew se . w ll n t m up a ball o f go ld in two halv es o u t o f siz e 1 or 2 ; e the e s fits the do i - o wh n m tal ju t m ng bl ck , take a file and file away the superflu o u s m e tal and having made an air-h o le in o ne r B e d half so lder the two toge th e . n up a small s trip o f m e tal into a tube o 1 th i o so der is ab ut f 5 nch l ng, l th 1 o n — ir e o f si e 2 do ed a 5 1 6 c cl z , m s lightly ; o n the to p o f the tub e h ex o i so lder t e go ld b ead . N t c l six ri s o f fine is ed ire up ng tw t w , ju s t large eno ugh to fit in b etwee n the o o e d and the se tie h ll w b a ba , th e m all in p o sitio n with binding ire and so der e to the s e Fro 1 0 . , , . 9 w l th m t m to the h o ll o w b ead and the base fi 1 M e r i s ou o f s (see g. ak g a n t mall e s o f ire o r i s o f s r o d and l ngth w b t c ap g l , so lder a grain in the angl e b e twee n the ring and the b ead and in the angl e b e tw e en the 1 ri an the s f the ng d ba e . Round the edge o base put a double row of twisted wire to en ose the ri ri s Be ee e ir cl up ght ng . tw n ach pa

1 To solder grains ﬁnish paillion solder on the b ack

of rain then b orax it and la it in a e and flame it . g , , y pl c The so der i ace l w ll fire grain without appearing on surf . 1 72 f ri o ngs you must now so lde r a group o f Gold Work ree r i s e re not to u th g a n , but tak ca se too e or ou i e the ri s much h at, y w ll m lt ng . is e o i ed o u t e fo r s the Th , wh n b l cl an , m e r o ss o f the o e o r e Ti c nt al b wh l nam nt . e this and the large ring alre ady made o n th i i i di - ire Y o u e ro n ball w th b n ng w . can now arrange the gro up s o f l eav e s and b e rrIes in th eir places b e tw ee n the b o ss and the ri ro s o ng. Each g up mu t t uch two o an o o ri s th ers and the to p d b tt m ng . If is is no t do e the or i no t b e th n , w k w ll s ro i t ng. Wh l e s o ldering th ese it may b e w e ll to paint the par ts no t to b e so ldered with a pas te o f o or i i and er l am wh t ng wat , or i e - and er as p p clay wat , a rec io i s e r p aut n aga n t m lt F o . I 1 0 , in T g. he so lder itse lf sh o uld ru n m o re easily than that u sed fo r the ro s o f e e s T o se re is e g up l av . cu th , tak as much o f the fi rs t so lder as y ou think o u re ire and add to it ie e y may qu , a p c o f si er s o der o two r i s o f si e r lv l , ab ut g a n lv so lder to each p e nnyw eight o f the o riginal so i is o e e der . W e the so de r l h n l ng c mpl t , o i the o r e e re d b l w k cl an . Hav a y a num b er o f s r i s so o i ed e and mall g a n al b l cl an , s o lde r o ne in the angl e b e tw e e n the twigs and the o o si is o fo r a b tt m , u ng th b th p I 7S fi Gold Work pearance and s tre ngth ( g. This do e i o i ou t e and i n , aga n b l cl an , hav ng de ree ir es o f ire si e 2 2 so der ma th c cl w , z , l th em toge th er as in fi . 1 1 2 e g . Tak a s h o rt l e ngth o f e i e ou tub , l k that y made fo r the ce n r o ss and t al b , tap It WIth a femal e s crew ; file up the FIG . 1 1 1 . e nds tru e and so l der it to the e er o f the ree ri s c nt th ng . i 1 1 s o er rr f F g. 3 h ws an o th a ange m e nt o r the o o o f the i ree o e is b tt m fil g d m . Th trefo il mu st no w b e s o ldered to the back o f the o o ri and the rs r o f b tt m ng, fi t pa t h o r o F i h t e e e . 1 1 s o s t e w k c mpl t g. 4 h w o o e e i kn p c mpl t , but w th a b o ss o f c o il ed twist- wire in the ce nter in s te ad of rs es ri e that fi t d c b d . The n ext is to make the pin fo r attachm e nt to the ir I t s o d ha . h ul FIG . 1 1 2 . b e o f - r o e 9 ca at g ld . Tak in the p ro p o rtio n o f 9 o f go ld to 7% - o f o er and o f s i er i . e. 7 c pp 71 lv , 7 } grain s e ach o f c o pp e r and silver to 9 1 74

G d Work ou e r fro o r o r and as o r ol y l a n m y u w k, y u s i in di o r ro s so i o r k ll han w k g w , w ll y u e r o f esi esi no t b e p o w d gn . D gn can se parated fro m handiwork“ I t is the exp re ssio n o f y o u r p ers o nality in term s f the eri in i o u o r O ne o mat al wh ch y w k . has o nly to l o o k at any pie c e o f e arly o d or i M kenean Etru s g l w k , Egypt an , y , I di o r can , n an , o - S xo to Angl a n , re aliz e what rich e ffects can b e pro du ced by rep e ti io The e t n . b au tifu l p a t t e r n s e o ed r v lv by A ab , Persian and H in do o ar tists fro m the simpl est ele e s o ffer m nt , a FIG . I 1 4. wo rld o f su gges io to the o r f s and o e t n y ung c a t man , p n up ide s fo r f re u s D o no t e to a utu e . att mpt o s o r s d the ri i es c py uch w k , but tu y p nc pl o f o r s e i e ex re an f r d d o . c nt a t l n , t tu , m A grasp o f the m e th o d o f building up all o r o u t o f i s e e i e ou to w k th n h t , w ll h lp y es e ri i es fo r o r e apply th p nc pl y u s lf. CHAPTE R XX — Gold N eckl ace with Pendant Fleurs de Lis The — B rass M old B urnishing the Gold ov er the — M atrix Another M ethod of M aking Fleurs de — Lis Engraved M atric es

G0“Ne k TA K E a pie ce o f b rass large e n o ugh and c e “ i e o fo r the e d and i th ck n ugh p n ant , hav ng f lienifam care fully tran sferred to it the o utlin e o f o r er ier e o u t the s e i y u patt n , p c hap w th the saw and file it , up to the s hap e o f the e fi p ndant ( g. o mitting o f co u rse the rings and l o o p s fo r s s e sio e u p n n . Tak e e s i fi a c m nt t ck ( g. 1 which is m ere ly a sh ort tap er handl e o f w o o d with ro ugh e n ed e n o o - si e d. A g d z d ’ FI G 1 1 . 5 . lump o f e ngr avers 1 cem ent Is warmed in the flame o f the blowp ip e o r spirit lamp and fixed o n the rough en ed e nd o f the stick ; the ceme nt

1 ’ To mak me t ur und it h e en ra er s em ent . g v c l B g y p c , arts R esin arts aster of aris 2 arts ees 4 p ; , 4 p ; Pl P , p ; B wax 2 arts in a i kin tir el til thorou h , p , p p . S w l l g ly in or ora e c p t d. I 77 Gold Ne ck while warm is p ressed into any shape re la e ith c W quired by ro lling it o n a co ld iro n plate Pendant sprinkl ed with water to p revent the ce me nt i i In is se ou i ress fro m st ck ng. th ca y w ll p the warmed ceme nt o n the iro n so that o et e e to fi e the y u g a l v l p ( g. Tak r ss ode r it and ress it i o b a m l , wa m , p nt the cement so that ex actly half remains ex o e S o o the p s d. m t h ceme nt down round the edges with a wetted steel s a Coo it in w er p tula . l at , and wh e n co ld take a ie e o f 22 o d s i e 2 p c g l , z , e it e and wi ann al w ll , th a rounded bu rnisher press and ru b the go ld over the r ss s e e b a hap . Ann al the go ld frequ ently at rs and ou wi find fi t , y ll the or e si r W e w k a e . h n y ou have go t the shape er e r r the v y n a ly , wa m “ o d and ress it r g l , p fi mly o n the e e i it s i s fi c m nt unt l t ck ( g. Now with the po int o f the burnisher ou dri e the o d i o the es y can v g l nt angl , and is the s e o e e Re fin h hap c mpl t ly . o e the r ss o d fro the e e m v b a m l m c m nt, 1 78

Gold Neck so lder th em in place with pan els o f a e with 1 8 r so der de ddi 6 r i s l c ca at l , ma by a ng g a n Pendant f o f fine s i er to e er dwt . o fine o d lv v y g l , o r if o u u se the s r s and i s fro , y c ap fil ng m the 2 2- r r i s o f fine si er to e ca at, 4 g a n lv ach o f r is do e o i the o r dwt . s . c ap Th n , b l w k e tie the two es o e er i cl an , halv t g th w th fine i di - ire i the ed e s er b n ng w , fitt ng g v y clo se ly to e ach o th er o r the s o lder will no t r r e e er in flu sh p o p e ly . R m mb that go ld wo rk y o u can no t fit to o cl o sely ; in silver or o n the o r r if the o r fits to o w k , c nt a y, w k e the s o der r s o the s rf e w ll , l un al ng u ac an n i the o i W e h d o t nto j n . h n all t e j oin s are so ldere d the w o rk can b e fil ed up and x The the hanging rings fi ed . s mall er si e i b e e in i e r If o z s w ll mad l k mann e . y u wis h fo r m o re elab o rate fo rm s y ou can o de the s e I n wax and i de m l hap , hav ng ma s er rix e s i n e a pla t mat , mak a ca t typ e Y u no w u h m tal . o can r b t e go ld o ver the typ e m e tal cas t in the sam e way as o er the r ss o de o r i ade v b a m l ; , hav ng m the s er rix ou e i pla t mat , y can tak a z nc s o f it in s d o d and ru b the ca t a an m l , o d i o it i s e o f o er i irre g l nt n t ad v t . Any g u larities in the m o ld can b e re m o v ed by chasing the s urface with rep o u ssé o t o l s . 1 80 An o th er m e th o d is to take a thick pie ce o f b rass large e n o ugh fo r y o u r pu r o se and i ered the s rf e p , hav ng hamm u ac carefully to mak e the m e tal unifo rmly de se and o e s o r er and i n t ugh , tak a c p , w th it h o ll o w o u t a matrix o f the form y ou re ir The s rf e o f the o r qu e . u ac nam e nt can b e fu rth er m o de l ed up with ro unded chasing to o ls to alm o s t any degree o f fine e The effe o f o r or b n ss . ct y u w k can e see n b o iling the m e tal and taking fre y . qu e nt i mp ressi o n s in wax o r m o deling I o is o th i s pas te . nt th m ld e th n h ee t go ld can eith er b e rubb e d o r b eate n in with a hamm er and a s trip o f l ead (see fi The e d re e s i r g. l a p v nt nju y ei er to the o d o r the m e and th m l tal , by s re di o u t der the o for es the p a ng un bl w, c If fine go ld into all parts o f the m o ld . silver is u sed it can with care b e hamm ered so id i o the o d and e ed o f r e . l nt m l , th n fil t u I n all th ese m e th o ds it is we ll to re e er the fo r s s b e e r and m mb that m mu t cl a , s died o se fro t re o r sed o n tu cl ly m na u , ba so m e form which y ou hav e fo und by ri n r exp e e nce l o o k s we ll i wo k . Th ere mu s t b e no under- cutting o r the wo rk will no t draw fro m the m o ld wh e n in y ou have b eate n it . f e r i ri i Gold Ne ck The plan o ng av ng mat ces n brass a e with was o ne ex e si e sed in o ld o r l c t n v ly u w k . endant P Many o f the elab o rate n e cklaces s h own in the go ld ro o m o f the B ritis h Mu seum are made up of simpl e form s p ro duced in o ds i e o se s des ri ed e m l l k th ju t c b , th n

FI G . 1 1 8 .

. so dered o e er and i ed i l t g th , l nk up w th r n o es i ro ugh p ea l s a d uncut s t n . H av ng by o ne o r o th er o f the ab o v e m etho ds de o r e d s ro em ro d ma y u p n ant , g up th un the ir e and the oi s o f su s 45 c cl , at p nt e sio ei er s o e si e o ss p n n put th a t n , a mpl b o f o d o r ee i e o i of is ed ire g l , a b h v c l tw t w , 1 8 2

h f h i in t e s e o t e o e ﬁ . 1 20 and hap utl n g , s o der the two e ds r o e er ex l n ﬁ mly t g th . N t e two es o f s i e 6 o ne fo r the tak plat z , and o ne fo r the fro do e s i back nt, m l ghtly, an s o er e to the o i fr d ld th m utl n e am e . Fil e the su rplu s m e tal fro m the e dges and mark the ce nter lin e down the sides o f the

F RAME

FI 1 I G 1 1 . G . 20 . F . 9

fr e and s aw the b ox r e ise am , apa t l ngthw Y u e no w two es fi . 1 2 1 A o ( g ) . hav halv o er M r the which exactly fit each th . a k sides i s o d o e o e er s o t , wh ch h ul c m t g th hat y ou may readily fit the two in the right ri o f N i e e ex e s o . plac . N t tak a t p 5 , a l ttl de e er the sides o f e f o e p than ach hal l ck t, 1 84 e d it to ex i i the o e and b n fit actly w th n l ck t , s o der it in e fi l plac ( g. This is to form the b e z el o n which the lid fits and i the lid Is e d , by wh ch h l r in N fi mly plac e . o w b o il the wo rk cl ean and fit the two to e er i r g th . H av ng d awn a s h o rt l e ngth o f s mall tub e fro m which to e the i e i s mak h ng , w th a mall ro und file o r a j o int file mak e a dee p gro o ve al o ng the lin e o f the j o int (fig. I t s h o uld b e as dee as o s si e s o the e p p bl , that tub FI 1 2 1 G . A . may no t proj e ct and s p o il the o u t i e o f h e u t o ff ree e s l n t e p ndant . C th l ngth o f the e s o the ree o e er tub , that th t g th ju s t fill the s pac e pro vide d fo r the hinge . Fil e the e nds o f th e se s h or t l e ngth s tru e and s i - M r quare n the j o int to o l (fig. a k

JOINT

FI G . 1 2 1 B .

the o si io o f the e er o ne and f er p t n c nt , a t i r the two es o f the o e tak ng apa t halv l ck t, so lder the ce nter l e ngth o f tub e in its place o n o ne half o f the l o cke t and the i f The oth er two l e ngth s o n th e r hal . 1 8 5 I t l o o p can now b e so ldere d o n . can b e i e eith er a plain o r a sw v l l o o p . A swive l l o o p is made as al ready de s ri ed in the er o n e d s o c b chapt P n ant , nly ins tead of having the s mall rings at the b o tto m a h o le is drill ed up th ro ugh the o i o f the o o and ire e ded o ne p nt l p a w , b a at

FIG. 1 2 2 .

e nd is s i ed in and e o er to fo rm , l pp , b nt v h is a ring b e l ow t e l o o p (ﬁg. Th ri o b e r The i e and ng s h uld so lde ed . sw v l the h o l e mu s t b e paint ed with a littl e ro e and er s o the so der Ir a ug wat , that l y no t ru n and m ake a so lid ins tead o f a i e oi S o es b e set o n the sw v l j nt . t n may fro and the fro e e i nt nt pan l cut away , l av ng rro rim e e e e a na w . An nam l pan l can th n b e xed in fro the as des ri ed in ﬁ m back , c b th r n i e chapte o Se tt ngs . 1 8 6

e se e ﬁ 1 2 o f e ach into a blunt b ev l ( g. 4 F i 1 2 s o s e r ed Vie B . A , ) . g 5 h w an nla g w n o f the o o F ix e in o f the cutting e d t l . ach the Vise and ﬁle o ff the s quare e dges al o ng the sides and the to s o p, that the t o o l will b e m o re

co mfo r tabl e to the hand . I t will b e w e ll to have o ne o r two made with a ro unde d e e i e o e and o ne b v l l k a g ug , with a rath er s harp b evel ed e e fo r sio u dg o cca nal se . H aving go t th e m fil ed up i o s e and the sides FI G 1 2 nt hap , . 5 . and to p made nice and s o o i e er — o rde e m th w th m y cl th , ha n ach by h eating it to a ch err y red and dro pping it i e o f o er nto a buck t c ld wat . i no ee e erin Firs Th ey w ll w n d t mp g. t b righte n the m e tal at the cutting edge by r i i n r — o e o the ubb ng t o e m e y cl th . Th n h ld t o o l in the flam e until the fi rst pal e s traw o o r o es re ess e o f o c l c m . Hav e ady a v l c ld er and as s o o as the o or e rs wat , n c l app a ,

o o the o o in th r ~ W e c l t l e wate . h n all e ee re ed o u i b e re d to hav b n t at , y w ll a y e i to r b g n w o k . e o r o f si er o r o d Tak y u lump lv g l , hamm er it well all o ver to make it m o re 1 8 8 an ifor in ex re I t i de n se d un m t tu . s w ell Carving in to hav e the m e tal l o nger than the o bj e ct M etal to r e s o y ou wis h ca v . that y ou can h old i In s e - vis e i e r i t a mall b nch wh l ca v ng. B efore e i i it is is e to e the b g nn ng, w tak p re cautio n o f making a m o de l in wax o f e ou i e to r e B o the subj ct y nt nd ca v . l ck o u t the p rincipal masses with the go uge s e ise D o no t b e to o e er to hap d ch l . ag e t do to the s rf e o f o r o de g wn u ac y u m l . I t is b e tter to get the actio n and m o ve m e nt b efore atte mpting m o de ling in de i i h hise o . e t e s er s u ta l Th n , w th mall c l y o o er the o r and re i e the fo r can g v w k , al z m ore o e e i re s to m c mpl t ly , tak ng ca alway drive the chise l al o ng the lin e o f the b ev el i res o h r see fi 1 2 C wh ch ts up n t e wo k ( g. 4 ) . At this s tage y o u may take the w o rk o u t ' o f the is e and it o n the i - o v put p tch bl ck , an or it i re o ss o o s d w k up w th p u é t l . Oval i - o o s i s i ro ded matt ng t l , w th a l ghtly un s rf f fo r is e i b e fo d er se . u ac , w ll un v y u ul th Us e the chisel s no w and th e n to rem o ve any m etal which by re p eated wo rking has - o b eco m e to o hard to yield to the tracing t o l . With s m o o th punch es and trace rs y ou can f o r get alm o s t any degre e o f fin e n ess o w k . If o e er the o r is to b e f er rd , h w v , w k a t wa e e ed it is se es s to s e d to o nam l , u l p n much 1 8 9 tim e up o n surface m o de ling; a great deal n h e i mu s t b e l eft to b e do n e i t e enam l ng. Sp ray s o f l eaves and fl o wers o r kn o p s o f l eafage can b e v ery e asily p ro duced i e in th fo o i er by th s m th o d e ll w ng mann . Supp ose y o u wish to carve a spiral kn op o f e es nut l av . Take a pie ce o f 1 6 e si er gag lv , b eat it into a do m e o f the siz e anddepth o fy ou r no e k p . Ann al the N ow m etal . draw with a fine b ru s h and I ndian ink the s piral twigs and the ss es o f e e ma l av s . 3 1 1 1 2 6 6 See that b ranches o r twigs s tre tch fro m each lin e o f the s piral to the lin es ab o ve and b e l o w it This Is in o rder that the kn o p may b e stro ng o r Wi ri n - all ve . th a d ll a d a fre t saw pierce h i r ou t t e e s es . e o r r ers nt pac Tak y u g av , e i i the ro d s or er f er e i b g n w th un c p , a t w tt ng the tip o f the to o l and cut gro oves l e ngth ise o the i s s o the s ir w al ng tw g , that p al ro f th i i o e s e si ed. ex g wth tw g mpha z N t, 1 9 0

br es and e e s are e i o e er anch l av w ll kn t t g th . Carving in M Pier ce o u t the interspace s with the drill e tal e - and saw. Th n take an e ngraving s tick ’ and ie e o f o d- e er s s i r a p c g l b at k n , wa m the e e o n the s i and s e it i c m nt t ck , hap w th a wetted thumb and fo re finger ju s t to fit th i e the s i o r e se tt ng. Plac k n v e the warm ed e e and c m nt, p ress the set i s o t n g, a l r ed e wa m , w ll do wn up o n the s k i n - c o v e r e d F‘G 1 2 s rf e The ' 9 ° u ac . c e m e nt will press the s kin o u t th ro ugh the o es in the se i and e o d h l tt ng, wh n c l r in i will keep it fi mly ts place . Unl ess the skin is u sed the ce m e nt is apt to sp read o er the e so o u no t see all v m tal , that y can r o i Y ou no w r e what y o u a e d ng. can ca v i r f ri the wo r s o r e s as e o re des ed. k w th c p , b c b

CHAPTE R XX I I I — — — Casting The Cuttleﬁsh Mold Flasks The Loam — - Smoking the M old Slate or B ath brick M olds

E RY s s i s s as re iefs to set Castin V mall ca t ng , uch l g in ri s and s r s o f fo i e e ds irds ng p ay l ag , h a , b , I 9S etc can er e si b e do e in cu ttlefis h . , v y a ly n o e C o o se e and erfe s e i b n . h a cl an p ct p c m e n cu ttlefish it in f and ru b e , cut hal , ach I ser r fac e p e rfe ctly flat . n t th ee s mall i in o n f e i reg s ter p egs e ac (fig. l eav ng e o f ro o e e e fo r he er pl nty m b tw n t patt n . ress the two f es o er s o e P ac t geth , that th y

FI 1 0 G . 3 .

h so e o se . t e er fit ab lut ly cl Lay patt n , i s no t b e ere der wh ch mu t anywh un cut , in the s e e ee the e s and re ss pac b tw n p g , p the two halves o f the m o ld carefully and r so ou et erfe fi mly , that y may g a p ctly ’I e r i ressio . ake e r re cl a mp n th m apa t, 1 94 the r o to the to o f the o d so cha c al p m l , that the pit c o m es o pp o site the channel ” r r M e o er o p o u . ak an th chann el fro m the h o ll o w in the charco al to the chann e l in h N ow o r t e m o ld . put y u go ld o r s i er in the r o e it i the lv cha c al , m lt w th blowpipefifdding a littl e b o rax to aid the f sio and e the e r s i o u n , wh n m tal un nt a e r s i i o e o e i the o d cl a h n ng m lt n gl b , t lt m l

I 1 2 . F G . 3

h r in L et it o o so t e e s . that m tal un c l , and the tas k is c o mpl e te . — Casting in Sand F o r this w o rk y ou i ee d ir o f c s i s s fine w ll n a pa a t ng fla k , s i s d o r o s o e e d ca t ng an l am , m black l a and F re in o der and m u s nch chalk p w , a — lin b ag full o f pe a fl ou r to du s t o v er the pattern s and the su rfaces o f the m o ld. Cas ting flasks are two e q u al~ siz ed fram es 1 9 6 o f s -iro o ne o f i has ca t n , wh ch flanges carrying p egs which fit into h o l es in co r di es o n the o er fr e resp o n ng flang th am . h rs is ed the e side the se o d T e fi t call p g , c n the e e side the ey e side . Lay y flange o rd o n erfe s o o d wnwa a p ctly flat, m th Wi i is r er e r to the o rd. b a th n th , ath n a fu e -s e d e r e to the s the nn l hap nt anc fla k , i W e i patter n will afterward b e la d. w ll suppo se it to b e a pie ce o f re lief w ork with a I t s o b e e r ed o er flat back . h uld w ll ubb v i e d so the s d no t w th black l a , that an may s i to it t ck . N ow take so m e handful s o f the m olding s d and oa wet the ix re i er an l m , m tu w th wat s ri ed o er it s e o ei sed p nkl v , ju t n ugh b ng u to h i W e o u ve make t e l o am b nd. h n y ha ixed o and s d o ro ress it m l am an th ughly , p down and b e at it well into the m o ld with S ri e the er s rf e e e a mall e t . t k upp u ac l v l i s r i - ed e and i ed w th a t a ght g , , hav ng plac a bit o f o rd o the o d r it o er b a up n m l , tu n v i r s the s rf e o f ey e s de upwa d. Du t u ac r s the m o ld with fin e ly p o wdered b ick du t . This is to p re v e nt the two s urface s o f the the m o ld fro m s ticking toge th er . Lay er i s b e e r s ed o e r patt n , wh ch mu t w ll b u h v i ead o the s rf e o f the w th black l , up n u ac o d o n the e er i e no t to o e r m l c nt l n , but n a 1 97 h o e i i o the o d . If the C asting t e p n ng nt m l pat ter n is place d to o n e ar the o p e ning the w eight o f m e tal ab o v e the patter n will no t b e su fli cient wh e n it is b eing p ou red In to fo rce the liquid m e tal I nto all the crevice s h o f the rix. t e o er d it mat On th han , mu s t no t b e to o far away o r it may take m o re m e tal than y ou happ e n to have at i h r ress it o r d s o s . e t e e y u p al Tak patt n , p f- i o the o d d s the o e hal way nt m l , u t wh l s urfac e o f the patter n and the m o ld with fin ri s N ow e the e s ide e b ck du t . plac p g ’ in o si io ress the o er refu p t n , p l am v y ca lly in d and e e it e in i by han , th n b at w ll w th h e the e si e o ff o t e e . d mall t Tak p g , bl w away l o o s e par ticl es o f s and fro m e ach

side and er ref re o e th e er . , v y ca ully m v patt n The m o ld mu s t no w b e du sted with o dered r o l o r ea-fl ou r o r s o ed p w cha c a p , m k i r i er and the er o e w th a bu n ng tap , patt n nc m o re ed in o s i io the two es plac p t n , halv re ssed r o e er s o as to e the p fi mly t g th , tak i res i s e n final mp s o n o f the pattern . Lo o the s d o er the er i ife an v patt n w th a kn , and th e n driv e it h o m e again with re eate o e p d bl ws with the mall e t . R e m o v the er e the o r and few patt n , mak p u a air- chann e ls l eading away fro m any p ro mi e r o f the er so the n nt pa t patt n , that 1 9 8

CHAPTE R XX IV W — Enamel ork G eneral C onsiderations Requisites — W — — Cloisonné ork Filling the C ell s M ount — ' — ing the Enamel Chample ve Enamel The Tools — — — Use of Gold S older Lim oges Enamel Net — — - work Enamel S etting the Enam el Deep cut Enam el

T H E u s e o f e nam el in j ewe l ry is to add an o r I t s o no t b e richn ess d co l . h uld u sed in large masses or the e ffe ct will b e e and the o s e i h avy , m t valuabl qual ty o f e e i is re io s ess i b e nam l , wh ch p c u n , w ll o s The o o rs sed s o d b e re l t . c l u h ul pu n i n f in r A s a d b rill ant a d ew numb e . a ge n eral rul e e ach co l or s h o uld b e sepa r ed fro its ei o r i e o f e at m n ghb by a l n m tal , an r i o f e d b e al s o b o rde e d by a l n e m tal . is to s a ere the e e is sed That y , wh nam l u to dec o rate a su rface it s h o uld b e e nclo sed in e s de e i er i e o u t c ll , ma th by cutt ng th m o f the s rf e i r ers and s o r ers u ac w th g av c p , o r by raising the wall s o f the cell s fro m the o r s o deri e ed ire back , by l ng flatt n w b e nt to s hap e e dgewise to fo rm the cell wall s o r cl o is o n s : the cl ois o n s fo rm a kind o f n etw o rk which e ncl o s e s the e nam el in its m es h es and carrie s the m e tal co n 200 s r io ro the i T des . h t uct n th ugh gn e c o l o r Enamel W and s h e e n o f the m e tal o utlin e harm o niz e ork the differe o o rs i e o e r and nt c l w th ach th , giv e a greate r b rilliancy o f e ffe ct than can b e o i ed o er e T bta n by any th m an s . he co l o r o f the e in f is e ro d m tal , act, a valuabl g un i The i i io s o f i t nt . l m tat n th s m e th o d are re in o se er i i io s ie s the g at, but th v y l m tat n l s re o f th The s e t ngth e s tude nt . ch m e mu s t b e o e e o o u t the o i e c mpl t ly th ught , utl n s b e e r and the o o r e and mu t cl a , c l cl an i f re . o b e e to e pu N th ng can l t chanc . Many valuabl e hints can b e gain ed by a careful s tudy o f I ndian e nam e l wo rk ;that o f J eyp o re in par ticular is full o f sugges t ive nes an e e b e sed s d b auty . Enam l may u as ro d fo r s et s o es o r effe a backg un t n , an ct o f o o r de the o i e o f desi c l ma m t v a gn , but in all cas es care s h o uld b e tak e n to se cure i a cl e ar m e tal o utl n e . F o r tran sluce nt e nam e l pictu res the m etal o utlin e can no t o f c o u rse b e u sed ; but in ' this cas e the wh o l e pictu re s h o uld b e small The r is ed e n o ugh to se t as a j e we l . bu n h edge o f the s e tting th e n takes the place o f the e o i e m tal utl n . Large plaqu es o f e nam e l are un suitabl e If e e is to b e fo r p erso nal o r nam e nt . nam l sed o n s re s e s the res u mall figu ubj ct , figu 20 1 s h o uld eith er b e b e ate n up in the ro und fro s ee o r r ed o u t o f s o id e m h t, ca v l m tal . e r re s ds o n s o r r Enam l a ly tan ca t w k , pa tly b ecau s e o f the in e quality o f textu re o f the m e and r e se the e 13 so tal , pa tly b cau m tal i air-ho s I t i o full o f m nute l e . w ll h ld fo r i e es e i if so f so o er o r a t m , p c ally t ; but n er i o ff I n the fo rin o f i es lat w ll fly t ny flak . This can in so m e m e asu re b e p reve nted by s tabbing the gro und o f the e nam e l i s r r er s o i e o i s w th a ha p g av , that l ttl p nt o f m e tal are l e ft s ticking up all o ver the s rf e es e o the e e f ir u ac . Th h ld nam l a ly e ou e er b e s re it i w ll , but y can n v u that w ll no t flak e o ff ju s t wh ere It Wl ll m o s t b e The es ro s fo r e r s ee n . b t g und nam el a e fine o o er fine si er fine o d and all y c pp , lv , g l , 2 2- carat go ld . The vario u s m e th o ds o f e nam e ling will ro b e f i i r to o s s de s p bably am l a m t tu nt , ’ Mr Cu n n ham e s re o r th rough . y g ce nt w k o n the s I t i erefo re b e u n ubj e ct . w ll th n e cessary to do m o re than to treat each ro e ss rie and refe r o se who p c b fly , th may esire f er i fo r i to r d ull n mat o n that wo k . R i it — Th fo o i i s i equ s es . e ll w ng th ng w ll b e fo e f und u s ul . i or r an es l A ch na m ta d p t e . s e o r r an e e A mall agat m ta d p stl . 202

— r M e o h i n 1 8 carat s o lde . ak b t d sk a d ring e and s o der the ri so it es cl an , l ng that mak rim t the e e r e a o plat . Hav ady s o m e e ed o d ire dr s e er si es flatt n g l w , awn v al z s er the rs and i de ided mall than fi t, hav ng c o n o r desi e d the ire ed e ise y u gn , b n w g w into the s hap e requ ired ; dip it into b orax in o i i er and e it s o . Get sec wat , plac p t n a io o f the desi do e in is e t n gn n th way , th n charge the w ork with s nipp ets o f 1 8 -carat o r an the ires in eir s lde d tack w th places . I t is no t n e c ess ar y to flu sh the j o ints fully B o il the wor k o u t and pro ceed until the e is o e fi pan l c mpl te ( g. So m e e nam el ers do no t s o lder the el o i so s if e are no t so dere d e n ; but th y l , wh n the e nam e l is fire d again the cl oiso ns may o an t o u o f S i if fl at ab o ut d ge t place . t ll the o d is i and few o f the g l back th ck , a main cl ois o ns and the o uter ring are sol dered the re i der e b e ef to b e , ma n can w ll l t x h i f th m fi ed by t e m e lt ng o e e na el . N ow i o se o r e e su , hav ng ch n y u nam l , p o se o fo r the ro d ree for the p pal g un , g n e es e fo r the di idi r s ri d l av , blu v ng ay ; g n up each co l o r separately in the s mall agate or r and e it is i e fine s d m ta , wh n l k an , wash away the milky p o rtio n o f the en am e l by p o u ring cl e an water ov er it until 204 the resid e is e r s r i and r s u cl a ,pa kl ng, c y tal i N o w i s s e . e l n , w th a mall patula fill ach e o r o iso i the ro er o or c ll cl n w th p p c l , taking care that no grain s o f co l or ge t i o ri e s r i into n e ghb ng c ll . D a n away the sup erflu ou s water with bits o f cl ean bl o t i er the o er e s and dr t ng pap , fill th c ll , y e I n i e er Y ou i no e th m l k mann . w ll w mak a supp o rt o u t o f a square o f thin s h ee t iro i the e er o ssed to the n , hav ng c nt b up fit ersi e o f the ro i is o er und d b o ch . Pa nt th v with l o am o r white ning and water with i W it is r e o r x dded. e d a l ttl b a a h n y , e the o r o the s or and plac w k up n upp t, having dried the e nam e l o n an i ro n plate e ed s iri o r B se r er h at by a p t lamp a un n bu n , place it in the muffl e fo r ab out a minute i he e e f it u t an t ses . e o d unt l nam l u Tak , b oil in dilute acid to rem o ve the dark scal e o f oxide which has fo rm ed o n the rf Y u i fin he e su ace . o w ll d that t e nam l o n fu sing has greatly s hrunk in v o lum e ; re fill the c ells with the s am e e nam e ls as efo re and refire re e i the ro ess b , p at ng p c i the e s are f W e is e s unt l c ll ull . h n th happ n , s m oo th the wh o l e s urface with a co rundum file and er s the ri i wat , wa h g t away w th a littl e hydro flu o ric acid and water (u s e I di - r er fin er-s s for is or and n a ubb g tall th w k, 20 6

rim are ro e ed fro the e i p t ct m h at by wh te n Enam el W ing o r l oam ; the wh o l e thing is th e n put ork

in the f r e . Gre re o e e r is u nac at ca , h w v , n eeded l es t the j o int o r catch s h o uld dro p ffl e The o ff in the mu . latter way is the si er o o i and the o ssi i i o f mpl l k ng, p b l ty an i erf se i is o ide The mp e ct tt ng av d . b ro o ch so b e de in fine si er if the can al ma lv , but last- nam ed m e th o d is u sed fo r the catch it mus t b e s o ldered with 1 8 - carat go ld so lder ; silv er s o lder eat s h o l es in the e e e e in h ffl m tal wh n h at d t e mu e . — Champ/eve Enamel How to M ake a — Buckle in Enamel Tak e a pie ce o f fine si er si e 1 and r ou t o it the lv , z 5 , ma k up n si e o f the e o e the e er z buckl . D m c nt s i and e e ed o rder l ghtly , mak a flatt n b ro the o e fi The er und d m ( g. patt n y ou devise had b e tter b e a simpl e o ne fo r the rs e i e o e ou fi t att mpt . That g v n ab v y will p ro bably find fairly simpl e to cut and y et elab o rate e n o ugh to give y o u pl e nty o f r o pp o rtunity fo r arrange m e nts o f c o l o . B efo re setting to w o r k o n the silv er it will b e we ll to make o ne o r two trial s o n o er F ix the e ei er o n e n c pp . m tal th an ’ graver s bl o ck with c em e nt o r o n an o rdi r i - o o r if the o r b e na y p tch bl ck , , w k s e o o n e r i s i . mall n ugh , an ng av ng t ck 20 9 Hav e r e ady a few s co rp ers o f different

i es and s es s ee fi s . 1 s z hap ( g 3 5 , f- ro d and o i ed and o o d flat, hal un , p nt , a g e o d the s o r er de e ee o il s to n . H l c p bla b tw n the and fo re e r and the d e thumb fing , han l o f the The oi in the h o ll ow palm . p nt o f the to o l is guided by the and dri e thumb , v n by the p ressure o f the i e r ise palm . A l ttl p act , ’ o r a few m o m e nts in structio n fro m a practical e r er i s o o ng av , w ll n put o u in he ri y t ght way . Firs t we t the tip o f the o o e s o i t l , mak a l p ng cut r o und the b o rders o f the r s to b e s the pa t unk , de ep e s t par t o f the cut b eing n ext the o utlin e and i e i i it e a l ttl w th n , th n re m o v e the c e ntral por FI G 1 . 3 5 . — tio n s with a half round s o r er e e s r i s o r er and c p ; th n tak a t a ght c p , go all o v er the gr o und with a ro cking side to side o io o f the o o i m t n t l , mak ng 5 a zigzag cut thu s i This ro ugh e n s the 2 ro d and es the e e o d g un , mak nam l h l 2 1 0

oz . dwt rs Enamel . g . Work Fine silver 1 0 0 Fin e co pp er 0 5 0

1 5 0

If the latter is u sed the s o ldered p ortio ns mu s t b e carefully pro te cted fro m the h e at o f the fu r nace by l o am and white ning o r r f ris an or x W e the plas te o Pa d b a . h n s o ldering is do ne y ou mu st go o ver the or i i s or er and re o e w k aga n w th a ﬂat c p , m v the white s kin o r b o il p ro duced by the If is is n o e the e pickl e . th ot d n nam el n o will o t h ld . Th ex i i th e i The e n t th ng s e nam el ng. es o o rs fo r si er are es ree s b t c l lv blu , g n ,

r es and o . o o d s e e for pu pl , pal A g ch m this buckl e would b e de ep but no t dark e ri e ree and o and d r blu , ch appl g n , pal a k r e in th o er r r Gri th g e n e ut b o de . nd e e e s as efore des ri ed no t to o nam l b c b , but The o r r o the finely . c a se y u can u se e nam el the b etter the c o l o r ; wash e ach e r o f i i ess and e er e i cl a m lk n , fill v y c ll w th its ro er o o r dr the o r and fire p p c l ; y w k , — in the muffl e o n a cradl e o f s hee t iro n de to the o f the e o r in ma fit back buckl ,

’ r i e i o er si o i e a c uc bl w th a c v , u ng a bl wp p an fo o - r r d t b ell ows . G eate brilliancy can b e 2 1 2 o i ed si e r fl u x as the rs e r Ename bta n by u ngcl a fi t lay , l W k and adding the co l ors o nly after the fi rs t or in o e f he fi ring ; o r s m o t ce lls a gro und o f fl ux b e id and i s o f o d fo i can la , b t g l l , pricked full o f h o l es (with a bunch o f fine set in o r b e id o n the n eedl es a c k) , can la fl u x o ered o er rs i i er , c v v fi t w th a th n lay o f fl u x and th e n with a thin lay er o f gre e n o r fine r The e s i ee d re i a ed . c ll w ll n fill ng an f The su r d refiring until th ey are ull . face can now b e fil ed sm o o th with a co r d m file s ed in dro ori and un u , wa h hy flu c er refired and the o e f er rd o l wat , , wh l a t wa p ishe i r d w th o uge . How to M ake a Pendant in L imoges Enam / — e ie e o f i i o r e 5 . Tak a p c th n Swed s h Fre o er o f he i e r ir Wi nch c pp t s z e qu ed . th a bu rnis h er ru b it into a s light do m e s e and r the ed e er s i hap , tu n up g v y l ghtly all round by bu r nis hing it o v er the edge o f a ro und- p ee n ed hamm er fixed in a ise e i i in i i ri i v . N xt p ckl e t d lute n t c ac d i the i rf e i unt l m e tal s p e e ctly cl an . Pa nt the back o f the plate with gu m tragacanth and er and s ri e the dr s e wat , p nkl y wa t e nam el which results fro m the was hings o ver the back fro m a p e pp er-po t o r te a s r i er s e o ff the s er o s e e t a n ; hak up flu u nam l , n le t it r N o w e the o o r ou a d d y . tak c l y 2 1 3 e se e ed fo r the fo d io ri d hav l ct un at n , g n it and s e it in i - o o r wa h cl an , put a ch na c l s er m ix i dro o f r i auc , a t ny p t agacanth w th the e e and dab it o er the f e o f the nam l , v ac r s W e plaqu e with a b u h . h n the wh o l e s rf e is e e o vered e u ac v nly c , tak away any s up erflu o u s m o is tu re with a b it o f bl o tting ie f l i e ra er o r e o e dr o d . pap a p c cl an , y , l n n g Press the e nam el do wn ev e nly and s m o o thly i ff - if e all o ver w th a s ti pale tte kn e . H av ready an iro n cradl e o r supp o rt do m ed to the derside o f the e and i ed fit un plaqu , pa nt with l o am o r white ning as b efo re des crib ed ; dr the e e o er the s iri and y nam l v p t lamp , fire in the muffle o r in the crucibl e until the su rface is s m o o th e n o ugh to refl e ct h e - if e o er it e t e pal ett kn e wh e n h ld v . Tak it ou t le t it o o s o and e o d , c l l wly , wh n c l re pair any faults in the s u rface by cl e aning the m e tal in pickl e and by rubbing do wn i r file W s the s rf e w th a co undum . a h u ac e re ir the o es i fres e e cl an , pa h l w th h nam l , an r fir Y o i now e so m e si er d e e . u w ll tak lv fo i ri it o er i the eed e and l , p ck all v w th n l , ou t e es as as ou eed and cut l av , many y n , a pie ce o f go ld fo il large e n o ugh for the ro se ; fix th em in th eir plac es o n the e i i e r o er e plaqu w th a l ttl t agacanth , c v ach i i f fl u an fir it N o w er o x d e . w th a th n lay , 2 1 4 it o r the ire b e dr ro , w can awn th ugh a square h o l e and flatte n ed in the ro lling mill . Y ou can make a draw- plate o u t o f a pie ce o f o ld file e i it red hot an flat by h at ng , and driving a harde ned tap er s tee l punch o f r er the right s iz e th rough the s te el . La g h o l es can b e made by driving the punch in s i f r er o r the o e can b e de t ll a th , h l ma s mall er by b eating the h o l e down with a ro ded er and i dri i the un hamm , aga n v ng ir i punch th rough to the requ ed d s tance . Take the wire and b e nd it up to form the o i e o f the e es o r the fish or utl n l av , , what e er er o u is and so der the v patt n y may w h , l i o r e re re to o utl n es t ge th e . Tak g at ca i r fi hav e the wh o l e well t ed toge th e ( g. The l eav es s h o uld to uch each o er the s e s and ere o ssi e the th , t m , , wh p bl , fr e The s re o f the o r e am . t ngth w k wh n finis h ed dep e nds o n the th o ro ughn ess with i is i Y ou now e the wh ch th s do ne . hav s e e o e i B o i it ou t and s r e k l t n d s gn . l c ap the sides o f the o iso s ri the cl n b ght , lay o r o n the r is ed e the e s w k bu n h plat , fill c ll i ro d e e e s ed and fire w th g un nam l w ll wa h , in f ir i e L e t it o o r d a a ly qu ck h at . c l g a u the e s ere the e e is ally , fill up c ll wh nam l de ie an refir W h e d e . e t e s fic nt , h n all c ll Enamel Work

1 FIG . 3 7 . Enamel are c o mpl e te ly full lay the wo rk o n the Work e i the e e rd and i e tabl , w th nam l upwa , g v the ro e few s r o s and the b nz a ha p bl w , e e i b e re e s ed and b e nam l w ll l a , can o is ed i e er and er ro s p l h w th m y wat , c cu and er and is ed i ro e o n wat , fin h w th ug a ff bu . If y ou hav e no aluminum b ro nz e o r platinu m u se a s h ee t o f co pp er ab out siz e and e the e e is o e e i 5 , wh n nam l c mpl t pa nt the face o ver with two o r three co ats o f r is to ro e the o iso s if e are va n h p t ct cl n , th y o f silver ; if th ey are o f go ld no p ro te ctio n is e e s r e the o e in s f ri n c s a y . Plac wh l ul u c — acid and water o ne part o f the acid to o ne o f er The o er i b e disso ed wat . c pp w ll lv and e it 18 as i as i er away , wh n th n th n pap , The e e e can b e p ee led o ff. nam l may th n e i f i e I f the b p o l s h ed as b e o re des cr b d. o e i s in the e o r are s e o p n ng n tw k mall n ugh , 1 —- f i ro th i . e. o th o ss e ab ut an nch ac , i e i ab o ve m e th o ds can b e d sp e n s d w th . o d the e o r e ri and H l n tw k pan l up ght , fill in the spaces with e nam e l mixed with a i W e do e er e u m r . v y l ttl g t agacanth h n n , fix i t up right o n a supp or t cut ou t o f thirl - ir Fire it i In er s ro s hee t o n . qu ckly a v y t ng fire so the e e r s i e er i n , that nam l un l k wat e ref th s es . I t s b e o o ed pac mu t c l ca ully , 2 1 8

r i f W e the o ine is e an Enam e low e e . d l l h n utl cl an , Work de i e ex re sses o r i e io e fin t ly p y u nt nt n , mak ' a m o ld fr o m it in the fin es t plaster o f ris is i i e ou o o d ide Pa . Th w ll g v y a g a f the e o f o r i o d pth y u cutt ng. — Co py this I n silver o r co pp er the m e tal s h o uld no t b e l ess than 1 6 e o r o u i so o ro gag , y w ll n cut th ugh the o r i F ix i e e o f to th e s de . a p c the e e r to the si e and m tal , cut n a ly z s e o u re i re o n e r i hap y qu , an ng av ng s i o r o n i - o and i t ck a p tch bl ck , w th — a s pit s tick o utlin e the design ; th e n cut the design deeply ro und i i is i s if the ed es e . g w th n th l n Thu , fo r e f the ro ss - s e io o f o r a l a , c ct n y u i o b e h s The cutt ng w uld t u W . s s o d b e dee ro o es and talk w ul p g v , the fl o wers carv ed to suggest th e m r o ssi e The sides o f as n ea ly as p bl . the sinkings mu s t b e kept upright ; if e e e o e irre r e th y hav b c m gula , th y b e r ed i u stifier can t u up w th a j , which Is a s c orp er gro und with two cutting edges at an angl e to each o th er as i n fi 1 B an C are he i e d es . g. 3 9 . d t cutt ng g Wh e n the m o deling Is as c o mpl e te as y ou e it and the s rf e o f it e er can mak , u ac v y ere ri the e e in and ress wh b ght, put nam l p 2 20 it do e re d and the e e e wn ; wh n fi , nam l fil d Enamel and o is ed the re ie f is as it ere r s Work p l h , l , w , t an ed i o s ded dr i in o r If lat nt a ha aw ng c l o . o u do fi u re - o r the f es ds and y g w k , ac , han , fee t can b e l eft in m e tal and afterward e r ed in i e the ro ds an ng av l n , backg un d drap eries al o n e b eing dee p cut and e nam ’ c e e er s r - o i i l d . An tch d y p nt s u seful fo r fine o r in the ir an fe re s Th w k ha d atu . e lin es o f the e ngraving can b e afterward — fill ed in with e tching ball o r thick black ’ i or s o e er s ee — pa nt h mak h l ball . Small figu re - pan e l s in raised go ld o r silv e r can b e p ro duce d by fi rs t do ing the work in o rdinary gesso o n a pie ce o f s o o r o Fi i r o r fin d o d . e s e e m th , ha w n lv o d ro ed to the i ess o f o o g l , ll th nn c mm n no e- er is e e e d and r is ed t pap , th n ann al , bu n h o ver the re lief in the sam e way that a s ch o o lb o y makes the fo il c o pies o f a s hil i W e the e i ressio is as l ng. h n m tal mp n co mpl e te as the ge sso o riginal it can b e xed o n the i - o and the o de i fi p tch bl ck , m l ng carried s till far th er with p o inted b u r nis hers is e e e ed and . Th , wh n nam l back fro b e se t in fr e and xed nt , can a am fi e s fo r in a b rac el e t o r a p e ndant . Pan l - b e r ro ss es d es i s e tc . alta c , can l t ck , , can he b e s re e ed so p ro duced . T y can t ngth n 2 2 1 i i e e o o si io by back ng w th c m nt c mp t n . Make the wall o f the se tting which is 1 1 to e o s e e o r i de e er ncl th m 3, 7 nch p than o d b e e ess r fo r the e e i se f w ul n c a y nam l t l . Whe n e v e r ything is re ady fo r s e tting the e e s e so e ro si in i in and nam l , m lt m n a p pk , add to it ab o ut half its bulk o f plaster o f ris o r o dere d i e i ° s i r it e Pa p w wh t n ng t w ll , o r it i o the se i r the e e p u nt tt ng, wa m nam l s i and ress it i o its e and l ghtly , p nt plac ; e o d r is the e d e o f the se i wh n c l , bu n h g tt ng carefully o v er the e nam e l and cl ean it i iri an s o f ra w th m e thylated s p t d a t g. Alm o s t any c o mp o sitio n with a resin ou s s e i s e s rd o d o e er ba wh ch t ha w ul , h w v , ser e the r o e e Fi res v pu p se qually w ll . gu in high er re lief can b e do n e by taking a i - o in ax cast n type m e tal fro m a m de l w . The thin m e tal is th e n rubb ed and b u r — nished o v er the typ e m e tal and fre qu e ntly i h ro s O r the ann eal ed du r ng t e p ce s . re verse o f the m o de l m ay b e cast in typ e e o r e er and the i o d o r m tal p wt , th n g l i i f o r si e r r ed i o t . s o se lv ubb nt Th , c u , can no t b e do n e if there Is any under i cutt ng.

n es for e o f o is e d s e e ire as i as Hi g l ngth p l h t l w , th ck Casket the i side o f the ro o s e d e ﬁle the n p p tub ,

FIG 1 0 . 4 .

fi the e r e nd tap er (se e g. Place tap e nd in the ro e and s e e e the ugh tub , qu z 2 24 e ro d the dre the e nd fi m tal un man l at ( g. — N ow fix the dr e in the ise aw plat v , s lip mandrel and tub e toge ther th ro ugh a s i e o e in the dr - e and dr u tabl h l aw plat , aw th e m by hand th ro ugh succe ssive h o l es until the m e tal b e c o m es a tub e which e re N o e h n arly fits the mand l . w plac t e dr - e o n the dr - e and dr aw plat aw b nch , aw the tu b e and mandre l togeth er until the er fits f ir i latt a ly t ghtly . N o w put the rev e rse e nd o f the mandrel into a h o l e in the plate which ex fits it and dr t actly , aw it o u t eith er by hand o r i the r — e w th d aw b nch . The tub e is now co m lete I t b e e p . can mad stil l s mall er if n e c ess ary

FI G . 1 1 4 . by drawing it th ro ugh the o e in h i o th re h l s t e plate w th ut e mand l . I n lik e mann er draw an o th er tub e a i e r er in di e er so the e l ttl la g am t , that tub rs i i e e fi t made will ju s t fit n s d . Ann al b o th tub es ; s aw the large tub e in two es e ise and e two s ri s o f halv l ngthw , tak t p m etal as wide as the e dge o f the caske t and as o and so der f e to l ng, l a hal tub e fi Fi e the o side ach ( g. l away ut 2 2 5

in es for no w re d fo r the in i b e ie e H g a y p , wh ch may a p c C k as et o f brass wire drawn to the pro p er s iz e and s i The in ed i o e . s no t l pp nt plac p mu t , o e er b e xed i the s e is o er h w v , ﬁ unt l ca k t th

FIG 1 1 . 5 .

o e The o r n b wise c mpl te . w k may ow e ed u e de r e and e f ﬁl p cl an , ma t u , ach hal carefully ﬁtted and so ldered into its place

o n the lid o f the b ox.

CHAPTE R XXVI

— - — Moldings The Sw age Block Filing the Grooves Drawing the M etal — Moldings F O R this y ou will n e ed a swage blo ck ( see

fi 1 2 i o e dies se e fi s . 1 g. 5 ) w th m vabl ( g 53 and I n the upp er surface o f o ne o f the dies file a gro o v e o f the s hap e o f the m o lding ou re ire a in fi 1 The ro o e y qu s g. 53 . g v s b e r e - s ed the s er end mu t t ump t hap , mall b e ing the exact s e ctio n y ou wish the

‘ i to b e is s b e do e m o ld ng . Th mu t n 22 8 M oldings

1 2 . FIG . 5 din s i re re as the s es r i M ol g w th g at ca , mall t ma k w ll N o w r s h o w o n the m o lding. cut a s t ip o f m e tal s lightly thicker and wider than the ro o se o p p d m lding. i e ed it Hav ng ann al , pass o ne e nd through the gro o v e y ou hav e made in the swage o and s re the bl ck , c w plain bl o ck down so as to p ress slightly o n th e N ow ﬁx e m tal . the swage -bl o ck inthe ise e the dr FIG 1 v , tak aw . 5 3 . to ngs and pull the s trip r i s e o ss the th o ugh w th a t ady m v em e nt . Pa s trip th ro ugh the swage again and tu rn the s re s i l ressi the e o re o se c w l ght y , p ng m tal m cl l i o the o e i i d. e s e y nt m l R p at th , ann al ng t h e m e t a 1 fro m tim e to tim e until y ou h a v e m a d e the m o lding as co mpl e te and as i th n FIG 1 . 5 4. i as y ou w s h . By m o difying the sectio n o f the gro o ve in the s e and i the o er su r wag , by ﬁl ng l w 23 0

— Po lishing is as fo ll ows After the w o rk has b e e n i ed o r o i ed o u t e in di e id p ckl b l cl an lut ac , the wh o l e visibl e su rfac e is carefully s to ned o er i s i s o f W er o f A r s o e v w th t ck at y t n , w o rking with a cir cular m o tio n to av o id o i I er s cratching r gro o v ng the m e tal . nt nal es rro ro o es and s o i es angl , na w g v , hall w l n , i i Th are s to n ed with th n s l p s o f s late . e wo rk mu s t b e wip ed cl e an fro m tim e to tim e to se e that the su rface is b eing e ve nly i The o e o f s o i is the p o l s h ed . bj ct t n n rem oval o f the ﬁlm o f oxid pro di ce d by

e and r s o f the o o s and es . h at, all ma k t l fil The su rface is n ext m o re fin ely p o lis hed with charco al and o il ; y ou can add a littl e h r if i cro cu s to has te n t e p o c ess y o u w sh . is do e o is i i fine ro e Th n , p l h aga n w th tt n s o e and o il i re in e ro ess t n , tak ng ca ach p c to oid i es s r es o r r s o f av l n , c atch , ma k any i The o is is i e i ew k nd. final p l h g v n w th j ’ eler s ro e and er and the o r ug wat , w k was h ed in ho t s o ap and water to rem o ve r es o f re e is ro ess is o all t ac g as . Th p c lab riou s the res e n ro er car , but ult , wh p p ly

r ied o u t is o s ri i . , m t b ll ant o re r id e o d s ed fo r o rdi r A m ap m th , u na y o r o r fo r o is i re o s s is as fol w k p l h ng p u é , l o ws : The w ork is s to n ed as b efo re and e s r - r s ed o n the e and th n c atch b u h lath , 23 2 s ri ed fro i e to i e i s e ee r p nkl m t m t m w th tal b . Polishing Mo di s o sses ri s o r ro e io s fr l ng , b , b , p j ct n o m the s urface can b e b righte n ed s till fu rth er r is i i s o o r is er by bu n h ng w th a m th bu n h . A little s oap and water u sed with the to o l es it o r o re e si mak w k m a ly . I ndian wo rke rs i if the ro ess s i fiI rther Th s mpl y p c t ll . e s rf e o f the e f er ei ref u ac m tal , a t b ng ca ully i e ed in i e is s r ed o er i wh t n p ckl , c ap v w th the s r er and f er rd i o ro s b u r c ap , a t wa v g u ly nished with agate and h e matite bu rnish ers but unl ess b o th s cr aping and bu rnishing are o s ref do e the or as m t ca ully n , w k , i b e ex e ed i o o ro and m ght p ct , w ll l k ugh i unfin s h ed . — Polishing Gold Work The p ro cess o f p o lis hing go ld work is v ery similar to that r s ri e fo r i er The or is fi s t de c b d s lv . w k o r n e b oil ed ou t as b ef e a d s to n ed . Th n put a littl e fin e ly p o wdere d pumice into a s ow esse and m ix it i o s e i hall v l , nt a pa t w th o i o il e o x o o d o is i —s i l v e . Tak a b w p l h ng t ck — a skewer o r a s lip o f any hard w o o d will do—di the oi in the o il and i e p p nt pum c , and ru b o er the o e o r e i v wh l w k , cl an ng

o u t re i es s i es e tc . o s re c v c , unk l n , , m t ca f If is b e no t do e the oxidi ed ully . th n , z su rface at the b o tt o m o f the h o ll ows will re main as whitis h patch es s cattered o v er 23 3 Polishing the o therwise p o lis h ed s u rface with a dis ff I n i e is defe i figuring e e ct . t m th ct s re o e d the o o s e t ed i dir m v , h ll w g fill w th t, he o r o o s ore i eres i I t and t w k l k m nt t ng. is b e tte r no t to re ly o n the result o f tim e ; e sides the re e ed i fro the o om b , fl ct l ght m b tt o f the h o ll o ws wh e n p o lis h ed o fte n makes the w o rk l o o k rich er and m o re full o f

co l o r . Wh e n y o u hav e go n e o ver the wh o l e s rf e i the o il and m i e the ro u ac w th pu c , p c ess is o i ed i o il and ro s and c nt nu w th c cu , o e e i ro e an er I n c mpl t d w th ug d wat . the se o f o o d and si er o r ca b th g l lv w k , the p o lishings and s co u rings o f the m e tal s h ould always b e kept and reﬁn ed to recov er the p re cio u s m e tal which has b e e n

re o ed in the ro ess . The r is e rs m v p c bu n h , o s and o is i — r s es s b e m p , p l h ng b u h mu t all rf e an free fro s ke pt p e e ctly cl an d m du t . U e ss is b e do e the o r ma b e nl th n , w k y s cratch ed and sp o il ed wh e n m os t n ear

co mpl e tio n . The bur nis hers s h o uld b e o ccasio nally o is ed o n the ff and e r ed p l h bu , k pt w app in o is e er e no t in u se up cham l ath wh n .

C o orin i i e o the ro er s re D o l g, w ll g v ab ut p p t ngth . Darkt ni g, is in the o e air if o ssi e as the o do r fih th p n p bl , or O X1d‘Z ‘n g dise ed is o s o ffe si e e r s , ngag m t n v ; th n b u h SIlver and a lIttle o f the so lu tIo n o ver the w o rk y ou Gold Work e sIre to r e W o se u ntIl d da k n . atch cl ly ou er ei e the o o r ou is fo r e y p c v c l y w h , th n s if s the o r in e er and w tly wa h w k cl an wat , r it If the s rf e b e now r e d y . u ac ubb d ge ntly with a cham o is l eath er the film o f oxid is r e m o v ed fro m the p roj ecting por io s o f the o r i i it ri er t n w k , g v ng a much ch , o er e r e ld app a anc . The ch emical mu st no t b e all o wed to p e n etrate b ehind s ettings o r the b rilliancy o i b i ei er o f the s t n es w ll e s p o led . N th s h o uld it b e all owed to remain o n the r i b e s i e hands o th e y w ll badly ta n d. All o yed go ld can b e darke ned in the s e o it is e ess r to r the am way , nly n c a y wa m m etal until it is alm o s t to o hot to handl e t Go d o r the su lfid will no t act up o n i . l o f 1 2 1 r b e d r e ed e 9 , , 5 ca at can a k n by h at o e and o f e e s the o s e if al n , t n tak m t b aut ul s hade o f pu rpl e if the h e ating is arrested the ri o e at ght m m nt . Co pp er can b e darke ned eith er by the m o i su lfid o r e and if a m n um by h at , b ru s hed o v er whil e warm with a s tiff b ru s h and a v ery littl e pu re b eeswax will 23 6 ee its s er and o o r ed fo r Co orin k p lu t c l unchang a l g,

o i e . I n o d o r o f i ri Darkenin l ng t m g l w k any nt cacy g, or O d iZ in it is o f e difli cu lt and so e i es im o s g t n m t m p , 1 6 si e to o is the i er o r io s o f the bl p l h nn p t n ( 52223 12 231, o r e and e is ed the o r nam nt, wh n fin h w k o o s e s and i o e l k unpl a ant nc mpl te . This difli' cu lty can b e o bviated by firs t s lightly i di the o e o r and e o is i g l ng wh l w k , th n p l h ng i in th o r i r r i t e d na y way . A e c p e for this is i e the e n o f the o o g v n at d b k .

CHAPTE R XX IX — M ethods of Gilding M ercury Gilding

MERC UR Y gilding is do n e by m ean s o f an o f o i h r r I t is the amalgam g ld w t m e cu y . o des o f i di and is s i the es l t way g l ng, t ll b t , b e cau se the go ld is carried into the su rface o f the e and is no t ere i s i m tal , m ly a th n k n o re o r es s e re m l adh nt . Take 8 parts o f m er cu ry and o ne part o f fine o Pu t the o d i o s g ld . g l nt a mall crucibl e and h e at it o n the fo rge with a o i e and e the r i e redde s bl wp p , wh n c uc bl n o r in the er r and s ir it i o the p u m cu y , t nt go ld with an iro n ro d until y o u hav e a s the r u i e i o pa ty mass . Empty c c bl nt a 23 7 o o f e e r and s the b wl cl an wat , wa h amal ' gam carefully b y kn eading it with the thumb and finger again s t the side s o f the esse is is to e ri f the v l . Th g t d o excess o f h er r . e e t e e m cu y Th n tak amalgam , plac it in b it o f o is e er and s ee e a cham l ath , qu z o u t the re mainder o f the unco mbin ed er r B e se is ex ess o f er m cu y . cau th c m cury co ntains a p o r tio n o f go ld it s h o uld b e e s e r e and sed e ou is to k pt pa at , u wh n y w h e i mak amalgam aga n . N ext dis so lv e m ercu ry i n pu re nitric acid in the p ro p o rtio n o f 1 0 parts o f m er cu ry to 1 1 o f nitric acid ; dilute the s o lu io i 20 i es its ss o f er s e t n w th t m ma wat , hak the ix re e and ee it in s o m tu w ll , k p a t p r o f r p e ed b ttl e o u se . B o i o u t the o e s o u is to i d l bj ct y w h g l , and re o e re se i ho t s o d and m v all g a w th a, dip the wo rk in the so lutio n o f nitrate o f er r e s s r - r s o f m cu y . Tak a mall c atch b u h r ss ire di it rs in the so io and b a w , p fi t lut n , th e n take up a s mall p o rtio n o f the amal am and s re d it ref and e e g , p a ca ully v nly r the o rf e to b e i e o ve wh l e su ac g ld d. So m e w o r kers m ix the amalgam and the i r e o f m e r r o e er and di the n t at cu y t g th , p o b in th ix r The o bj e ct t e gilded e m tu e . e f fi rs t m e th o d is p ro bably l e ss was t ul . 23 8

Gilding c o ntain minute qu antitie s o f go ld which b e re o ere e esire r can all c v d wh n d d . Oth e e o ds a e i e in the e ix m th r g v n App nd .

CHAPTE R XXX

A M ethod of Shaping and Cutting the Softer Precious — — Stones The S tones m ost easily Cut The — — Cements Required Drilling S tone The En ’ — graver s Lathe Polishing

ha in and T H E so f er re io s s o es s as o o S p g t p c u t n , uch m n Cutting s o es o s r so r se erido and t n , pal , ch y p a , p t , re ious P c r o ise b e s ed ei er i the tu qu , may hap th w th S tones o r d file and er o r i e er c un um wat , w th m y ee s xe o n o is in - i e I n wh l fi d a p l h g sp ndl . the latte r case it will b e n e cessary to have er— i i so dered in a wat can , w th a t ny tap l the o o o er the e er - ee b tt m , hung v m y wh l in such a way that a dro p o f water may fall o n the whee l at fre qu e nt interval s i e o u ar ri i To ro e o r wh l y e g nd ng. p t ct y u se f fro e i s s e d ou i eed l m b ng pla h , y w ll n a e - i i o e the m tal catch pan , wh ch w ll c ll ct drip and the water which flies fro m the e Th b e wh el . e s to n e to b e s hap ed mu st fixed o n the e nd o f a ro d o f wo o d ab out a s thick as a p e ncil and 8 inch es l o ng. Many p e o pl e u se can e fo r this purp o se ; e i e xi e it is ess i e to ar the b ng fl bl , l l k ly j 240 s o e e the er is ress ed i t n wh n latt p aga n s t the Shaping and wh e e l ;but a pIe ce o fc o mm o n fire - w o o dwill Cutti ng o s as e W Prec‘ous d ju t w ll . arm a lump o f o rdina ry ’ tones r er s e e and o d it o n the n S g av c m nt, m l e d o f the s tick with a w e tted finge r to a ro ughly c o nical s e fi W r hap ( g. a m the e nd i and ress aga n , p the s o e so s i t n , al l ghtly r ed i o the e nd o f wa m , nt the e e and o d c m nt, m l the cem e nt cl o se ly ro und it it the er W e w h fing . h n o o the s o e b e c l , t n can pressed again s t the wh ee l and s hap ed to whateve r fo r o u e s e fine m y pl a . A su rface can b e giv e n o n a wh ee l o f fin er grain and the s to n e p o lis h ed o n a l eath er bu ff with fine e er and w e r finish m y at , ing up o n ano ther buff FIG 1 . 5 5 . with putty p o wder and er f th o e is er e der as fo r . I e s wat t n v y t n , , ex e o s o f e are it b e e to ampl , pal t n , may w ll u se what is call ed so ft c em e nt fo r fixing - i is the s t o n e to the p o lis hing s t ck . Th is de o f e sif ed o o d s es e ma fin ly t w a h , w ll 24 1 Shapi ng and kn e aded into m e lted su e t until the r e Cuttin ire o s i i i e g qu d c n s te ncy s o bta n d . re cious P Sto n e s can b e s lit by u sing a b ow made Stones o u t o f a tap ered ro d o f as h ab o ut 2 fee t o s r i iro wire he ire l ng t ung w th n . T w is f s e e d i e s w fro the a t n 4 nch a ay m butt, s o the e r b e s e that latt may u d as a handl e . is ire ano m ted i e er is sed Th w , w th m y , u M is ee e as it as saw. ie e d d a uch pat nc n , s er s o i er res is o b cut v y l wly . A qu ck ult taine d by cutting o u t a dis k of so ft iro n and u sm It as ir r saw i o il and g a c cula , w th ’ e er A la idar s s i er is ere r er m y . p y l tt m ly a la g i se o ri o The efe o f the d s k u d h z ntally . d ct s mall iro n dis k is that it is difli cu lt to ge t e i it S i fo r i a cl an cut w th . t ll , cutt ng tu rqu o is e o r o pal matrix it d o es w e ll e o if o r e d s e di and i n ugh , w k t a ly w th ie e The s o e to b e s i s o d pat nc . t n l t h ul b e ce m e nte d to a bl o ck o f w o o d in s tead o f s i and the o r s e red a t ck , bl ck fi mly cu to the e o f the o is i - e e t tabl p l h ng lath , y in such a way that it may b e pressed gradually again s t the e dge o f the wh ee l as the latte r s l o wly cuts its way th ro ugh the s o e I t is se ess to e to t n . u l att mpt h The e s rr haste n t e p ro c ess . l a t hu y may The e e asily ruin a go o d s to n e . advantag o f the m e th o ds ju s t des crib ed is that th e y 242

ha n and o der if o sider e S pi g putty p w ; but, any c n abl Cutting o o f o r is r e ired it is e er to am unt w k qu , b tt re ious P c e t o d o f i e i e id r who g h l an nt ll g nt lap a y , Stones will cut the s to n es fo r y ou much m ore i o u o qu ckly than y c uld.

CHAPTE R XXX I

- — — - Piece M olding The M odel The C asting Flasks - — — The S and Filling the Fl asks M aking the — — — M old The Charc oal The False C ores The — — B ack M old The C ore of the M odel Arran — ging the Gates Drying the M old

W R K is der o r in O that un cut, any way o i ed o b e s ie e c mpl cat , can nly ca t by p c o i o r the s e—wax ro es m ld ng by wa t p c s . S o s e it e ess r for ex e to e upp n c a y , ampl , mak

‘ i - s o f the s m b ol o f S a p e ce m o ld ca t y t . Luk e design ed as o ne o f the fee t o f a cross o r Firs e o r o de candl es tick . t mak y u m l in wax o r and e s Of it in clay , tak a ca t s er o f ri ex e ir o f s pla t Pa s . N t tak a pa ca t in -fl asks r e e o to o d the o de g , la g n ugh h l m l and gi v e pl e nty Of ro o m fo r the p o ur Of the e the o er o r e e or io m tal . Lay l w y p t n o f the s o n o rd and it i fla k a flat b a , fill w th n — o i fi e cas ting sand made v ery s lightly m st . The s and mu s t b e such as will bind we ll

der ress re . s e d s d i un p u Hamp t a an , wh ch 244 i r ixed i s natu ally m w th a s mall quantity Piec e Of fine o is er sef fo r is r o din l am , v y u ul th pu M l g p o se . The s and mu st b e w e ll ramm ed with a e i o the s and re re s o mall t nt fla k , g at ca h uld b e take n to co mp ress the s and well again st the sides o f the s o r it dro o u t fla k , may p h o is r e o er i wh e n t e m ld tu n d v . Th s do e s ri e o f the ex ess o f eri i n , t k c mat al w th s r i - ed e and ddi few o re a t a ght g , a ng a m df s o f s d s o o rd o n the han ul an , lay a t ut b a to and dri e the s d e in e e p, v an w ll by v nly i ri i d s t buted bl ows Of a mall e t . Aga n s ri e o f the s er o s s d and the t k up flu u an , lay o de to b e s e i i the s so m l ca t w ll w th n fla k , that wh e n y ou make the sp o ut o r p ou r fo r the m etal th ere may b e a go o d weight O f e th o e Yet it s m tal ab o v e e m d l . mu t no t b e to o far away or y ou will b e in d er o f e i s o s e se ang g tt ng a p ngy ca t, b cau the m e tal will hav e co o l ed in its passage i o th i xed the o si nt e m o ld. H av ng fi p io o f the o de e e s t n m l , tak a m tal patula or m o deling-to o l and excavate a h o ll ow in the s and ju st large e n o ugh to re ceive half the thickn ess o f the m o del ; lay the o de o n its in the o o and m l back h ll w , with so m e very fine sand fill in under e the m o de so e er r o f it n ath l , that v y pa t 245 is e s o r e d— i in f o u e w ll upp t unt l , act, y hav e r i i res sio O f the s rf e tak n a pa t al mp n u ac . — N o w du s t so m e fin e ly p owde red brick du st fro ro s b a —a b a de o f m a ugh canva g g . ma s acking o r nailclo th will do p erfe ctly well ’ fo r is i e s - ir m o s as th ; w th a cam l ha p, uch i ders u se r s is e i o the s rf e g l , b u h th w ll nt u ac ,

FIG 1 6 . 5 . and bl o w away all that do es no t now ad ere Y o i no h . u w ll w pro ceed to mak e the f se o re ese are m o e o r io al c s . Th vabl p t ns o f the m o lds so arranged as to avo id the er i fi i s the und cutt ng ( g. Aga n du t m o de l A with a little fin e ly p o wdered F re nch and r s the su erfl u it i chalk , b u h p y away w th ’ the e s— ir m o and i i t e cam l ha p, , tak ng a l t l 246

i o re r and e e s e N ow s i nt a gula v n hap . t ck a fo rk made o f two thick s tro ng n eedl e s o r p o inted wires in serted in a slip o f hard

o o d s ee fi . 1 8 i o the o and w ( g 5 ) nt bl ck , i id the s o n o rd hav ng la fla k a flat b a , tap the der side O f the o rd s r un b a ma tly, but no t to o i o ro s i ou s e e v g u ly, unt l y that the co re has se parated s lightly fro m the ode if it ref and d s m l , l t ca ully away , u t the m o lded surface with fin ely p owdered

FI G 1 8 . 5 .

r o fro o rse s i b a and cha c al m a c a mu l n g, replace the c o re o n the m o ld ;tap it ge ntly i ro eed in i e but fi rmly h o m e aga n . P c l k mann er with the o pp o site side Of the m o del fi Y ou i now e to e s ee 1 6 C . ( g. 5 , ) w ll hav mak the m o ld fo r the upp er par t o f the h ead . is o u i do I n the o d i Th y w ll back m l , wh ch will b e made I n the peg half o f the flask fi 1 6 an 1 e is er see s . d ( g 5 , D , Plac th upp f O f the in o si io i hal flask p t n . Hav ng 248 du s ted the wh o l e upp er s u rfac e o f the f se o res and the der o d re ss so e al c un m l , p m O f the fin es t s and o ver the to p o f the e d o f the o de and e the o e h a m l , th n fill wh l m o ld with o rdinary cas ting- s and and ram it w ell into plac e with the mall e t handl e and afterward with the h ead o f the mal i ff le t. S r e o the su erfl u it as efo re t k p y b , and as b efo re again pil e o n sand and drive it do wn with the flat b o ard and the mal l N if h e f et . ow t e and ou l t p g hal away , y will hav e the imp ressio n o f the fal se r fi 1 6 s o s the s e io o f he o es . t c ( g 5 , D , h w ct n back - m o ld) and al so a m o ld Of the to p ’ o f the i s e d s o e i o ne an mal h a , thu c mpl t ng half o f the m o ld N o w du s t charco al o ver the im pressio n o f the h ead and re f h C re place the upp er half o t e flas k . a fully tu rn the wh o l e m o ld o v er and lift the der f fre e fro the o de e i un hal m m l , l av ng the m ode l and the fal s e co res res ting in Wit the upp e r half o f the m o ld . h a s p o o n o r a s patula s c o o p o u t two s hall o w h o ll o ws in what are no w the upp er fac es f h is is to i e re is o t e fal se c o res . Th g v a g ter and to e nabl e y ou to place the fal se c o res in th eir p ro p er p o sitio n s wh e n the e fi 1 and m o ld is tak e n apart ( se gs . 57 N ow shake ou t the sand which 249

in the re N o w e o er ie e Of figu . tak a l ng p c i WIre s o e o to re e r th ck , ju t l ng n ugh ach n a ly to the b o tto m o f the case and to p roj e ct 2 i es o th o f the nch b ey nd e h ead bull . Wind it ro und with a l e ngth o f thin o er ire to i e the s d e er o d c pp w g v an a b tt h l , and paint o v er the wh o l e wire with s tiff o r e is es the s d d ere fl u pas t . Th mak an a h to th ir N th an e e . o w o e e o d d w p n m l , , i re o ed the o de re e the hav ng m v m l , plac f se o res in eir o si io o se the al c th p t n , cl f an r i r if o d re d t o e . m l ca ully , tu n v L t O ff the er f and fro the o e i upp hal , m p n ng l eft b e twee n the false c o res fill to half its de pth with fine s and the place o ccupied o ow the ore i re in by the m del . N lay c w o si io and ref the re i i p t n , ca ully fill ma n ng s e i the s d ressi it i o its pac w th an , p ng nt plac e again s t the sides o f the m o ld with o i - o e the s a m de l ng to l . Tak and up e ee o r and er and u se b tw n y u thumb fing , it as if it ere o de i - ressi it w m l ng clay , p ng ref i e N o w i e o n i e ca ully nto plac . p l a l ttl m o re sand to make up that p or tio n Of the m o de l which p roj e cted ab o ve the fal se . ores and ress do the o er f o f c , p wn th hal the o d o n is so the o e e m l th , that c mpl t m o de l O f the bull is built up in sand ro d the e r ire see fi 1 is a un c nt al w ( g. Th 2 5 2

ie e do e the s rf e o f is o re P c n , cut away u ac th c Mo din to e e e f e r i Th l g an v n d pth o n a ly nch . e depth Of the paring ﬁxes the thickn ess o f the e in the s and i de e d m tal ca t , that w ll p n

FI G . 1 6 1 .

F o r i er it o n the e ou u se . s m tal y lv , may , 1 as o e b e i e e ss i ab v , a l ttl l than 3; nch ; fo r b ro nz e o r b ras s it sh o uld b e r ather o re I t i now b e e ess r to m than g. w ll n c a y 2 54

or a b road spatula with a rounded e nd. T e o d is now o e e See ﬁ . h ( g m l c mpl t , and n eeds o nly to b e th o ro ughly baked e r the ﬁre so ois re is dri e n a , that all m tu v n

o u t.

CHAPTE R XXXI I

- — Casting by Waste W ax Process The Wax M odel — — The S and C asting the M old B edding the — M old in the Flasks Casting Without Flasks — H ollow Castings A Third M ethod of Casting

Casting by IT Is Ofte n n e c ess ary to cas t Obj ects which Was W te ax may b e e ith er to o s mall o r to o co mplicated ro ess P c fo r the s ro ess o r re ire la t p c , that may qu a re er e i o f is in th g at d l cacy fin h e cas t . M e o r o e in s i -wax is ak y u m d l ca t ng . Th is o o si io O f fine ees x resi a c mp t n b wa , n , and Ve nice tu rp e ntin e i n the fo llowing i e s x ro or o s . 1 r es re e p p t n pa t b t pu b wa , — th r fine resi th r es e i e l g pa t n , g pa t b t V n c r i M I n e r e n o t s ir e e . e tu p nt n lt an a th p , t e and add i e o o ri er w ll , a l ttl c l ng matt — acc o rding to wis h o r n e cessity Ve n e tian red r ssi e o r o o r i , P u an blu , any c l wh ch stain s w ell with o ut having much b o dy in i se f t l . If the res l e o d is too s ic t e u t wh n c l t ky , 2 5 6 e it and add i e o re re wax C ast n b m lt , a l ttl m pu , i g y as ere is ex e ss o f r e i I i Waste - Wax th an c tu p nt n e . f t ro ess b ec o m es flaky in w o rking add m o re tu r P c i W e o r ed e e e p e nt n e . h n w k b tw n the thumb and finger it s h o uld draw o u t into l o ng r s o e r ix re i wo r o f e d . s t s th a An th m tu , pa t e wax an o n r i r i b s t Japan d e pa t wh t e es n . is i e s ex e e res s is r e r Th g v c ll nt ult , but ath i o r If the e r e ire s t cky to w k . Obj ct qu d b e very s mall y o u can m o de l i t in pu re ese wax i b e o Japan , wh ch can b ught any wax arafli n ere . o s ex e wh Alm t any , c pt p wax i do if o n e i it r s , w ll m lt ng un away s n i resi and l e ave o so l d du e . i de o r o de ro Hav ng ma y u m l , ll up a s e der ro d Of the wax sa to i l n , y g 3; nch di e er and f er r i the e nd o f am t , , a t wa m ng the ro d it to the o o o r , attach back , b tt m , any par t o f the m o de l which will no t b e s ee u i e is is to e the n lt mat ly . Th mak f e o r o r e the es s i unn l p u . Tak fin t ca t ng s d ou ro re m ix it i er an y can p cu , w th a v y i e fine o and dr it o ro l ttl l am , y th ughly by the fir o it e in o r r i e . P und w ll a m ta w th an iro n p es tl e and ro ll it with a s m o o th w o o d e n rO ller o n a s m o o th hard b o ard to c ru s h ou t s Sif it ro any un e v e n lump . t th ugh a

s b a o r ru b i t ro fine si e e . canva g, th ugh a v Put a s mall quantity o f this fin e ly p o wdered 2 57 Castin b s d i o cu and add e o er to g y an nt a p, n ugh wat - Waste Wax e it i o re i id and s et it mak nt a c amy l qu , o n ro ess P c i t s e e W e h o ne s de o ttl . h n t e sand has r s e e d to the o o o r ff pa tly ttl b tt m , p u O the ’ e rer er and i s o f e cl a wat , , tak ng a t cam l s ir r s i the s d ref o er ha b u h , pa nt an ca ully v the o e s rf e O f the o er i e wh l u ac m del . V y l ttl i s i o n rs do e s no t w ll t ck at fi t , but that er the o de o n o ne side to dr matt ; put m l y , an e r i o n o er o e d wh n d y pa nt an th c at . Tak re the o s are id o n e e and ca that c at la v nly , oi es o r o es If es e are ef av d bubbl h l . th l t th ey p ro duce lump s and bl o ts which will b e certain to c o m e in awkward places o n the s Fi in the o o s and ere ca t . ll . h ll w v i es rs s e i e o to c fi t, alway l av ng ach c at r erfe efo re i o n o er d y p ctly b lay ng an th . Wh e n y o u hav e cov ered the wh o l e m o de l er ref i sa se e o r e i v y ca ully w th , y , v n ght o s the s o ne ei oro dr c at , la t b ng th ughly y , e s o f s i e si e and r tak a fla k u tabl z , pa tly fill the e e f i s d the m o de o n y hal w th an , lay l its f e and ress the s d e der ac , p an w ll un e it s o the s d o i o f the n ath , that an c at ng o de is e er ere e s o r e d e m l v ywh w ll upp t , th n ram the s and well i n all aro und ; lay the e f in e and s o i p g hal plac , fill that al w th - f ri we ll ramm ed s and as b e o re des c b ed . N o w lay a b o ard o n the back and fac e o f 2 5 8

Castin b s r the air e s es r ro the g y a y , cap natu ally th ugh - Waste Wax o r es Of the s d d ere are fe e r p an ; 3 , th w rocess P r s o r s s res in the o d th the c ack fi u m l ; 4 , — m o ld has no t to b e made red hot b efo re i n h B the m e o p o u r ng i t e m e tal . y th d ri t i If ju s t des c b ed he w o rk s cas t so lid. y o u wis h to hav e it h o ll o w y ou mu s t pro iff r i o ne—h f o f the ceed d e e ntly . Pa nt al m o de l o nly with the successive lay ers o f the s d and e e the e ire u n an , l av back nt ly r W e the s is f r s co ve ed. h n and ully d y du t i e Fre o er the wax and a l ttl nch chalk v , e ir o f s s and the e e f tak a pa fla k , fill y hal a es ri e fo r ie e— the s d c b d p c m o lds . Lay m o de l so that th ere will b e a suffi cie nt e o f o r o e it and ex e the l ngth p u ab v , cavat s and s o that the unc o vere d half o f the r in it fine e m o del may es t . Pack s and w ll der e is and e the e f un n ath th , plac p g hal i i i s e O f the flas k in p o s t o n . H av ng du t d ri - d s o er the f e O f the o d b ck u t all v ac m l , ram fine s d ro d the o de the an all un m l , fill

o d and s ri e o ff e as efo re . m l , t k cl an b e ers e the o d and if O ff the e e R v m l , l t y ' f s e o the s d d s the o de hal , hak ut an , u t m l e and i i es o f fine s d cl an , , tak ng p nch an , p ress th e m into the cracks and crannies o f the er e ram th e o er latt . Th n e s and w ll v the o d and i o the sides O f the s m l nt fla k , 2 60 and e e the s rf e as efo re O l v l u ac b . p e n the C asting by o d i d s the i ressio i r Waste-Wax m l aga n , u t mp n w th cha rocess o ose the o d and i o o se the P c al , cl m l , aga n l n er the o e in sand o v m d l . Ram m o re sand i the fr m e is f N o unt l a ull . w place the o d o do rd e r the f r e m l m uth wnwa n a u nac , s et a s mall v esse l under n eath to catch the W e the is ho t an wax. h n m o ld d all the wax has ru n o e the o d e away , p n m l , tak a e o f iro ire s o e o to l ngth n w , ju t l ng n ugh trav erse the wh o l e m o del l e ngthwis e and ro e i e e nd and i p j ct an nch at ach , , hav ng o i ed fine o er o r iro ire ro d it c l c pp n w un , ru b i e o r s e o er it and e a l ttl fl u pa t v , mak a c ore Of sand ro und the wire ; lay it in po s itio u s o that as fo r as p o ssibl e th ere may e ro i W e the b e an e qual s pac all und t . h n core is dry y ou can fix it in p o sitio n and r in th p o u e m etal . Th ere is y e t an o th er way o f cas ting h o ll o w figu res b y the l o s t wax p ro cess . A matrix o f the figu re is made in ge latin e (this part of the w o rk is b es t do e s er o der e e d wax n by a pla t m l ) , m lt is i ed in and the o d is rned pa nt , m l tu o e er so at e er r o f the ab ut v y way , th v y pa t

m o ld re c eiv es an ev e n co ating o f wax. This co ating sh o uld b e a littl e m o re than i i W e the wax is i e o d 1, nch th ck . h n qu t c l 26 1 ‘ Y ou i C asting by it is take n ou t o f the m o ld . w ll Waste-Wax now e o o s i in wax we i hav a h ll w ca t ng , w ll ro ess P c F ix the ro d O f s o se o f the . wax upp , bull fo r the o r the o f the o de p u at back m l . Run a s to ut iro n wire l e ngthwise th ro ugh i i the m o de l (see fig. Th s s to carry r Co the wax i the s an the c o e . at w th and d w er as efo re and e i e o at b , , wh n th ck n ugh , b ed the re s i o d in the s s ram ult ng m l fla k , the s d ro d the o re ire m e the an un c w , lt h re W e wax o u t and s t e . s , ca t figu h n ca t the c o re can b e rem o v ed b it by bit fro m h Th iro ro i i b e t e o o . e d b tt m n , wh ch w ll r xed in the s s so b e re fi mly fi ca t, mu t al o e d the o e ef it ed i m v , h l l t by fill up w th e and the e d e sed to re o e m tal , h a th n cha m v i traces o f the j o n .

CHAPTER XXXIII

On Old Work and Old Methods

WHAT most impresses the student o f all O ld wo rk o f the best p eriods is the clear shining sincerity o f the worker and his ’ ie s i The or er s r pat nt k ll . w k hand t aveled 262

i e —i i dr e ess r s s w n b bb ng, unk nn , b awl , fight , o i ide di e ss e f s ri e e and h m c , baw n , th t, ac l g er r and the i e i i s are e r p ju y , l k , wh ch th ng p niCIo u s in the e es o f Go d who re rd y , ga e th the humbl e and quie t man wo rking In si e e in the fe r o f the o rd o edie l nc , a L , b nt to the re e o f the es se d o s e p c pt bl Ap tl Paul , B u t r er let him o r o r i i ath lab u , w k ng w th his ds the i is o o d he han th ng that g , that ’ e to i e i e may hav v to h m that n ede th . “ g I desiri to b e i i or o f is , ng an m tat th dre e r to the o r o f o man , w n a p ch H ly Wisdo and e e d i e e f m , b h l a l ttl chap l ull o f divers co l o u rs o f e v ery variety display in i g the u se and nature O f e ach . Hav ng with un see n fo o ts tep s quickly e ntered erei I ed the m r o f th n , fill up au b y my e r i s ffi ie o f in s and h a t w th a u c ncy all th g , having tried th e m o ne by o ne by dilige nt ex eri e and i ro ed the p m nt, hav ng p v all by e e and d I o e d e i o y han , c mm n th m w th ut ” e to iI nvy thy s t dy . i i n o er e e o i s s Aga n , an th plac , Th ph lu thu adm o nish es the w o rker Whats o e ver o art e to e r ders d o r de th u abl l a n , un tan , vise in the Arts is minis tered to th ee by the r f iri g ac e o the s e v e nfo ld sp t . B y the Spirit o fWisdo m th o u kn owes t re ed i s o e o f Go d and that all c at th ng c m , 264 i o H im ere is o i B w th ut th n th ng. y the Spirit o f U nde rs tanding th o u acq u ires t i o f i d in o rder rie capac ty m n what , va ty , and p ro p o rtio n th o u may e s t avail to apply s e f to the diffe re o r B thy l nt w k . y the Spirit o f Co un s e l th o u do s t no t c o nceal the e o eded e e Go d i tal nt c nc th by , but w th i i o r i and e i o e hum l ty , w k ng t ach ng p nly , th o u reveale s t faithfully to th o se e ar n estly r o f o e B de si o u s kn wl dge . y the Spirit o f F o rtitude th o u do s t s hake o ff the to rp o r o f s o no t e i i i s l th , b g nn ng aught w th lack n ess th o u do s t carry it thro ugh with all er to the e n B the S i thy p ow d. y p rit o f Kn o wl edge co nce ded to th ee th o u do s t do minate with thy ge niu s by reas o n Of the f ess o f e r and o f i ulln thy h a t, that wh ch thy mind is full th o u do st utte r b o l dly in B the S iri o f ie o s public . y p t P ty th ou d t o er fo r o how g v n what , wh m , why , much , and in er o wo rkest and what mann th u , ro io s o sider io es the i e th ugh p u c n at n , l t v c o f ri e o r o e o s ess re e in o ava c c v t u n c p , th u s halt m o derate the p rice o f thy r eward. By the Spirit Of the Fe ar o f the L o rd th ou art mindfu l that th o u can s t do n o thing o f se f no r do s o i to e o r thy l , t th u th nk hav , to desire the if o f Go d , aught but by g t , e ie i o fessi and i i s but b l v ng, c n ng, g v ngthank 265 so e er o o es s o e er o what v th u kn w t, what v th u art o r b e o do s s ri e to the may , th u t a c b ” i i M r D v n e e cy . is o s de i f ers o o re o er Th m t l ght ul p n , m v , was o ro r f s and e ih a th ugh c a t man , kn w im a l he r A n he t te y what w o te ab o ut . d describ e d his w o rk as o nly a go o d wo rk o d who was at the s e i e man c ul , am t m i n s kill ed w th his pe . ere fo r ex e is his des ri io o f H , ampl , c pt n making cas ts o f handl es fo r a chalice by h o s wax ro es t e l t p c s . “ e wax and fo r d es ereo f Tak m han l th , and o de o n e dr o s or e s s or m l th m ag n , b a t , irds or e es in so e er o b , l av what v way th u i h O n the to o f e e how w s es t . d p ach han l , e er e i e wax ro ed ro d i e v , plac a l ttl , ll un l k s e der d e as o as the i e a l n can l , l ng l ttl e r the e r e nd ei so e fing , upp b ng m what ‘ ’ r r is is ed the o r is o la ge . Th call p u ;th th u i fi h e i r w lt x to t e handl w th a wa m to o l . “ Th e n take w e ll - b e ate n clay and c o v er e d e s e r e s o the up ach han l pa at ly , that all h o ll ows o f the m o delling may b e fill ed W . e e are dr i o e e up h n th y y , aga n c at v nly o er and in i e er ird i e . v all , l k mann a th t m Afterwards put the s e m o ulds n e ar the o s so e e e t ho t o c al , that wh n th y g th u es o r o u t the wa The wax ei may t p u x. b ng 266 as fo r se s ro d and rro o rders o f al , b a na w b 1 e s s and i e irds o ers se e fi . fl w ( g b a t , l ttl b , o r dr o s i e s and i s o i e d to ag n , w th n ck ta l c l r e s no t b e e r ved to o ge th e . Th y mu t ng a and i re dee o der e . e ply , but m at ly , w th ca Th n th o u thinn es t o u t silver as l o ng as th o u n eed est ; and much thinn er than fo r re p o u ssé or and o do s w k , th u t cl ean it with p owdered r o and i cha c al , w th a cl o th do s t p o lish it with chalk s crap ed o v er the e is o e fix m tal . Th d n th o u the silver plate o e r order and v any b , havinglaid the iro n u p o n the anvil with the s culptu red side upp er FIG ' 1 6 3 ’ o s and i id m t , hav ng la the si er o er the s re e i lv v culptu , plac a th ck ie e o f e d o er the si er s ri e s ro n p c l a v lv , t k t gly i the er so the e d im w th hamm , that l a may pinge o n the thin silv er and driv e it so fo r cibly into the s culptu re that every trace of it b e e r s ee may cl a ly n . “ If the plate b e l o nger than the m o uld dr it fro e to e and o d it aw m plac plac , h l e e o n t he iro i the i ers so v nly n w th p nc , that wh e n o ne part has b ee n s truck up 268 o er b e s r and s o o n i O n Old an th may t uck , , unt l has e e e i Work the plate b n fill d up . Th s w o rk is u seful e n ough wh e n th o u art making o rders fo r r es fo r i s fo r b alta tabl , pulp t , s ri es fo r the o dies o f the s i s fo r the h n b a nt , overs o f o o s and in e e r es c b k , what v plac o r b e ee e W e h the w k may n d d . h n t e relief is suitabl e and slight it is ea sily o s do i ewise i o r do n e . Th u can t l k w th c pp e i i r i ed i de an o i s d d s ed . m la ly th nn , g l , p l h B ei id o n the iro i s ide do ng la n , g lt wn rds the e d is id er it and wa , l a la Ov , ham re i the er is isi e The m e d unt l patt n v bl . image o f the crucifi ed Lo rd is al so e n r ed in iro as des ri e d o e and g av n , c b ab v , ei s ed o n si e r o r i o er b ng tamp lv g lt c pp , th ey mak e th erewith phylacteries o r reli n i ri f h i q u aries a d l ttl e s h n es o t e sa nts . The I mage o f the Lamb o f Go d Is al so r ed I n iro and the res o f the fo r ca v n , figu u e is s The i re sses o f ese o n Evang l t . mp th go ld o r silver are u sed to de co rate b owl s o f re io s o o d the I e o f the p c u w , mag Lamb in the ids o f the i s the standing m t v al , fou r Evange lists ranged about I n the shap e I es o f i e s es irds o f a cro ss . mag l ttl fi h , b , s are so de i ei and beast al ma , wh ch , b ng f the fixed o n the rest of the ground o i e o i e er ri effe . b wl , g v a v y ch ct An mag 269 o f the M es is de in i e er aj ty ma l k mann , and o er i es O f fo r o r s e th mag any m x. Th e se b eing s tamp e d In go ld o r silv er o n gilt co pp e r gi v e the gre ate s t s ee mlin ess to th o se places o n which th ey are fixed by re so o f eir de i and e o r io a n th l cacy lab at n . Images o f kings and knights are made I n the s e i i ei s ed am way , w th wh ch , b ng tamp ou t o f S is r ss si s e e er pan h b a , ba n wh nc wat is p o u red o n the hands are o rnam e nted in the sam e mann er as cup s are or nam e nted i the s ed o r in o d an si er w th tamp w k g l d lv . Th e y may hav e b o rders in the sam e m etal in which littl e b e asts o r birds o r little fl owers which are no t fixed to ge th er but i tin s o ldere d w th . N o thing could b e cl e arer o r m ore p rae~ i The res o f the ro ess tical than th s . ult p c can b e see n in the s h rin e o f the b ell The e i f o er s h own o n Plate V . d l ght ul fl w b o rders o n the face o f the s hrin e are all ri p ro duce d in the way des c b ed. i the des ri io b eo i s Aga n , c pt n y Th ph lu o f the i es eir u s e and the cutt ng punch , th , e o e o f the res s ro d ed is mpl ym nt ult p uc , a m o del o f cl ear n e ss “ I ro n punch es are made as l o ng as the er i o ne e nd and eri to fing , th ck at , tap ng fi 1 6 e b e led the o ther ( s ee g. Th y may fi 270 and o and dr it ro the dr l ng, aw th ugh aw e s o o s er o ire plat , that th u ha t a v y l ng w no t to o s l e nder Afterwards make fo r se f s e der Iro o t 6 i es o thy l a l n n , ab u nch l ng, which is b ro ade n ed ou t at o ne end and h o ll owed a littl e to re ceiv e the h ead o f the i The o er e nd is xe in o o e na l . th fi d a w d n he s i i e r the f r e s i handl e . T n tt ng n a u nac u t e fo r is o r efo re i s ds abl th w k , b wh ch tan a ’ i e o er esse f o f e ed wax l ttl c pp v l ull m lt , h o lding the s le nder iro n in the ef d the l t han , ro der artb ein e ed b a p g h at , and in the right the tin ire ro ed i e w ll up l k a ball , dip the end of the wire FIG 1 6 . . 5 in the wax and i , , plac ng it up o n the tinn ed side o f o ne o f the i e o ers so it s i if it l ttl fl w that may t ck , l t up and lay it in the h o ll o w Of the h eated iro o d it ere i the e r s n ; h l th unt l m tal un , and i edi e re o e it fro the fire mm at ly m v m , and wh e n c o ld s nip O ff a l e ngth Of wire acco rding to the l e ngth th o u desires t for the i na l . The b eaded wire so b eautiful in its s i irre ri ies see in o - S xo l ght gula t , n Angl a n

1 R esin ou d do ust as we l as ax w l j l w . b ro o ch es as w e ll as in many o f the Gre e k o r e s was ro d ed the e di nam nt , p uc by b a ng to o l which Th e o philu s de s c rib e s as fo l l o ws There is an iro n in s trum e nt call ed the e di - o o i o sis s o f two iro s b a ng t l , wh ch c n t n , e an o ne e o The o e r o ne ab ov d b l w . l w part is as b ro ad and as thick as the middl e

FIG . 1 66 .

i o e i I n it are er and s s . fing , m what th n two s pik es by which it is fixed to wo o d e o and ou t o f the er f e rise two b l w, upp ac thick p egs which fit into the upp er part o f the iro A nd is er iro is o f n . th upp n the s e si e and e as the o er and am z l ngth l w , is ier ed i two o es o ne e e nd p c w th h l , at ach , i i s the two e s o f the o er wh ch re ce v e p g l w , s o e b e o i e o e e r e that th y can j n d t g th . Th y s b e o i ed er o se i the file mu t j n v y cl ly w th , and in b o th faces th ou wilt gro o v e o u t s e v e ral ro ws o f littl e pits in such a way that wh e n the iro n s are j o in ed to ge th er a fi I n o e e r se e s . 1 6 the h l may app a ( g 7 , large gro o v es place th o u go ld o r silver ro ds e e ou t o and s o o ro d and b at n l ng m thly un , wh e n the upp er iro n is s martly s truck with the h orn mall et whil e the go ld o r silver ro d is tu rn ed ro und with the o th er d r i s are han , g a n fo rm ed as large as s mall b e an s ;I n the n ext grain s as large as p ea s are fo rm ed ; w and in the third i e e i s and so Fro . 1 6 . l k l nt l , 7 ” o n s er mall . L et any s t ude nt o r w o rk er try fo r him se lf any O f the m eth o ds giv e n by eo i s and he i find he is Th ph lu , w ll that b ro ught into to uch with s o u rc es o f su g ges tio n and ide as o f the utm o s t valu e to him in his o r I t is i e s e i fro w k . l k t pp ng m the cl o se atm o s ph ere o f a cramp ed w o rk ro o m to the freer air o f a new w o rld . I n f the o re o ne o res the or act , m c mpa w k o f the pas t with the work o f the p rese nt 274

r er- o by the h eedl ess W e s te n . A wat w rn e e s r e r ed s o e are p bbl , a t ang ly ma k t n , wro ught and p o lis h ed and added to until it is difli cu lt to say wh e th er the wo rk is e ntirely the result O f human inte ntio n or is the ro d O f so e i d O f r i p uct m k n natu al mag c, o r is the wo r k o f s o m e m ore than human artificer I n e ir e or e e . th m tal w k , ach m tal , i e o r o ed is ied i s o e o er nat v all y , all w th m th , i f i n i Th at o nce ts o l a d quie t e mphas s . e v ery nam es o f their su rfacings reveal an inte n sity o f o b servatio n unkn own to u s e r—s i ro d i e see d s o e p a k n g un , m ll t , t n di led o o d - r i ro d fish - ro e mp , w g a n g un , ’ ro d the o d s - ro d and g un , t a back g un , e s o o e n many o th e rs . Th y h w a kn wl dge a d a l o v e o f s urface quality no t ev e n dre am ed O f by the W es te rn wo rkman wall owing in h ro f o r i is eir o s t e t ugh o c mm e c al m . Th all y are de no t er e i an e e to e i ma , m ly w th y b aut fu l o o r in the e i se f fo r the c l m tal t l , but c o l o r and quality o f the film o f oxid r e i o r e i er p o duc d by t m e ch m cal s . Ev y thing th ey do rev e al s that intimate in herited kn o wledge which c o m es o f ce ntu ries o f s tudy o f the natu re and p ro p erties o f the eri e eir o r s i mat al s u s d . Th w kman h p i se f is no es s erfe t l l p ct . I n as i deed e er ere the su Japan , n v ywh , 276 pre m e tes t O fgo o d w o rk mans hip was that e v ery to o l s tro ke s h o uld b e c o mpl e te in its e lf and n re o i n eed o t uch ng. This h o lds go o d ev e n wh e n applied to art so wide ly — differe nt as Angl o Saxo n r W e e r go ld wo k . h th we lo o k at b ro o ches b u ckles , , o r e e s ere is the n cklac , th s e esi i s i am unh tat ng k ll , the sam e quie t p e rfe ctio n r Y e t the esi o fwo k . d gn Of any j ew e l reso lv es i se f in o s e er in t l , alm t v y s e i o the re e i io tanc , nt p t t n o f form s made up o f rio s is ed ri ed va u ly tw t , bb , o r b e aded wires laid side side o r i e o i s o r by , l ttl c l s hap es o f wire so ldered o n the s rf e and ed u ac , fill up with tiny grain s alm o st i n the Etru scan o r Greek Th i e viewo f mann er . e s d the Elfredj ewel(fig 1 69) is o ne i s r io o f is G llu t at n th , FI . 1 68 . whil e the Angl o - Saxo n b ro o ch es and buckl es in the co ll o typ e plates s h o w o th er v ery b eautiful exampl es o f the ri res s ro d e d s i e e s ch ult p uc by mpl m an . ’ Co mparativ e s tudy o f the go ldsm ith 3 art s o s o o er i s the extrao r h w , am ng th th ng , dinary p ersis te nce o f p rimitive m e tho ds o f wo rkman s hip and design ev e n down a The to the p rese nt d y . m e th o d o f ro d i r i s dis o ere d ro p uc ng g a n , c v p bably by the rs o d or er and des ri ed in fi t g l w k , c b fo r er er is s i se d e er a m chapt , t ll u by v y go lds mith in the w o rld ; s o al so the ri s er s o f is e ire The va o u patt n tw t d w . u se o f es o ds and dies are punch , m l , all ri i i e e o s o f e d ri i i p m t v m th d n u ng ut l ty . e are as it ere the er s in the Th y , w , t m ’ r is s o r and it o d b e s a t t v cabula y , w ul ju t as imp o ssibl e to inv e nt a new language as to disco v er new m e th o ds o f w o rk o r a

new art .

ro r s o I i All th ugh Et u can , R man , tal an art o ne , can trace the m e th ods per fected if no t i e ed Gree , nv nt , by k artiﬁcers i e the i e e o f Gree , wh l nﬂu nc k art can b e see n e ve n to - day in the work o f the Persian and I ndian go ldsmith as well as in th o se o f e arly I re land and - i in e r o S xo d . Angl a n Englan Aga n , a ly Fre art s o e e if l ex es o f nch , m b aut u ampl 278

i are i e in e V III ere is wh ch g v n Plat , th the Gree o e o f e r ess o f ﬁrm o u t k l v cl a n , fo r The r i o i e and s iri ed . o s s l n , p t m w k e so ir and ri it see s cl an , a y b ght, that m rather the handiwork o f ange ls than o f n It is s iri refres e e e m e . a p tual hm nt v n to o o s i s and the s de l k at uch th ng , tu nt cannot spe nd too much time in the study f H e i s ﬁn s e i o e . d s o th m w ll alway ugg t n , not o f new fo r s o f ried e ods m , but unt m th ; not new desi i s o f new ex res gn , but h nt p s ions ; he will l earn what is indeed the su m o f the o e er the ri wh l matt , that ght u se o f eri e to ri i e s mat al l ads ght d a . HI RTEEN TH-C ENTU RY R ENCH R I KET C A NDL F STIC K T F P C , H I F ROM T E B R TISH M USEU M. The romantic b eauty of thi s master w o rk and the ro manti c u se o f cry stal and gilt b ronze w ill b e su ffi ci ently ob vi ou s to tho se who hav e studi ed the o riginal to m ake furthe r de scripti on u nne ce ssary . THE new sectio n which fo llows con tains chapte rs o n Japan ese metal wo rk and ro esses o f e l o o ri i p c m ta c l ng, wh ch are based o n demo nstratio ns p rivate ly give n by Pro fessor Unn o Bise i to the author and his pupils.

n dis is ex e ed a d To b e at up a The metal c n t ann al f ri V e OUt Of i di ed i n the s as “cleaned by b e ng pp ul u c 3 M r i o sses the o o i223 pickle . a k w th c mpa b tt m

G 1 6 . FI . 9

e e the e and circle EF . Th n tak m tal a - d e and wedge shaped boxwoo mall t , hav et the f fi . 1 0 s ing a stake the shape o g 7 , i of the s e so metal against the t p tak , that 284 he ed e o f the s e t g tak just co mes to the edge To be at up a ir e fi V3 3 6 OUt of o f the ( g. and e i to e c cl b g n b at ’ a e ‘m the e fro ou ro d the ir e m tal away m y un c cl , fiCf3 l

FIG 1 0 . 7 .

ei er aref to ee to the i e b ng v y c ul k p l n . i o e ed the ir e re e the Hav ng c mpl t c cl , p at ro ess i e i er and fo o p c a l ttl h gh up , ll w ro d s in ir es i the to o r un alway c cl , unt l p o er The e s o d ut edge is reach ed . m tal h ul now b e reannealed and the ro ess , p c

I 1 0A . F G . 7 repeated fro m the beginning until the

fi 1 0A . wo rk loo ks in section like g. 7 At this stage co ntinu e the work o n a stake 285 To b eat u a i fi 1 1 i r o l t e . e s n t to e p l k g 7 , tak ng ca alway Vase OUt Of the tip o f the stake j ar o n the botto m a heet of S o f the se as i s re and s i va , that w ll t tch pl t Metal the e is o i m tal at th p nt . The u se o f the last stake will enable y ou to bring the metal up to the shape shown in fi 1 2 i o r ir e on . s d e g 7 . Th n , ma k a c cl th fi i s e e metal A and B ( g. tak ng a tak fi 1 A an e i to dr the s ed as . d hap g 73 , b g n aw

FIG 1 1 on a e . 7 ( p g

e in to fo th e is s e m tal rm e n ck . At th tag the work must b e annealed more frequently and re re exer ised as the e is g at ca c , m tal ore i e to s i B heatin fro BC m l k ly pl t . y g m the rest o f the cu rve CD will take its own s e wi er i i hap th v y l ttl e beat ng. Before beginning to beat o n the stake ﬁ e ( g. it will b e advisable to mak em e Of th io er a t plat e sect n . A hamm 286

To b eat u a o i ed the or s b e is ed p bta n , w k mu t plan h Vase 011i Of s oo o er e i i the se m th all v , b g nn ng at ba a heet of S i r o d s e i e fi . 1 w th a flat, un tak l k g 75 , Metal si ro d-f ed er i e u ng a flat, un ac hamm l k fi 1 A g. 75 . The angl e o f the base is to b e planished

r e o n s e s o in ﬁ . 1 0 and t u a tak h wn g 7 ,

FIG 1 . 73 .

“ ” from the angle F to the dotted line “ ” B e fi 1 roo e i e u se a stak ( g. 77) c k d l k a er as in fi 1 A o r 1 6 xe i o . d hamm g 73 7 , fi nt a i The i lo ng stra ght arm . neck s next plan ished i s io -f ed er fi w th a cu h n ac hamm ( g. 1 o n o o s es fi 1 x 77) h ll w tak ( gs . 78 fi ed as the re io s o ne was in the arm p v u long . 28 8 The u seo f the s io -f e T cu h n ac d hammer is to o beat up a Vase ou e nable you to get into the quick cu rve of t o f 3 he t of the e o f the se S e n ck va . Metal

To et s oo e e s rf e the g a m th , v n u ac 289

To b eat u a In is as in raf or ore p th , all c t w k, m Vase out of will b e learnt fro m a few lesso ns fro m a Sheet of Metal

FI . 1 6 G 7 .

a ﬁrst-rate hamm erman than fro m many es o f es ri io The s de is pag d c pt n . tu nt

d ised erefo re to e the e r ies a v , th , tak a l t opportunity o f getting a practical de 29 2 monstratio n o f the p ro cess fro m a skill ed To b eat up a V ase out o f workman . a Sheet o f Metal

IG 1 8 F . 7 .

FIG. 1 79. CHAPTER XXXV

To m ake a C ard C ase

A CA R D Case may b e made thus Pro cu re an iro n die o f the size and e re ire shap qu d . File up the top su rface to the shape o f f f th b ox S ﬁ one o e . ee . hal ( A, g This is the punch from which the blanks to e are b e stamp d. Make a mo ld by pou ring m o lten tin into an iro n shape not l ess than 1 inch larger all round than the top o f the iro n die and not less than 1 inch dee p ; lay this o n a ﬂat sheet o f iro n and lute the j o ints all round with i i . e d and e er are o f e sed wh t ng L a p wt t n u , tin is e er e se it is r e r but b tt b cau ha d . W i e the tin is oo i s i o e h l c l ng but t ll m lt n , Dress the iro die ere i so it n th n , that may e i W e mak an impress o n a inch deep . h n oo the die b e ered in to e c l , can hamm mak the i ressio e and s o o . See B mp n cl an m th ( ,

ﬁ . I g SO. ) The she ll should now b e cut ou t o f s ee s i er s red the or ers h t lv , qua up , c n cut 294

sa e die b e de to o e er m , can ma ﬁt t g th i o iffi w th ut d culty . f er s i the s e s s o d b e A t tamp ng, h ll h ul e i To re e anneal d and cut to s ze . p v nt r i d ri the ro ess Of e i wa p ng u ng p c ann al ng, 1 ir b e re re i o n plates should p pa d 1 s nch i to si e and ed i o s e th ck, cut z tapp nt hap o er the iro die o ne to o side the v n , ﬁt ut s e an o ne i i e h ll d n s d . The inside plate must b e gapped along one side so as to l eave spaces where the o i s o f th i e The s e j nt e hinge w ll com . h ll must now b e clamped secu re ly at each corner betwee n these two iro n plates with s re s i b e ro red c w clamp , wh ch can p cu at

any hardware store . is do e the s e s b e e ed Th n , h ll can ann al , e res ed reannealed th n tamp , , and the edges ﬁled tru e so A that the two halves will ﬁt

to gether. The facings to each half may xe now b e fi d. These are stiffen ing pie ces o f FIG 1 8 1 ° ° o ne -e ighth square silver wire so ldered to the inner edge o f the s e ro d. See fi . h ll all un ( A, g Whe n so ldered the edges must b e filed true and ground p erfectly flat o n the sto ne 296 until the two halves fit togeth e r so that the o i is rd e r e i e j nt ha ly p c pt bl . The che nie r fo r the hinge sh ould no w b e made . e s ri o f si er e i e Tak a t p lv , gaug 4, a l ttl mo re than th ree times the outside diam eter o f the tube y ou req u ire ( in this case th ree thirty -seco nds o f an inch) ; file the two edges parall e l and cut o ff two l o ng or ers to for o i e i h c n m a p nt . Th n w th t e thin pane o f a riveting hamm er tap the strip into a small groove in the swage o it i e for o f- e bl ck ; w ll th n m a l ng hal tub . e e e ose the two ed es R ann al , g ntly cl g wi er s for i o e e th a hamm , thu m ng a c mpl t i It is now re e and e . d tub , ann al aga n a y to dr do to the s i e re ired re aw wn z qu , ca be ing take n that the che nier is drawn perfectly straight and that the line o f the The j o int is no t allo wed to b eco m e spiral . thin line o f the j o in sh ould th e n b e carefully nicked with a fine th ree -square file o its e e i the s ide al ng l ngth , that b ng e Yo u s to so lder do wn o n the cas . mu t now cut this up into an e qual numbe r o f r s 6 or 8 and re f file the pa t , 4, , , ca ully e ds in o i oo e i the ie es ou n a j nt t l , l av ng p c y inte nd for the e nds o f the hinge rathe r

l o nger than the rest . ’ To m ake a is do e r er s e e nt- s o d b e Th n , g av c m h ul Card C ase me lted into e ach o f the two halves and the two ce me nted togethe r so that the back edge may b e fil ed ou t with the j o int is b e do e er c re f file . Th may n v y a ully by d o r e d and is ed han , b gun by han fin h o ff by fixing a lo ng j o int file Of the proper s ize in the chuck of a lathe and the n running the case to and fro alo ng it e ise as the e re o es so l ngthw lath v lv , that the groove is deepened eve nly and truly it o e e alo ng s wh l l ngth . Whe n it is deep e nough to re ce ive the o i i s o d not b e let in too j nt, wh ch h ul deeply o r the case may not ope n as wide ly as ou o d is e the se r y w ul w h, tak ca apa t,

and clean o ff the ce ment . e the se and o di it r in Tak ca , h l ng fi mly the ef d e the o i s in osi io l t han , plac j nt p t n o the roo e and i fine e i al ng g v , w th a p nc l po int mark o n the she lls the positio n o f e o i e re o e the to f o f ach j nt, th n m v p hal se e i the e iers res i in ca , l av ng all ch n t ng the roo e e ie e o f fine i i g v . Tak a p c b nd ng wire and tie the first j o int in positio n ; the i r n If do same w th each alte nate o e . the number o f j o ints is six there will b e ree on e f the two end e iers th ach hal , ch n e si being o n opposit des . 29 8

To m ake a the o i se ﬁ j nt ( e g. If the j o Int 13 ard C ase C er s o ne s r i i do ree v y mall p ng w ll , but th are e r b tte . Put the case to e er ss t g , he s ri s do Plug th pa p ng wn ro the o in and th ugh j t , plug ﬁrmly at the end with small

FIG . 1 8 2 . si er e lv w dges. Then ho lding the case fi rmly in o ne d i the i e ed e fro han , hav ng h ng g away m ou ri the s ri s i the iers and y , g p p ng w th pl tu rn them toward y ou for at least half r e et the b o or ssis to a tu n , th n g y a tant plug the free e nd with another wedge o f i er and file o ff the e ds e The s lv n cl an . sp rings can b e fixed single -handed if a ie e o f s oo ood de se re p c m th , flat w ma cu ly i si e the se b e ro re i to fit n d ca p cu d. Hav ng placed this inside and put a thin board or i rd o n e side Of the se th ck ca ach ca , it can b e held in the vice and the sp rings can b e twisted and plugged without assist e The o e now b e e ed and anc . wh l can cl an o is e as ou es ire p l h d y may d . The shape may b e e ngraved or inlaid o r d s e ed o r de o r ed i ie o ama c n , c at w th n ll , or re ed in wa ou e se o t at any y y may pl a , nly o f course all this must b e do ne befo re running the pin or sp rings through the i e If esired the se b e de h ng . d ca may ma 3 00 to o e i p n w th a catch . In th is instance he ri in th t sp ng e j o int must b e twisted the o osi e so th pp t way , that e lid may fly o e e the is re e se p n wh n catch l a d. The spring catch may b e simply a - ie e of s ri as o as the se p c watch p ng l ng ca , i - ie e xed to the e er w th a thumb p c fi c nt . A circular ho l e sh ould b e fil ed in the o er f s e e the f i e n l w hal ju t b n ath ac ng, croachin so e o its i ess g m what up n th ckn . This ho le may b e inch e r Th in diam te . e thumb piece would b e slightly less in diameter and abo ut o The e inch l ng. nds Of the sp ring are retain ed by small slotted wing-pieces so dered to the i s ide o f l n FI G 1 8 . 3 . the b ox beneath the edge f The - o f the acing. thumb piece has a e so ere to t i small plat ld d i . Th s plate has ro e io so dered o n the fro and a p j ct n l nt, a p ortio n o f the plate is turned up at the s r e e o to re i the s ri back ju t la g n ugh ta n p ng. fi 1 8 1 The - i See s . 8 e e ( g 3 , 4, thumb p c is pushed th rough the h o le fro m the inside and the sp ring slipp ed into the slot at the The ro e io o n the fro o f the back . p j ct n nt thumb -plate is so adju sted that it may 3 0 1 To m ake a catch o ver a p repared pro j e ctio n o n the Card C ase o r f corresp o nding facing o f the the hal . There are many ways in which sp ring es b e de and o er su catch may ma , many th g gestio ns will p resent the mse lves as the work ro ee s If esired s o ed ie es o f si er d . d p c , l tt p c lv may b e so ldered to each side o f o ne o r othe r Of the halves in which e lastic bands to ho ld the cards

FIG . 1 8 . FIG 1 8 4 . 5 .

in e b e xed or s e Of i plac may ﬁ , a h ll th n silve r may b e so ldered ju st within the edge o f the f i as b e esire ac ng may d d. This method o f case-making has many a i io s and the ro ess is des ri ed ppl cat n , p c c b fully be cau se o f its applicability in o ther dire io s ct n . 3 02

he N otes on the ( 4) D in the same ﬁgu re shows t Whett n i g whet fo r e ngraving o n co ncave su rfaces . and Use of Grav ers and Scorpers

This grave r s hould b e much shorter — than any o ther not mo re than 4 inches o i di d e so the r f s l ng nclu ng han l , that c a t b e e to man may abl exercise mo re co ntro l N otes on the o WhettIn o ve r the t o l . g and Use Of in ﬁ 1 8 8 s o ( 5) E g. h ws a fo rm o f whet Grav ers and Scorpers

u sed fo r e ngraving any l o ng cu rve o n account o f the s ides o f the whet not is o s be ing o f e qual inclinatio n . Th al w ' l the hand to fall into its natu ral po sItIo n 3 05 N otes on the i e h o si e wh l s lightly to t e ut d . Whettm g Also the top o f the whet is slightly in md Use Of clined to the i si is dire s the de . éravers and n Th ct Scorpers

spiral chip o f metal to the inside o f the

r e is is er i o r o i . cu v . Th a v y mp tant p nt Unl ess this is do ne the chip will tu rn im 3 06

ossessi no s r ed es or es is P ng ha p g angl , th handle can b e easily manipulated by the ird and fo r ers i is f e th u th fing , wh ch O t n e ess r in fine s di n c a y ha ng. in fi 1 8 i ( 7) G g. 9 g ves the scorp e r e er sed fo r i s ri io or and g n ally u n c pt n w k, can b e made o u t o f an o rdinary graver o f o e e i In blank but l z ng sect o n . whet i the s e r es as fo r the r er t ng, am ul apply g av , except that a flat su rface is added in place of the i ed e o f the r er cutt ng g g av . ( 8) H shows a blank made especially for e r i b o It has sco rp r wo k wh ch can e b ught . os er e di r sides fo r o u r u r alm t p p n cula , but p ose the o e e r e r is the es p l z ng g av blank b t , be cau se the inclin ed s ides o f the resulting h ffe cut give additio nal richness to t e e ct . fi 1 0 i s ra e e ods o f I and . J , g 9 , llu t t m th shading a ground by means o f paralle l o d b e as it ere i es . s ro e s l n Each t k h ul , w , cut into o r against the stroke which pre eded ir the r er e i e d c , g av b ng h l at a s i i i ed e see I fi . l ghtly ncl n angl ( , g This m ethod p roduces a co ntrast o f co l or in the i w ere s the e od i s cutt ng, h a m th llu trated at J is mo re diffi cult and pro The duces mere ly a mo n oto nou s effect . See i s same rule applies in co lo ring. ( llu tratio ns K and L . ) CHAPTER XXXVII

Box-M aking

Box-making To make a silver b ox so mewhat similar methods are required to those outlined r o n the r e in the last chapte ca d cas . A s e fo r the lid in iro i e dee er hap n , a l ttl p ire s o b e e re d d d r e . than qu , h ul ﬁl up t u is b e s re o o ir ar Th may qua , Obl ng, val , c cul , o r o i io o f ese s es if any c mb nat n th hap , but e o r e er is e ess r the iro any lab at patt n n c a y , n die should b e as deep as the b ox and made so that it can b e used as a stake round which he b to t metal can e tapped shape . ss i o e er s i e Ob A um ng, h w v , that a mpl o b ox is re ired and ou e l ng qu , that y hav ﬁled up the iro n to the desired form for the lid e s ee o f si er e , tak a h t lv , gaug fro m 10 to 1 4 according to the su b se — qu ent treatme nt decided up o n 1 0 for i o r o r re o ss 1 fo r pla n w k p u é, 4 champ e e e o r ie o— r on it the l vé, nam l, n ll ma k s e of the lid e i e o e hap , l av ng n ugh m tal all ro d to for the o ei of the sides un m t tal h ght , i di the lid and i e to s re to nclu ng , a l ttl pa o fo r e Cu t o t the re es all w wast . u ctangl at 3 1 0

— w n decorat on F i . r a . os s r om a Roman S cab b ard s ho g g oy B f , i i i n Nie llo . From the M us eu m o f His torica l A ntiq u ities at M ai nz .

S ee f ag : 3 15 . ( To f a ce page the o r e rs so the e b - c n that m tal can e b ent down Box m aking o h iro ver t e n shape and meet at the angles to fo r the b ox. See ﬁ 1 m ( gs . 9 1 and If i b e ire t des d that the b ox sho uld have a ro ded or s i do ed to the e un l ghtly m p, angl s f he i r o t nne rectangle mu st b e gapp ed i f - - w th a kni e edged needle ﬁle as shown

FIG . 1 1 9 .

See fi . Th o n the drawing. ( g e sides o f th n fi 1 1 e rectangles at A a d B ( see g. 9 ) s now b e fered so e the mu t cham , that wh n b ox is be nt into shap e the edges o f the i The metal will meet in a clean m ter. lines forming the rectangl e o f the top o f the b ox must now b e cut deeply into the metal on the wro ng s ide with a sharp 3 1 1 Box-making router made o f a loze nge graver be nt at fi is do ne the e See . an angl . ( g Th , lay m etal o n the iro n stamp and tap the edges down all round until the s ilver has take n e e s or the required shape . Th n tak a h t stake made just the length o f the b ox in fi side and having a beve led edge like g. 1 and if it b e s re -ed ed o n is 93 , qua g , th tap Use the edge o f the lid tru e all round . a similar short stake with a rounded edge as

FIG 1 2 . . FIG . 1 FIG 1 . 9 9 3 . . 94

1 if th in ﬁg. 94 e box should have a round e to ex tie th b x ro i d p. N t e o und w th binding-wire and so lder the angles cleanly and so d i o si too un ly, w th ut u ng much so lder and taking care to cu t the so lder in e i o s of e e si e se ti up n at pa ll n v n z , t ng e o the i si e o f e e th m al ng n d ach angl . is do e re o e the i di - ire and Th n , m v b n ng w tru e up the shape in case it may have got dis or e in the re re s ee t t d ﬂame . P pa a h t o f s i er for the o o o f the s e lv b tt m , am 3 1 2

- i h Box making too thin it will burn away w th t e heat o er W e so dered required to ru n the s ld . h n l se re ro d the b ox and cu ly all un , lid b e s r the may awn apa t, meeting edges filed and rubbed down o n the flatting-sto ne until e r ro The they m et t uly all und. edges o f the b ox must now b e i is o e i e ed. s d FI G 1 6 th ck n Th n by . 9 . taking a le ngth o f s ilver wire 1 X ins in ross se io and i t 3 ? . c ct n fitt ng a frame o f this exactly inside the lid and the b ox ro d e ed and so l all un , ach clamp ered se re i o its e See fi d cu ly nt plac . ( g. is dOne the ed e o f b ox and lid Th , g s b e r ed o n the f e e and e mu t t u ac plat , wh n o o e er erfe the f i o r b th fit t g th p ctly, ac ng e e o r s i ed e s o d b e re r b z l hutt ng g h ul p pa ed . The beze l o r facing is s imply a strip o f i e o s i e 8 ed to th n m tal ab ut z , fitt the ins ide o f the facing O f the b ox o n ree s ides and ro e i th , p j ct ng o e it o o f i so ab v ab ut fig an nch , the li fits i o er it that d t ghtly v . fi The r ir s ( See g. back equ e no f i e se Of the i g ge . ac n b cau h n FI G 1 . 9 7 . The beze l must b e made just to fit down to the botto m edge o f the facing so it e e is i side that may mak a n at fin h n . 3 1 4 — F i . 1 r a o g 98 B eaten Cup and Cover i n S ilve nd Nie ll . F r om the M us e um at Nu remb u rg S ee page 3 15 To f a ce pag e 3 14 l

Niello Work

FIG 1 . 99 . found in many b o o ks o f rece ipts fo r go ld Niell o Work ’ r-s i s o r and s ilve m th w k . The fo llowing fo rmul ae may b e found ef e are e i d er i u s ul . Th y tak n by k n p m s sio fro the d ir e and e if n m a m ab“l b aut ully illu strated treatise o n Nie llo by H err er w i o b in the M r . ose s d e a c R nb g, h ch h ul hands Of every wo rke r

in xxxiii . Hirt. Na t. Pl y , 6 4 .

ini Cell .

u sb ur re i e A g g c p , N 1 o . .

u sb ur re e A g g cip , No 2 .

Rucklin urkb ue/z , Sekm , No 1 .

Rucklin c/z , Sebmurkbn , N 2 o . e o Work E Ve r ier in his Ni ll M. . n most inspiring ” b o o k o n Egyptian J ewe ll ery gives the fo ll owing re cipes : Silv er C opper Lead r n N e lo Pe sia i l . Flowers of sul fur Sal-amm oniac Silver Copper o ren h Re i e Lead M dern F c c p . B orax SulﬁI r

An alloy which I ﬁnd most u seful is p repared as fo llows

ake of ﬁne si er 6 dw s 0 0 T lv t . . 3 copper 2 1 00 ead 0 0 l . 5 ﬂ owers of sulfur 5 00

Me lt the s ilver and co pper together i i e or x W e e f se a . d dd w th a l ttl b a h n w ll u , the l ead we ll covered with sulfu r in a r Of i Mix the o sc ew t ssu e paper. wh le tho roughly by stirring with a piece o f r s i i o r the ix re i o d y t ck . Q u ckly p u m tu nt i i th 1 oz Of a small crucibl e n wh ch e } . s f r has ee e The si e of the ul u b n plac d. z 3 1 8

Niello Work s e i the o r io to and. Th n pa nt all p t ns b e decorated with a weak so lutio n o f 1 or x and er and f er rd i b a wat , a t wa , w th a s the s es i the ro d patula, fill pac w th g un ie o ixi it i er i e o f the n ll , m ng w th a v y l ttl o io i o r h or x s . s d e e o e t e b a lut n Th n , m v su rplus water with a piece o f blotting paper and ge ntly heat the wo rk in a muffle fu rnace o r with the blow -pipe until the n ie llo me lts and runs into the spaces r r f r it If o - i e ed o . e b e sed p pa a bl w p p u , the flam e must not b e all owed to play dire o n the ie o as is i se it ctly n ll , th w ll cau to bu rn and p ro duce cavities and defects in the s rf e e the o r is o is e u ac wh n w k p l h d . e the s es are e ed and the Wh n pac w ll fill , or is oo e s d- er s i and w k c l , tak a an pap t ck ge ntly ru b the work with it until the s i er ro e er re r lv backg und v ywhe appea s . Co ntinue p o lishing with water o f Ay r sto ne and er and is Off i the i e wat , fin h w th pum c ff The o i bu . final p l sh can b e give n wi ro s an ro e th c cu d ug . Small engraved pan els can b e don e in is and e the i es are ed th way, wh n l n fill with nie llo and the who le su rface po lished e o o r e if th y l k ve y b aut ul .

1 Sal-ammoniac ma b e used instead of b orax y . CHAPTER XXX IX — Ja anese ethods In rustat on and In ay—O f p M— c i l Inlaying Simple Inl ay : Another Method

7 apanere M etloodr

ALL who have see n Japan ese go ld and s ilver-smiths at wo rk must have b ee n deeply imp ressed not o nly by the s im plicity o f the to o ls and m ethods but by the miracul ou s skill with which these oo s an e ods are e o e t l d m th mpl y d . I have had the p rivil ege o f b eing in structed by Pro fesso r Unno Bise i o f the o io Fi e A rt Co e e and the fo o i T k n ll g , ll w ng chapters are based o n n otes made fro m hi o r io s e e in ddi s dem nst at n . Th y hav a tio n bee n e ntire ly revised by Pro fesso r o i se f The i s r io s are fro Unn h m l . llu t at n m i o wn i r h s d ag ams . The too ls requ ired are ( 1 ) a light - 2 chasing hamm er ( see ﬁg. ( ) a numbe r Of chise ls Of va rying widths

ﬁ s 202 and 2 1 . sharpe ned as sho wn in g . 5 The whetting o f these chise ls must b e o e i the re es i e as the d n w th g at t n c ty , 3 2 1 Incrustation success o f this wo rk is largely depe ndent I a and nl y o n the erfe io o f the i - p ct n cutt ng edge . In no case should a too l b e used when it is blunt .

Of Inlaying

A simple pie ce o f inlay such as the i o r e r fi 200 o b e o e ru nn ng b d A ( g. ) w uld d n i n is th way . Set the work to b e o rname nted o n a i - as if fo r re o s C ref p tch bl o ck p u sé . a ully s cratch o r draw the pattern upo n the e e the wor in fro o f ou m tal . Plac k nt y so that ’ the line o f o rname nt is perpendic ular to you rself; the n h o lding the chise l betwee n the thumb and first two finge rs se fi i the e d o f the ise ( e g. w th h a ch l s i fro ou dri e it o the lant ng away m y , v al ng i e o rd ou i re the ou t l n t wa y , tak ng ca that b e not too e o r too s o Re o e d ep hall w . m v the res i r ed i of e and ult ng cu v ch p m tal , the n co ntinu e the cut until y ou have fi carried the line as far as ne cessary ( see gs . 202 and On examining the cut y ou will find o o s i es that the line is bu rred up n b th d . The l eaves should b e cut by so mewhat bro ader chisels with edges s lightly o n th e slant . 3 22

Incrustation This s lant e nabl es the wo rke r no t o nly and Inla y to vary the depth and s lo pe o f the cu t

- FIG . 20 1 HOW to ho d the un h for In a in . . l P c l y g

at will ; it e nables him also to keep the

o utlin e e dge o f the cut always the deep est . This is n e cessary fo r the p ro p er retentio n 3 24 Inc rustatio n and Inl ay

FIG . 2 0 2 ° Inlay

FI G 2 0 . 3 .

Incrustation and Inl ay

FIG . 2 0 4, i the The n w th same punch plan ish the l nc rustation and l nl ' w1re down and make it e ve n with the al rf e Th who le su ac . e l eaves are do ne in a The s imilar way . s hapes are fi rst o f all cut fro m s heet -metal o f the n e cessary i ess and e ed to the ex th ckn , th n fil fit cava in the ro f tio n g und . Each lea is the n laid o n a lead-blo ck o r o n pitch and i e see and B fi 20 s . o r l ghtly b nt ( A , g 4) do m ed up with a tap by a rounded s re re it i punch . Thu p pa d s dropped ho ll o w s ide downward into the excava tio n and tapped lightly with the small er is s re ds the e o u t hamm . Th p a m tal and at o nce makes it fit into the ex cavatio n and e the rred ed e of , wh n bu g the latter is b rought over by the mat ting and planishing punches it is he ld

ﬁrmly in place . The pro cess is repeated until the The s rf e is e pattern is co mpl ete . u ac th n i ﬁne e er o r s d er cleaned w th m y an pap , and sto ned and po lis hed in the usual way .

— Simple I nlay Another Method

re ired for his are s o r The too ls qu t h t , - ed r ers r ed and and chise l shap t ac , cu v ﬂat re ed ed of rio s s i es few squa g , va u z , a 3 29

At this po I nt It Is we ll to try if the ro o wire will lie co mfo rtably in the g ve. If it does not e o o er the or , th n g v w k ro r ra er with a very s lightly b ade t c . I ser the ire fix the e nd i n t w , w th a tap wi the er : o r the i - o o th hamm matt ng t l , bend the wire into its place with the ers dri e it ho e i ox ood fing , v m w th a b w and r e i o n ei er side punch , t ac l ghtly th o f it i the i - so the w th matt ng punch, that raised bu rr is drive n do wn against the s ides f the ire ex e o the ire o w . N t b at d wn w itse lf into the under cut channe l which the matting-too l has made ee fi 20 ri i ( s g. 9) by d v ng FI G 2 0 . 9 . o er the rre e es v bu d dg . The i is now se re and the e nlay cu , m tal can b e filed o r made smooth with the e mery o and e s o ed and o is ed see cl th, th n t n p l h ( fi g. Should the wire at any stage become sp ringy after y ou have hammered it into its e the s ri or io o u t plac , cut p ngy p t n , re - e it and re e the ro ess o e ann al , p at p c ab v des ri ed dee e i the e if c b , p n ng chann l e ess r n c a y . Should y ou wish to have the wire inlay appear as if slightly raised above the 3 3 2 s rf e ou do so i u ac , y can by mak ng a too l i l ke a planisher but having a shall ow roo e ed o n the to s rf e g v fil p u ac . The se io o f is roo e see fi 2 1 ct n th g v ( g. 0) sh ould b e a quarter o f the circumfe rence Of the ire efo re i i w b nlay ng. The edges Of the groo ve and the too l should b e nicely rounded and made smooth to the touch with fine e mery -cl oth before ei se Y ou no o o b ng u d. can w g ver the inlaid wire and drive down the

e o n e i er side s i the FIG . 2 I o . m tal th , u ng oo o o r er The o er t l as y u w uld a t ac . ut edges o f the s light grooves resulting fro m is b e re o ed wi is er o r th can m v th a plan h , they can b e scraped Off with the chisel ed e o f the r is er o r the ro d g bu n h , g un can b e ed e r ed or oo ed in matt , p a l , t l any way o s y u may elect .

CHAPTER XL

R aised Inlay

R d Inla RA I SED inlay is do ne as fo ll ows aise y i Having made a perfectly clean draw ng — o f what y ou propose to make let u s sup e fo r e as pose a circular silver pan l a buckl , — i er ﬁ 200 20 and 2 1 2 C e o r s , in s . g , 4 tak y u lv 3 3 3 Raised Inlay

FIG . 2 1 1 . aised Inlay

FIG . 2 1 2 . its e o n the ro d re afed R l plac g un p p . Then aised Iu av WIth o I t a p n scratch the outl ine o f that f i i lea wh ch s lo west in re l ief up o n the s i er ex in its e see ﬁ lv actly plac ( g. is do e e s r Th n , tak a ha p t race r with e e ed ed e i e the e r b v l g , l k nla ged drawing

fi . and r e ro d the o i e (A, g t ac un utl n , keeping the head o f the too l inclined i inwar s d, so the o i e is l ghtly l that utl n s i der and the s e i l ghtly un cut, at am t m e a s r ed e or rr is r ised ro ha p g bu a all und. is rr is er i or o i as Th bu a v y mp tant p nt, a great deal o f the success o f the work s o it W dep e nd up n . he n the o utline is e r e the e f o r or io o f e f cl a , tak l a p t n a l a and lay it in the place to see if it fit the see fi 2 1 2 C Co r o i e . re utl n ( g ) . ct it wher r e ess r wi re re W e t e eve n c a y th g at ca . h n h e f e rs to e s ise l a app a fit, tak a mall ch l , fi 2 1 2 B n r Kirita ane see . a d s o g ( g , ) , fi t g ro d the o i e i the un utl n , cutt ng away i er rr ro d and e re o e nn bu all un , th n m v the ground to a depth just su fli cient to r F ix all o w the l eaf its p rope p roj ectio n . the e f in e and if it s o d not l a plac , h ul ex in e er e e e the actly fit v y plac , th n tak r er and o ro d the o i e orre i t ac g un utl n , c ct ng it Where n ecessary and driving back the e ee i s the rr and the m tal , k p ng alway bu 3 3 7 Raised Inlay

FIG . 2 1 2 C .

Raised Inla i r to o r e f ou s e y any nju y y u l a , y mu t tak re re in o i i and e g at ca utl n ng cut cl anly, so as to get y ou r form with as little dis i tu rb ance as possible o f the inla d m etal . Cu t ou t the ground within the outline as efo re tr the re red s e fre e b , y p pa hap qu ntly in e so it ex and i plac that may fit actly , nlay W e the e is r xe the r es . d g ap h n m tal fi mly fi , o utline the separate grapes with a bevel ed ra er ode e o ne i s t c , m l ach w th a mall plan is er i ou e the ffe ir h unt l y hav e ct you des e . ro eed in is e er e i i P c th way , n v b g nn ng any new leaf o r form until the last is per fee e e r o i ed and ode ed t , cl an , cl a ly utl n m l , and the ground scraped clean and bright f er o a t each peratio n . The remaining leaves and twigs will b e o e r s d n as above desc ib ed. Alway b e mindful o f the importance O f testing the s es in eir es i e hap th plac , mak ng ach fit ex efore e i o the rr actly b b at ng d wn bu . The te ndril s may require a somewhat iffe re re e i e the for d nt t atm nt . Outl n m i s i e r er i e and e e w th a ngl t ac l n , th n tak a s re-ed ed r er i e rro flat, qua g t ac l k a na w r ed and fo o the c r es cu v punch , ll w u v , driving the metal down to form a flat o o e r o f r t r I the b tt m d g o ve o he cu ve . nlay r ed ire i s b e o f the ex cu v w , wh ch mu t act 3 40 id Of the roo e as efore dri i th Raised w th g v b , v ng e Inlay bu rr down again st the cu rve with the fin i - o o e matt ng t l . Where the tendril sses o er e es o r o er fo r s re pa v l av th m , g at care mu st b e taken not to distu rb the m in the ro ess if the or h p c , but w k as b een do ne we ll it will not b e an easy matter to dis e or io o f i plac any p t n t. Having carefu lly m odel ed the who le s rf e to o r s isf io e o u ac y u at act n , tak a l ng s r er o ne end Of i is s ed as c ap , wh ch hap a ise the o er as e e ed s r er ch l , th a b v l c ap , and scrape down any irregularities which b e ef in the ode i re i may l t m l ng, fin ng ere e ess r i the r er and wh n c a y w th g av , finally sto ne and po lish the ground with - d r i the the s r ru s an s ra es . c atch b h , bu n h g p The work may now b e treated with s de o f o i to d r e it o r it ulfi amm n a a k n , may b e subj ected to any of the pro cesses given in a subsequ e nt chapte r. It will b e Obvious that the method o f inlay will apply to almost any metals o r o s er ide r e o f o ored all y . A v y w ang c l effects can b e p roduced by the u se o f ref ose o s and ese b e ca ully ch n all y , th can l still further added to by u sing such a i s loys as take o n b rilliantly co lo red pat na whe n pickled in an acid so lution . Raised Inlay Where there is a large amount o f inlaid o d fine s i er b e ed i i g l , lv may plat w th a th n s ee o f o d and sed as if it ere so id h t g l , u w l The s e b e o e i t m etal . am may d n w th he v ri a ous alloys.

CHAPTER X L I

Damascene Work

THE Japanese method o f damascene o r is i e the o r o f eo e w k , l k all w k that p pl , f x i i i o ne o e qu isite s mpl c ty . It no ess incru stratio n or , l than w k, de e ds for its s ess o n two i s p n ucc th ng . ( 1 ) On the careful preparatio n and whet ting o f the chise ls used; ( 2) o n the f u e o f e e e care ul s th m wh n mad . h oo s re ire are—1 T e d . s t l qu A mall , i e - ed i - er 2 l . . ght, w ll balanc tapp ng hamm i e fo r o i i T A ch s l wh etted utl n ng. 3 . wo o r three chise ls o f varying sizes for hatching o r roughing the ground o f those portio ns to which the go ld o r silver leaf is to b e i o e f- e i ed. . s d r s er appl 4 A l ng, l a hap bu n h with o ne end ground to a cutting chisel - 6 ﬁ ed e . . S or o s . . ne g 5 mall c n t ng A , lo ng-haired brush and Indian ink for o i i the o r e o the s e utl n ng nam nt up n t el . 3 42

Dam as ene ri The ise s are e u as c te mp e ng. ch l ﬁl d p for W k or tracing-too ls and the taper made curved o t i iri ta ne ﬁ 2 1 an n wo s des see a s . d ( K g , g 3 They must now b e harde ned and ere The o e s ess o r f i re o f temp d . wh l ucc a lu the wo rk large ly depe nds o n the care with

’ i is is o e e o ne o f the wh ch th d n . Tak ise s e the e nd red-hot e re d ch l , h at , hav a y ben eath the flame a pot o f co ld water ; e the e o s di the i end wh n m tal gl w , p cutt ng o f the too l of an inch into the water for i i n an instant o nly . W thdraw qu ckly a d watch cl ose ly until the heat from the unchill ed p ortio n o f the to o l invades the chilled p o rtio n and turns the gray -white o f the er to er e s r - o or latt a v y pal t aw c l , e i s i the o e oo and it th n n tantly ch ll wh l t l , is re fo r e i The o i i ise ady wh tt ng. utl n ng ch l must now b e whetted o n a fine -grained ' i fi Washita sto ne to the shap e shown n gs . 2 1 an 2 1 Gre re s b e e 3 d 5 . at ca mu t tak n to get the e nd o f the too l abso lutely true and s e ri o r it i not b e ossi e ymm t cal , w ll p bl t If the e e s to cut a cl ean line with i . b v l o n e ither side incline too much to right o r ef the oo i err in the o osi e l t, t l w ll pp t ire io If the ri r e e o n the d ct n . t angula b v l fro nt face is too steep the to o l will not ro er i e if it is not s ee cut p p ly , wh l t p 3 44 Damascene Work

2 1 . FIG . 4 Damas cene e nough it will break o ff o r bu ry its nose Work in the s ee o r o o f ese i s the t l , b th th th ng at 2 1 and same instant ( ﬁgs . 3 The e r ed dr i s i o e er nla g aw ng w ll , h w v , give a good idea o f the nature o f this i r e The s imple but invaluable nst um nt . whetting o f the chise ls is a much simpler er W e e to ee ed e e matt . h t ach a k n g , th n i the ise os ri ho ld ng ch l alm t up ght, but slightly inclined toward ou dra it s r y , w ha ply o the s o Re al ng t ne . ve rse the too l and rep eat the o er io so p at n , but as to p roduce a shorter i e th e e . . e s ro e b v l , , t k must b e shorter and the re re p ssu l ess . A glance at the diagram I G . 2 1 F 5 , wi e is e r ll mak th cl a . In si is ro d e e is e er u ng, th b a b v l k pt upp If it b e esire to e or e s ee most . d d d c at a t l buckle with a pattern such as that shown i n ﬁ 2 2 ro ee fo o d as s . s . 00 and 0 g 4, p c ll w e ie e of i d s ee -s ee e 1 o r Tak a p c m l h t t l , gaug 4 1 6 do e it s i re o e the r s of , m l ghtly, m v c u t oxide e ither by hand or in the lathe by cementing it to a chuck and grinding r - down the su rface with eme y cloth .

Dam ascene and ho lding the head o f it inclined slightly W ork fro ou see fi o er the away m y ( g. c v who le su rface o f the leaf with a close-set fi is series o f cuts like tho se o n a le . Th do e see h ere is no i e i o f n , that t n qual ty c i e re o n the s rf e and re utt ng anywh u ac , peat the o peratio n with a series o f cuts ° at an angle o f about 45 with the The s o e o f the s e se es last . l p cut th m lv must b e in the same directio n as the r If is or has ee ro er fi st . th w k b n p p ly do e the ro d i i the e f i b e n , g un w th n l a w ll i i er o si e e s l ghtly h gh than that ut d . Tak a piece o f go ld-fo il just large e nough to co er the e f it in e and i v l a , lay plac , hav ng we ed the r is er o d the er tt bu n h , h l latt b etwee n the thumb and finger o f the right hand with the e nd-half o f it resting against the palm of that hand and pressing down o n the burnishing portio n with the thumb Of the left hand; go smo othly with a slight ro cking motio n o ver the su rface o f the o d s ro i it i firm ress re g l , t k ng w th p u fro m s ide to s ide rather in the directio n o f the s so the i o i s o f cut , that t ny p nt s ee e er the i ess Of the o d t l may nt th ckn g l , and e e i f r er ressed do th n , b ng u th p wn , o it r The o d i se f ei may h ld fi mly . g l t l b ng plastic is also by the same operatio n 3 48 fo r e i o the i c d nt nterstices Of the stee l and fo r s ke i i ddi io se ri m a y g v ng a t nal cu ty . fl i The su pe r u ty o f go ld beyo nd the leaf outline is removed by u sing the chise l ed e o f the r is e r as ife i g bu n h a kn , cutt ng the go ld and at the same time p ressing it down into the groove fo rmed by the i e o utl n . The same p ro cedu re is fo llowed for the re i der o f the o r e ma n nam nt . Damasce ning can b e do ne without ou t i e in w i se the ro d is ro l n , h ch ca g un ugh ened all o ver and the leaves and o rna e to s e i r er o r i e m nt cut hap w th g av ch s l . Th eophilus gives a m eth od by which this b e o e e i o n the can d n m chan cally lathe . The student might find it interesting to i refer to th s . Wh e is do e ou e i er o er n all n , y can th c v the ground with a grain pattern by u sing a fine pearl -too l o r vario us mats fo rmed - oo s The s rf e by differe nt matting t l . u ac can b e co lo red o r darke ned to va rying s of r fro the e o o r o f to ne g ay , m pal c l to i e se r e - the the stee l nt n pu pl black, by f o rdi r u se o f strong o r weak infu sio n s o na y tea and e i the or in the i f sio , l av ng w k n u n f a time p ro portio nate to the depth O is o o r to o i . co lor y ou wish bta n Th c l , Dam as ene e the wo r is dr b e i e si ed c wh n k y , can nt n fi W rk o by the u se of a little wax rubbed in with r r s a ha d b u h . This metho d o f damascening has many It b e se to e applicatio ns . can u d d corate repou ssé wo rk o r carved work in iro n or s ee and is e of rod i the t l , capabl p uc ng m ost e nchanting effects o f richness with a very little co mpa rative labo r ; but that labor must b e applied with the r io T b e ffe re es o e . o e g at t c nc nt at n ctual , all wo rk must b e do ne with the edge o f the i e in d e o f the oo mind a l ttl a vanc t l .

CHAPTER XLII — Japanese Casting HOW to Cast a Modeled Vase in M etal

IN esse ntials the Japanese method is the

’ same as that described fully by Theo hilu s the for er i des so p , but m nclu many , reﬁneme nts in applicatio n and imp rove e s in eri so e o of m nt mat al , that m acc unt b ef F o r the i fo r them may e u s ul . all n ma tio n in this and most Of that in the succeeding chapter on Japanese metal co ori I i de ed to rofessor l ng, am n bt P

o s i o f o io . T . K baya h T k 3 5°

How to Cast red e o dered ri o r u r cu , fin ly p w b ck b nt clay a MOdeled b e may e u sed inst ad . Vase in In very fine wo rk p owdered graphite o r Metal powdered charcoal may b e adde d to the s and. Mix the sand with the clay and the n add d the ese er e so ed. e Japan pap , w ll ak Kn a the mixtu re well with the hands until all the materials are so thoroughly incor orated o n i ie e o f the p that, pull ng a p c r the se r ed s rf es e r clay apa t , pa at u ac app a as if co vered with a very fine do wn o r o m ld. i ri If f er it has es e e . T t a p c by fi ng , a t ee ed to red ess it s o d ra in b n bak n , h ul c ck If the f r e ere is too . u nac , th much clay ri e the paper is in excess it will b e too b ttl . s i r de o rser the Tama t uch , a g a c a than o e is de o f o ed tow s d and ab v , ma ch pp , an , The s d s o d b e ssed wet clay . an h ul pa through a s ieve with meshes o ne-third o f i i e er s re and the o e s o d a m ll m t qua , wh l h ul , as efo re b e o ro e ixed b , th ughly w ll m by

hand. Tsu ta s i o ed s ra the t uch ( ch pp t w clay) , o rses r de is de o f s r o ed c a t g a , ma t aw ch pp i o e s wet and s i s d nt l ngth , clay , ca t ng an , sifted th rough a s ieve with half millimeter

es es and is ixed as efore des ri ed. m h , m b c b 3 5 2 S i r s i o r ore - h ga a t uch ( c clay) . Next the Ho w to Cast ore i b e re ire a ode ed c clay w ll qu d. Th is will b e M l — vase i“ eeded in two rades shia e ts i o r n g g uch , eta is i ix re f M l ﬁn h ng clay, a m tu o casting sand de s i ma pa ty w th clay alo ne ; and S higata i r s , o o re de i s d t uch c clay , ma w th clay , an , and o ed s r ch pp t aw . Have all these ready in suitable boxes o r receptacles so as to b e ready at any I s n tant . The alloy o f bronze should now b e re re The ix p pa d. m tu re commo nly used 13

C o er er ent . to 8 0 er nt pp , 7 5 p c p ce L e ad 2 5 to 2 8 Shirome

Shiro m e i b e o i ed is , wh ch may m tt , a r o ie o osed o f i natu al all y, ch fly c mp ant o m ny . The abo ve all oy must b e very carefully re red as it is er difli cu lt to e p pa , v y mak a o o f o n e eutectic all y c pp er a d l ad. Me the o er rs and e it is lt c pp fi t, wh n f S ir re liquid add a little o the lead. t ca f i dr s i e add i e ully w th a y t ck, th n a l ttl

o re s irri o i . e o r ou t m , t ng c nt nually Th n p u i o i o s and e oo re e and nt ng t , wh n c l m lt pou r into ingots at least th ree times — Making the Core for the Vase We may n th ore e iro rod o w make e c . Tak an n about o ne -eighth to o ne-quarter o f an inch in di e er o er the v se b am t , l ng than a y o two o r ree i es and i d so e ab ut th nch , w n m tightly twisted straw or hay -rope tightly it the ro e i er ro d . w un Dab p th clay wat , and e S hi ata s i o r the o re th n apply g t uch , c i ou e ro a roxim a clay, unt l y hav a ugh pp h e f h e ex tio n to t e shap o t e vas . N t cut a templet o f sheet -iro n to the p rofile of the se r the ore i s the e e va , tu n c aga n t t mpl t e ither by resting the p ro j ecting e nds o f the iro n rod o n two woode n up rights re red fo r it o r xi the se p pa , by fi ng va u pright o n a board and making a revo lvmg tra e s as s e rers u se W e the mm l , uch pla t . h n rough core shape is dry apply a thin coat o f finishing clay ; tu rn it into shape with the e e and re e the ro ess i t mpl t, p at p c unt l he o r is erfe o er t c ntou p ct all v . When this is dry the wax should be ie o o u t the x re io s a d. wa ppl R ll , p v u ly sof e ed in hot er o n s oo b o rd ‘ t n wat , a m th a e The wax s o be ro ed kept w tted. h uld ll o u t to the desired thickness o f the metal for the futu re vase; Wi r ed ife it i o s ri s th a wa m kn , cut nt t p from f i to o ne i c ide hal an nch n h w , 3 54

It is we ll to make these a littl e thicke r at the er e nd so ha f e -s upp , t t a unn l hape is ef in the o d e the wax has e e l t m l wh n m lt d. Should there b e any p ro j e ctio n s i n the ode i or r i is de m l ng, any pa t wh ch tached o i fro the se s e der rods at any p nt m va , l n Of wax ro lled o u t o n the wetted board S hould b e attached to th ese p ortio ns and led to and e o d the o o o f the , b y n , b tt m se so the air b e e to es e va , that may abl cap fro the rix as the e e e r m mat m tal nt s it. The m o ld should now b e covered as thinly as poss ible with kami tsuchi ( paper the rs ix r The re e . es clay) , ﬁ t clay m tu g at t care must b e take n to insu re that this o e ers the re i es s the c at nt all c v c , ﬁll up all o o s in the ode i and is e e in h ll w m l ng, v n e r thickness all ov . W e is o i has dried in the air h n th c at ng , a se co nd coating o f the tamai tsuchi ( o r tow s b e ied o re i clay) mu t appl m th ckly ,

s i e e and o ed to dr . but t ll v nly , all w y A third coating o f tsu ta tsuchi must the n b e added and the m o ld shaped up into a The fo rm that may eas ily b e handl ed. who le mo ld should now b e allowed to fo r ree o r fo r d s in the air dry th u ay , setting it in a place th ro ugh which the fr e wind can blow e ly .

he o s o How to Cast and in about an hou r t m ld h uld

The temperatu re required is abou t °

1 100 F r not ore . ah . , m It will now b e n ecessary to stop up the air-inlets and allow the fire to coo l 3 60 u all W ad . i e the o d is oo i gt y h l m l c l ng it How to C as t Wl ll b e e a Mod l w ll to m elt the b ro nze in a large e ed vase i“ r i e i b e do e - c uc bl , wh ch can n e ithe r ih a Met” f r e o gas u nac r in a s imilar fu rnace to that de fo r i the o ma bak ng m ld. K eep a f laye r o cru shed charcoal o n the top o f the mo lten metal to p revent undue io W e t oxidat n . h n he fire has coo led so e the o d is s i m what , but m l t ll at a red e i side re o e it ref i h at n , m v ca ully w th large o s and set it o s er os o n t ng , , m uth upp m t , the ro d o r o n b ed o f dr s d . g un , a y an The mo ld should now b e made to inclin e s i to o ne s ide so o ne o r l ghtly , that p u , o r e is o er e e the o er gat , at a l w l v l than th , y et not so mu ch that the mo ld will b e to f o r l ike ly all ve ( see fig. e the r i e in the o s re o e Tak c uc bl t ng , m v the sco ria and charcoal fro m the su rface o f the o e e s ir it to i s re m lt n m tal , t n u o e e ix re o f the e s and c mpl t m tu m tal , ho lding with o ther tongs a cloth thickly fo lded o ver and ove r to the lip o f the r i e o r the e i o the e r c uc bl , p u m tal nt upp o D o is mo st o pe ning o i the m ld . th s e di is e i the i e fo r so ds t a ly , l t n ng wh l any un o f bubbling o r distu rbance within the ' o If no ises are e rd it e s m ld . h a m an that If is air cann ot escape quickly en ough . th 3 6 1 How to Cast s o d e e se o ri fo r i s h ul happ n , c a p u ng an n tant . M a Odeled is di i is the e i in Th may m n h v l , but any Vase in se the s is i e to b e defe i e o r ca ca t l k ly ct v , at eta M l ’ th ro s W e the o i e es o . d s f b t p u h n m l ull , the b ro nze will ru n ou t at the lower pou r

o r gate . The mo ld may b e left to coo l for a w i e the s s b e re o ed efore h l , but ca t mu t m v b it is i e o d o r it s ri i qu t c l , may , by h nk ng i i the o d e o e r ed o r or w th n m l , b c m c ack p tio ns o f the m ode ling may detach the m se es fro the o o f the se lv m b dy va . Whe n quite coo l it can b e pickl ed to re o e the ru s o f oxide and is en m v c t , th r f r i an i i eady o chas ng d ﬁn sh ng.

CHAPTER XLIII

A M ethod of C asting N atural Obj e cts in any Metal

ATU RA o e s s as ﬁr o es ds N L bj ct , uch c n , bu , ee es i rds s es o r s e s b tl , l za , nak , h llﬁ h , any thing which will resist pressu re and is red i e to ash e b e s uc bl by h at, can ca t by the fo o i e od i is d ll w ng m th , wh ch an a apta

tio n o f that ﬁrst described. Take a quantity o f tsu ta tsuchi ( chopp ed hay and clay) and make a foundatio n with it large enough to give a bearing su rface 3 62

er o f tsu ta s i D r the apply a lay t uch . y o d in the air as efore des ri ed tie m l b c b , up the mo ld with so me iro n binding ire and e it as efore is i e w , h at b , but th t m so that the heat is ab ove The r e Of r s e s as r s ca apac c u tac a, uch c ab , r s and o s ers does not e its c ayﬁ h , l b t , chang o i io i i he i r e c mpos t n unt l th s at s each d. Th o oo b o e e m ld when c l can e pe n d . The ashes o f the Obj ect forming the er b e d s ed ou t red ed patt n can u t , un uc or io s e i i ed ou t i eed e p t n b ng p ck w th a n l , and whe n cl ean the mo ld may b e tied o e er i iro i di - ire e ed t g th w th n b n ng w , h at red-hot again in the fu rnace and the o e ro e o red i m lt n b nz p u n. Should the o bj ect b e so large that it e o es e ess r to s it o o is b c m n c a y ca t h ll w, th can b e do ne after the mo ld has bee n in o e ed . e ore ress it s p n Tak c clay, p mall quantities at a time into the two halves o f the o d so the er is not m l , that latt i re e re s It i not nju d by undu p s ure . w ll b e necessary to do more than ﬁll the r e r sses The s nfaller o r io s la g ma . p t n can ‘ b e ef so i o i the two f i res l t l d. J n / hal mp sio ns carefully with thick clay -water o r s i D r in he air n e s r e . t a d l p y , th n c ap fro m this core a thickness of clay equiv 3 64 alent to the i th ckness des ired fo r the e it in e s o r m tal ; lay plac , upp t it with i e ie es f l ttl p c o b ro nze o f the required i ess and i e i th ckn , lay l ttl p eces also o n the to o f the o re p c . Set the upper half o f the o d in m l place and tie the two o e er i i di - ire and ro ee t g th w th b n ng w , p c d as ab ove described for the casting o f the se va .

CHAPTER XLIV “W Japanese oodgrain M etal

VERY beautiful effects are produced by a method akin to that u sed in p roducing d s e e s ee ama c n d t l . To do is se er s ee s o f o er th , v al h t c pp wi b e re ired—o ne o f re o er the ll qu pu c pp , others having varying amounts o f tin o —a s ee o f s i er and o ne Of o all y h t lv , an all y of copper co ntaining a slight p erce ntage o f o g ld. the s ee s o e er i rs Lay h t t g th , hav ng fi t sprinkled each with fine silver solder filings and b orax; tie them together se c re i i di - ire and e o n the u ly w th b n ng w , h at forge with the bl ow-pip e until the so lde r re e a e the re flushes everywhe . Th n t k 3 65 su ltin s Of e er it e o n g lab m tal , hamm w ll a smooth anvil with a heavy planishihg er and re e i the o - i e hamm , h at w th bl w p p until y ou see that the plates have all i united into a so lid mass . Then w th a chise l gouge ou t circular pits o r deep r i s in the er s rf e o f the e ma k ng upp u ac m tal , so that y ou cut through two o r three laye rs f the e e the is i o metal . Th n tak plan h ng hammer and beat the s lab ou t o r put it through the flatting-ro ll s until these pits i e r d sapp a . Feathe rin s o i s r i i s of re g , m ttl ng , g a n ng g at rie b e ro d ed in is o r va ty can p uc th way, by bumping o r beating o u t the metal fro the and e ri di o n m back, th n g n ng flat the f B u se o f the ro s ou Of ace . y ll y can cou rse reduce the composite sheets o f r metal to any desI ed thickn ess . Whe n the wo rk made o f these com posite sheets o f metal has bee n c ompleted and o is ed the rio s ro esses for p l h , va u p c producing patina act differently o n the differe e s IV In o ed or nt m tal , g g a m ttl r i e effe g a n d ct . A littl e th ought will suggest many vari atio ns and applicatio n s of this fascinating i method of su rface decorat on . differe nt results are p ro duced from those se o which co me whe n u d c ld. Generally it may b e o bserved that the best and richest co l o rs are p ro duced o n cast metal . Bei oro s the e is ore re di ed ng p u , m tal m a ly act t o i In ered o r upo n by he s lut o n . all hamm ore s o chased work the co l or co mes m l wly . W e heatIn ro e wor re h n g any b nz k, ca t The should b e take n not to overheat i . result of overheating is to sweat the tin to the rf e o f the e 1 is not su ac m tal . Th o nly makes the skin o f the m etal harder and o re i e e r e it ro d es m mp n t abl , but p uc a i is oo o it i o wh t h bl m up n , wh ch can nly b e re o e i re iffi In m v d w th g at d culty . ddi io to is i o e ie e the o rdi a t n th nc nv n nc , nary pickles fo r the p roductio n o f patina will no t act where there is an excess Of tin I e i in the dis ri io of the . n qual ty t but n alloy is o ne o f the many causes o f failure to i the ex e e o o r Obta n p ct d c l .

1 It may b e m entioned that this peculiarity of b ronze alloys was known and utilized In Egypt from the esrli st tim ronze too s whi h re uired an ed e or a e es . B l c q g surface of hardened m etal w ere regularly case-hardened by heating the implem ent until the tin sweated to and hardened the surfa e ea in the inter or m ore du tile c , l v g i c and tena ious When the w ork has b een we done c . ll , e en a stee i l hard tou h it v l ﬁle W l ly c . Bro nz ing by the Boiling Process The F oundation Color —Th . e ingredie nts required fo r the f o undatio n co l o r are to b e mixed I n the fo ll owing p ro po rtio ns :

C opper sulfate J apanese v erdigris Water

is so io b e ied to o er Th lut n can appl c pp , ro e rass and s i er b nz , b , lv . It gives to copper o r brass a warm b rown co l o r and to bro nze a dark b rown o or The r c l . g eater the propo rtio n o f e d in the o the d r er i b e the l a all y , a k w ll res i o or ult ng c l . This so lutio n o nce made keeps indefi itel The er it n . d is the e er y Ol b tt . It has the fu rther advantage that by slight changes in the p rop ortion s o f the ingredients o r by the additio n o f o ther i r s b i che micals d ffere nt esult can e Obta n ed. A little excess o f copp er sulfate pro d es dee er o or i b e de uc a p c l , wh ch can ma still deep er by the smo king p rocess to b e r The ddi io o f o e r described late . a t n c pp acetate o r o f vinegar gives the patina a bluish tinge if the su rface o f the metal has Gree o o r is rod ed bee n roughen ed. n c l p uc e by the additio n o f co pper carbo nat . Japanese The mixture chosen should b e applied thus Clean the Obj ect well with a so lutio n o f ide o f o ssi and cyan p ta um, attach a ire fo r o e ie e in i coppe r w c nv n nc handl ng. Pu t it in the so io i s o d b e lut n , wh ch h ul o e the esse o n the r o c ld. H at v l cha c al i e it fro fo r several m nutes . Tak m the fire o it to oo and e re o i , all w c l , th n b l The rs o i i several times . fi t b l ngs never

give good results . Should y ou wish to p roduce the bluish ' atina ab ove des ri ed the s rf e Of the p c b , u ac Obj ect must b e roughened by the u se o f s ro so io o f sal- o i a t ng lut n amm n ac, ox i id o er s f e and i al c ac , c pp ul at , calc um o ri e in o e ro or io To chl d ab ut qual p p t ns . get a uniform patina o f this co lo r takes n ie e f er the much time a d pat nc . A t Obj ect has ee o i ed se er i es it s o d b e b n b l v al t m , h ul u t o n o ne side and i ed i wet p , w p w th a o o o o e ee fo r o i e c tt n cl th nc a w k a l ng t m , until y o u have succeeded in p roducing the The ro ess effe ct y ou seek . p c may b e ex e ded o er ee s o s o r even t n v many w k , m nth , . e rs y a . A reddish patina can b e give n to iro n and ro e e s oi i e in tea b nz Obj ct by b l ng th m , to i iro i s e ee wh ch n ﬁl ng hav b n added. 3 70

a anese If ri ree i b e desired o i J p a b ght g n pat na , m t e the ox i i the copp er sulfat and al c ac d. i re f e ed the o e Hav ng ca ully cl an bj ct, e o i er s o f a apply s veral c ats at nt val a d y . Whe n the co lor see ms eve n and pleasant

’ ru s the s rf e i dr r s D O b h u ac w th a y b u h . is se era i es da f er da i ou th v l t m , y a t y , unt l y e the o o r ou des ire The i hav c l y . pat na may the n b e ﬁxed by b rushing with a little i r ees x r ed o n d r s . b wa , ubb w th a ha b u h is o e er es the o or Th , h w v , mak c l many shades darker ; and should any change b e desired the wax o b e re o ed i , can nly m v w th re iffi r i g at d culty by petro l o spir t of wine . A gray co lor o n s ilver is obtained by u sing :

Platinum chloride Tincture of iron

Clean the metal perfectly fro m grease

and dir . C r o b isu lﬁde ied i t ( a b n , appl w th so f r s i i e ri e su r a t b u h , w ll g v a b ght cl an f e to si er the so io i ac lv . ) Apply lut n w th sof e - ir r s and e dr a t cam l ha b u h, wh n y r s it o er i r e - ir r b u h v w th a d y cam l ha b ush . This gives a beautiful gray patina which is u seful for medals and small Obj ects in s i e r e er e e or sed or ro lv , wh th b at n up cha p du ced in ie a d . 3 72 d r e o o r n A a k blu c l o s ilver is produced Japanese by a mixtu re o f Patinas and M e tal i k im C Q u c l e 2 023 oloring Flow ers of sulfur Water

The o r s o d b e e ed r ed w k h ul cl an , wa m , and di ed in the ix r pp m tu e . The hotter the er the i e r the io f wat , qu ck act n o the i e si i r r p ckl . A m la esult is p roduced by i the i h eat ng p ckl e . Whe n the required depth Of co lo r has ee i ed i dr the or s if b n Obta n , w th aw w k w tly and wash we ll in warm water to remove the pickle and p reve nt the darkening pro f o i too far cess ro m g ng . Smokin Process — The g . Any o f the co loring p ro cesses mentio ned may b e s e e ed the s o i ro ess uppl m nt by m k ng p c , which co nsists in the exp osu re o f the Obj ect to the sm oke and flame o f a fire o f i e eed es resi o s s i s o r ri e p n n l , n u hav ng , c S o d the eri sed i e straw . h ul mat al u g v i s ffi ie s o e add i e Oil to the n u c nt m k , a l ttl fire Wh e the o or e rs d r . n c l app a a k e o o is ru i e i n ugh , p l h by bb ng g ntly w th a is re o es soft cotto n cloth . Th m v any if excess o f soot and gives a beaut ully The ro ess be lustrou s su rface . p c may 3 73 used with effe ct fo r almost any metal with f o the exceptio n o g ld . The fumes o f bu rning flowers o f sulfu r i e e if ro is i to si e r g v a b aut ul b wn h pat na lv , r is o o r to low r o and a pu pl h c l ca at g ld. r 1 2 r and 1 ra are os 9 ca at , ca at, 5 ca t m t i er r es o f easily affe cted . H gh g ad go ld e re main unchang d. — The Painting F romm This is a method by which the che micals necessary fo r the productio n o f patina and co lor are applied h i - r ve ry gradually by t e pa nt b ush . Bro e iro or s ee o e s b e nz , n , t l bj ct can co lo red by the u se o f a so lutio n prepared as fo ll ows e s ie es o f ri iro e Tak mall p c b ght n , h at e to s r o o r e dro e i o th m t aw c l , th n p th m nt r is ix re s o d b e ef co ld vinega . Th m tu h ul l t i Th to mature for a lo ng t me . e lo nger it o is kept the better it bec mes. Iro n and stee l treated with this so lutio n e o e d r ra or ordi to b c m a k g y black, acc ng the e o f the ro ess the a e and the l ngth p c , g , o f the o io Bro e is i e stre ngth s lut n . nz g v n r i o or a edd sh c l . The Obj ect to b e co lored should b e s i e ed the so io i ed o n l ghtly h at , lut n pa nt , e e then wip ed Off with a cotto n rag. R p at the operatio n several times until the 3 74

Japanese A very beautiful deep co l or for bro nze inas and Pat is also p ro duced by the fo ll owing Metal Co orin l g C opper sulfate Japanese v erdigris Water

Sal-amm oniac

Mix the who le to a paste by grinding all the i redie s o e er in or r ng nt t g th a m ta , adding water when the mixtu re has been i ﬁn ground qu te e . Paint the o bj ect with the paste ; let it r n r i f r e f r d y a d e ma n o a day . R peat o ree o r fo r d s e ru s the o e th u ay , th n b h bj ct f wi e i r s we ll . A terward p at nte val with a wet o In o o th cott n rag. ab ut a m nth e co loring sho uld b e co mpl ete and may be x d wax as fo r e e e e d s ri ed. In ﬁ by , b c b Japanese wo rks hops the p ro cess is con tinu ed o n special pieces o f b ro nze for many

o s e e e rs . m nth , v n y a A more vivid gree n can b e produced by u sing vinegar instead o f water in the above re i e c p . — The Heating Present H eat the Obj ect u i it is s red hot e s if e nt l ju t , th n w tly plung The e s b e it into bo iling wate r. m tal mu t red hot and the er s b e o i i o r wat mu t b l ng, the re i o r b e i erf sult ng co l will mp ect. 3 76 Co er re ed in is f er e i pp t at th way, a t b ng i o is ed e o es dee ri so h ghly p l h , b c m p c m n . Bro e es o n dee red i nz tak a p pat na . The rer the o er the o re ri i pu c pp , m b ll ant the o or The e e c l . v nness o f the patina depe nds o n the eve n distributio n o f the e o er the s rf e o f the e F or h at v u ac Obj ct . is re so it is e e re ossi e to u se th a n w ll , wh p bl , a mufﬂ e fu rnace . Other Recipes and Coloring Methods for ‘ —No 1 Co er the ro B o z e W rk. . e r n o . v b nz with a mixtu re o f ground horse-radish and i r e e it o n and ee it s ri ed v nega . L av k p p nkl f r e s with vinegar o so m e days . Th n wa h r f erw rd i e with wate r unde a tap . A t a w p i er s i wet o o ra i at nt val w th a c tt n g, unt l the desired eve nness o f co l or has bee n i e Obta n d.

NO . 2.

Strong vinegar Chloride of ammonium LI uId ammonia C ommon salt

Warm the metal and b rush o ver the rf e re e i the o er io f er e su ac , p at ng p at n a t ach is i es is ed coat has dried. Th g v what call

the antiqu e green o f b ro nze .

l ’ “ S on s Worksho R e ei ts 1 0 . From p p c p , 9 4 3 77 a anese No . J p 3 .

Verdigris Muriate of ammonia Strong vinegar

Mix the verdigris and ammo nia by ri i in or r To is a pulve z ng a m ta . th dd ﬂi ient i e r to e su c v n ga mak a paste. Put this in a copper vesse l with a pint of water i for ir i W e oo and o es . b l th ty m nut h n c l , et o n o ne si e u i the i i e rs s d nt l l qu d cl a . The n decant the clear portion and bottle

fo r u se .

W r the ro e i the ix re a m b nz , pa nt m tu wi r s wi e o ff i so f r s th a b u h , p w th a t b u h , n re e i the o or is s i f or a d p at unt l c l at s act y .

N . Mix o . 4

Powdered hae m atite Powdered plumb ago

e i iri s of i e i to a past w th sp t w n . Apply w th a so ft bru sh and l eave it for some hours i i e r Br s off and o is i u nt l qu t d y . u h p l h w th ir iff e r h The i f s s . a a ly t , cl an b u t nt may b e rie eri the ro or io s wi va d by alt ng p p t n at ll . is is not i e nor s ri s e i Th a p ckl , , t ctly p ak ng,

i o or . a pat na, but a c l B ro e i is rod ed No . 5 . lack b nz pat na p uc by the applicatio n o f sulfate o f ammo 3 78

Add e o er to for s e f er n ugh wat m a pa t , a t ward m ix with a little hydrosulfate o f i i r e o and s . e amm n a, apply w th a b u h L av the o to dr and e ru s off and c at y , th n b h repeat the p ro cess until the co lor is as o u is y w h . ese ro esses 6 and 8 co ine Th p c , , 7, , mb the i and o o ri er pat na actual c l ng matt , and are erefore ore er e , th , m p man nt than NO . 4.

CHAPTER XLVI

Japanese Metal Working

UNNO ISEI of th n A rt l T B rof. e F e o e e okio . y P B , i C l g ,

A lecture deliv ered to the students of the Centra l School A a of rts a nd Cr fts .

IN e i ese de o s r io s I att mpt ng th m n t at n _ fee so e diﬂi dent r i r as I l m what , pa t cula ly am to work before such advanced instru c ors and raf s e e se we as t c t m n , b cau , a io e ee i e ed nat n , hav b n much nﬂu nc by Eu ro pean art and' that o f other civilized o ries r i r in the dire io o f c unt , pa t cula ly ct n e o r i o e er si e I e m tal w k ng. H w v , nc hav Visi ed ro e and eric and e t Eu p Am a, hav 3 80 bee n able to inspect and compa re the metal work exhibited at th ree un iversal ex i i io s the i o r e o f r h b t n , mp tanc Eu o pean art has ee ro o e to m e I b n b ught h m . did not o e e r in e i e r o f the ex i i io s , h w v , th h b t n , o r in r e s see s i i i my t av l , uch mag nat ve o r as o rs es e i ere o i w k u , p c ally wh a c mb na tio n o f diffe re nt m etals is utilized to give c o lor effects ; alth ough I mu st admit — that Eu ropean a rts are not o nly in i i and s re in o er pa nt ng culptu , but th — departments perfectly truthful in the ir i i e o f for real st c b auty m . Japan ese m etal wo rk made remarkable p rogress du ring the period wh e n bows and arrows were instrum ents o f warfare in — Japan l o ng b efore the intro ductio n o f

the gu n. The swo rd was esp ecially richly o rna m ented i re io s s o es and e r e w th p c u t n ,— ng av n and damasce n ed with go ld such as in the examples you may see in the museums and in the ﬁne art palace o f the Japan

British exhibitio n . or was e d in s es ee and The w k h l uch t m , res e the s o rd was re o indeed p ct, that w c g f h S r i nized as a part Of the Soul o t e amu a — The es ex es are o f i . o r Kn ght ﬁn t ampl — eriod o f s i 1 8 1 the middl e p A h kaga , 3 3 573 , 3 8 1 reaching the most beautiful results in the o o i rio A D 1 8 —1 6 the o e d . . 0 and T y t m p , 5 3 3 , o io A 1 60 —1 8 er d . D . 6 . T kugawa p , 3 7 Bu t two hundred years after the gu n and re o er ere i o r ed fro ro e v lv w mp t m Eu p , the deco rative art o f the metal worker o n r o r and r s e to de w i e a m a m b gan cay, h l o n the other hand the p roductio n o f m etal wo rk fo r deco rative pu rposes in re sed and as s is i s s o to er c a , , tat t c h w, a v y i er e ex e co ns d abl t nt . Japan ese craftsme n in metals generally se le ct the fo ll owing metals fo r co lor co m b inatio ns :—Go d si er o er rass l , lv , c pp , b , iro S i i i n , h bu ch , The fo llowing are the methods of de co ratio n in o re e er u se in m g n al Japan .

ATA KI IB O 1 . K R RI. Engraving and reproducing the movement of - b rush w ork.

- 2 I RA Z OGWAN . . H The inlaying of an obj ect with different metals ; for instan e to work a ﬂ ower one uses o d for c , g l eta s o er for trunk hibui hi for eaves p l , c pp , S c l , ix &c . See ha ter xxx ( c p . )

A KA-Z OGWAN 3 . T . his is somewhat the same as ira-Z o wan T H g ,

in r i See ha ter x1. b ut inlaid el ef. ( c p )

UKIB ORI . 4. Chasin i . e. g. 3 8 2 gen erally used is gray o f a soft and e si o e ou e it d r pl a ng t n , but y can mak a k o r i ordi to the ro or io of l ght, acc ng p p t n F or i s e ou i o e o r o s . s t y u all y n tanc , y w h mak ree in o er the e s of i a t ﬂ w , p tal wh ch may b e made in go ld if you wish the m to b e e o o r si er if ou is e to y ll w, lv y w h th m b e i e The e es are to b e in Shi wh t . l av h i i and o f differe o ors so ou o d u ch nt c l , y w ul make up you r different grades of Shibuichi o rdi to the i o f s i er e o ed acc ng quant ty lv mpl y , I to 4 . To e d r er S i i i i mak a a k h bu ch , that wh ch “ ” is ed ro -S i i i in ese call Ku h bu ch Japan , is co mp osed as fo llows

ShakudO Silver

The metho ds o f me lting in o rder to p roduce Shibuichi is o ne which is simple f er ex erie e w i re ires con a t p nc , but h ch qu s i erab le re If the two o s are d ca . all y me lted at the same time y ou will not get the e er S i i i o o r i ﬁne g n al h bu ch c —l , w th s p ots showing gray grain composed o f s i er and o er— i e e r s i lv c pp l k a p a k n , but o n the o er d if the two e s are th han , m tal e ed o e er e i e o e so e m lt t g th , th y w ll b c m m what darker and less Of the nature of 3 84 S i i i e se the h bu ch , b cau mo lecul es o f s ilve r Japanese i e ixed too i the o e r e ta w ll hav m much w th c pp . M l Work n No w the rs s e in th i g , ﬁ t tag e p roductio n o f S i h buichi is to me lt the copp er as s and e it is i e u ual , wh n qu t me lted put the s i er in s ee o r r i o r ire and lv ( h t, g a n , w ) , it is not too e ed to m ix watch that much m lt . W e is is do e o r i o o i ed iro h n th n , p u nt an l n ot the i o f o il r e-seed o p ( quant ty , ap , ab ut f o rdi to the si e O f the o t hal , acc ng z p ) . Th ere is another way to m ix the melting

e s viz . i ot r e e o m tal , , by tak ng a p la g n ugh fo r the i o f e o e ri it i quant ty m tal , c v ng w th o o s ro o o f s i a c mm n , but t ng, cl th a mu l n i e re not to o i s re ed so as l k natu ( t ghtly t tch , to e e the e to s i ro e nabl m tal nk th ugh) , plac — it in hot wate r just ho t enough to put the ers in—and e o r the e ro ﬁng th n p u m tal , th ugh h e e is i es the o i o t e re . cl th , nt c ptacl Th g v os the s e res it i ro alm t am ult, but w ll p bably rf b ring a much so fter and ﬁner su ace . Copper 1 0 0 parts Go d or 6 arts l 3 , 4 , 5 , p

6 —The os o o S do Shaknd . m t c mm n haku o o r is as ou e see it c l black, y hav n , but b e de in differe o o rs i i es can ma nt c l , wh ch g v 1 o s O ne i ries an effect to the all y . wh ch va

1 f in rustation Used in the sub sequent process o c acco rding to the p ictu res used fro m a co lo r so mewhat similar to vio let o r dark vio let in to ne is co mp osed o f 1 00 parts o f copper and 1 r o f o If the o i 0 pa ts g ld . g ld s increased to 20 r s Is 20 r s to 1 00 r s up pa t , that , pa t pa t Of o er the e e o es ex eed c pp , m tal b c m an c in l de i f o o r so e i i e g y l ght ul c l , m th ng l k a dee i e o o o n the io e p pluml k bl m v l t . — Coloring A u seful co loring so lutio n is

’ erd ris 1 dram a othe aries wei ht oz V ig , ( p c g ) 4 . ’ fa f r 1 u h u te o o e s r e a ot e aries wei ht . S l c pp , c pl ( p c g ) 1 dram ess ( l ) . Water 1 a on or ess , g ll l .

Grind the medium and bo il it with w er e the or in the so io at , plac w k lut n , ee it o i and ex i e it i k p m v ng, am n by tak ng i The i e o ie it ou t occas onally . t m ccup d in the co loring depe nds o n the s ize and i ess o f the e it e er th ckn Obj ct, but g n ally o ies fro 1 0 to 0 i es the i e ccup m 3 m nut , t m taken being according to you r idea o f w ou o si er s isf or res hat y c n d a at act y ult . A copper sieve would b e the best to u se in placing in o r lifting wo rk o u t Of the or the or b e if ossi e su s pan , w k may , p bl , e ded On si er ire o r ires re e i p n a lv w w , ca b ng taken to keep the o bj ect o n the move while n th so io i e lut n . 3 86

FIG . 2 20 .

CHAPTER XLVII

Egyptian and Oriental Methods

I am indeb ted for most of the material in the foll owing cha ter to the re sear hes of . E . Vern er whose adm t p c M i , i ’ ab le b oo k on Egyptian j ewelry and goldsmith s work i s a s nf r he lu strati ons are an m ine of preci ou i o mation. T il inexhau st b e sour e of ns rat on and one i s e er where i l c i pi i , v y consci ou s in the text of an acute intelligence which illu s n r h nks m ines all it tou ches . My i ce e t a are du e to M Vern er for e rm ss on to u se the b o ks fro m wh h E . i p i i l c ic ma y of the diagram s illu strating thi s chapter have b een magC .

’ IN all esse ntials the go ldsmiths craft is the same to -day as it was thousands o f o o- e e e s an years ag . S call d d v lopme nt d improvements will b e found o n examina tio n to reso lve the mse lves into appliances for saving labo r or material ; the craft i se f is o ed e the cr f s t l unt uch by th m , a t man 3 8 8 i de e de f o e . The e ess r E t an n p n nt th m n c a y , gyp i IndIs and r enta pe nsab le to o ls are s ingularly few and O i l MethOds si e in r er and differ i mpl cha act , l ttle w ere er e are fo T - h v th y und. he sto ck in rade o f the i i do o r o r t Egypt an , H n , A ab , Navaj o go ld and s ilve r-smiths might b e ' sed e i differe W u by ach n ntly . ith each or the res is erso the o u t w kman ult p nal , o e o f ired and eredi r s i c m acqu h ta y k ll , a ifes io o f the r i s iri the ex man tat n ac al p t, ressio o f the der i i is p n un ly ng un ty . Th is every where a characteristic o f sup re me

art .

Wi i e Oil so e r s es few th a l ttl , m b u h , a o ored e r s e o f o rse i e c l a th , a l ngth c a l n n , h e and Mi e we e t e s. ll t, hav Ang lu Wi few e es so e o d d s th a p bbl , m g l u t s ed fro so e orre b ed few wa h m m t nt , a r i es o f and reed fro the i e c uc bl clay a m N l , the Egyptian mind p roduced the rings and s carabs and ouches which e n rich the to mbs H is oo s e er ere o f the Pharaohs . t l lay v ywh

H e had to se e e . to hand. but l ct th m A r e s o o e e o r o der fo r la g , m th p bbl b ul an anvil ; smaller pebbles o f varying fo rms e o f and sizes served fo r hammers . A flak H is f r e flint too k the place o f shears . u nac d f and e es . ree was built o clay p bbl A , i o e o f for ed his tipped w th a n zzl clay , m 3 89 E tian - Fro the ri er e s an th gyp blo w pipe . m v b d d e d r enta an O i l desert he sought sapphires and sardo nyx Meth°ds and r e i s and s er s ed e ca n l an ja p , hap th m o n grit sto nes and po lished the m with o der ro d and r s ed fro the p w , g un c u h m e mery n odules fished fro m the b ed o f h i e t e N l . e i ese e ods he ro d R fin ng th m th , g un re io s s o es i o es and i p c u t n nt flat plat , w th co er and ro e dri s s e red i pp b nz ll , m a w th O il and e er ier ed e i o es m y , p c th m w th h l and s ed e i o ri s and ra e e s hap th m nt ng b c l t , o r carved them into seals and p endants and the r s see to e eir s carabs . All a t m hav th er in the art o f the id r g m lap a y . There is little do ubt that the draw-plate had its origin in the p ractice Of drilling o es in s o e es in o rder to ie r e h l t n plaqu , p c ou t the e ers o f ri s and r e e s and c nt ng b ac l t , that the fi rst draw -plates were made fro m fi The n hard sto ne ( see g. ruby a d sapphire o r diamo nd plate o f the modern e e er re e s e o r e wi o j w l p at lab at ly, but th ut re i re se e ffi ie the ri i i e g atly nc a d c ncy , p m t v i e io It b e s id o f r nv nt n . may a that cou se i s b e do e in ese s th ng can n th way , but that they n eed more time and patience than the modern artist can affo rd to bestow o n his

or . is m b o Bu t it b w k Th ay e s . may e 3 90

— s . 3 2: n zz . Fig a d 3 S tone M oulds and Impr es s ions in thin Metal . F r om th u se um at a ro e M C i . S ee p age 3 93 To f a ce pag e es io ed e e r f e r the qu t n wh th , a t all , time s e was so er o p nt v y l ng. A s is M O so in his d ira e o o t a n a m bl b k, ” 1 “ The ri i s o f I e io s O g n nv nt n , ays : A re de h g at al that as bee n writte n abo ut rIm ItIve I d s ri p n u t es 18 wide o f the ma rk e se the ri er h b cau w t as failed to take into

FIG . 2 2 1 . acco unt what may b e called the knack o f the a e o r the ri e o r the r i r g , t b , pa t cula e o m th d . H e has des ri ed it as s and s id c b clum y , a that he could no t for the life o f him imagin e how people could get alo ng with i e Bu t e did Yo u such appl anc s . th y

1 The ri ins of In ention b tis . ason . O g v , y O T M W a ter ott aternoster uare London . l Sc , P Sq , Egyptian will see a p ro fessio nal ethno logist sweat d rienta an O l ing fo r hou rs to get a spark o f ﬁre with Meth OdS Th e i o it fo r him two sticks . e savag w ll d

in as many seco nds . By and by the fo rmer acquires the and e his ro e is es knack, th n t ubl van h M ire f ri e Mr ose . s . J ph D acgu ab cat an o rdinary grooved avec o r ce lt in less than f o rs and roo ed de ec fro ﬁ ty h u , a g v ja av m e ire ro s in ess o ne an nt ly ugh pall “ l than o er o ne who hundred h u rs . Ev y re ds is i re ex es o f is a th— w ll call ampl th deftness and there is no doubt that this is the quality which in the higher pu rsuits i ” o f life we call ge n us . In is as in or de e ds o n th , all w k, much p n that sp ecial pro phetic gift possessed by e er r is and e er o ne in so e v y a t t , by v y m de ree o f o i s how i e ie e g , kn w ng ju t a g v n p c Of o r b e exe e w k may cut d. It is e ide o e er s i in v nt, h w v , that k ll lapidary work p re ceded that in metal wo r o r o ds i i and the ex k g l m th ng, that perience o f the wo rkman in handling the mo re untractable material suggested many

ways of dealing with the kindlier metals . The practice o f beating o u t the go ld i o s o r e s i o e s ee s the ng t nugg t nt m tal h t , readiness with which the thinning metal 3 9 2

E tian h i o er ise laCk H e e not gyp e m ght th w . n ed and r enta O i l fear to try exp erime nts with his work . Methods There is littl e doubt that this method was kn own to the Egyptians fro m the earliest i es Th - o in fi 22 e e d s . t m . hawk h a h wn g 4 was in all p ro bability first e mbossed by is ea s and f er rd is ed th m n , a t wa fin h by

FI G 2 2 . 4.

c si i o o s in esse i s the ha ng, w th t l all nt al s e as ose e o ed to -da de am th mpl y y , but ma o f r e b o nz . re fe re e to ﬁ 22 s o s the rt A nc g. 5 h w that a o f incrustatio n o r inlay was also o ne o f ose r i ed if no t i e ed the th p act c , nv nt , by i f The r s e . e ods e e Egypt an c a t m n m th , v n d . — n a d w th Go 22 ronze Haw l l F ig . 5 B k i i i

m at a ro . F rom the M u seu C i

( To f a ce Page 3 04 l

Egyptian into teeth with the same chise l he ld aslant and Ori enta n the ire l ﬁ . a d ref e ed ( g w , ca ully ann al , Med mds is id in the e and e e in i la chann l , b at n w th e o a slightly round d punch r planisher ( ﬁgs.

FIG 2 2 . 9 .

229 and Grains o r dots are inserted the fo o i e o e r er by ll w ng m th d. Tak a g av e ed not set and e the ( wh tt but ) mak , at o i to b e de or ed the dot d p nt c at by , a q ua rangu lar cavity by ho lding the graver s lantwise and driving it sharply downward fo r i es see ﬁ e cut i u t m ( g. ach mak ng

FI G 2 0 . 3 .

ri e i the re edi and a ght angl w th p c ng, the f r r i s re ou togethe mak ng a qua . is if ro er do e e es i Th , p p ly n , l av a cav ty made o f four juxtaposed triangular 3 96 n o ne s ide o f Egyptia ies ﬁ . py ramidal cavit ( g and r enta id i ies b e I ng O i l e o f ese py ram al cav t ach th MethOds rr bo rdered by a bu , ide raised by the ﬂat s rai o f the graver. A g n f s i e o f the m etal o u tabl in si e is now i ser ed IG 2 1 . z n t F . 3 i and dri e this cav ty , v n of the er inward by a s mart tap hamm

2 2 . FIG . 3

e ﬁ . f ed ( se g o r o o ac punch a h ll w the i e o e , now b e dr v n h m is grain can Th 3 97 E tian o i ed rrs e er the r i o f e a gyp p nt bu nt g a n m t l , and O riental Methods

IG 2 F . 3 3 .

c ose o er wi i its s s e and o d l v th n ub tanc , h l it secu re ly in p o sitio n ( ﬁg The same methods are in u se fo r r ss b a , ro e and si e r the b nz , lv , o nly differe nce in the technique be ing o i to the so f ess o f the ro d that, w ng tn g un 3 9 8

Egyptian o f de co ratio n were p repared fro m clo iso n; d r nta an O ie l ire id o n the s rf e o f the ie o w , la u ac n ll an MethOds the n p ressed into it by a s lab o f met a? suffi cie ntly hot to me lt the nie llo and i h o i se re ts e to t e so s . cu attachm nt cl n l is b e the se no fo r for Th may ca , but mula nie llo with which I am acquainted is u fli cientl f si e to er i of is It s y u bl p m t th . is quite possible to p roduce the same result by laying the clo iso ns in the channe l re red i the s e i ie o p pa , fill ng up pac w th n ll , and afterward h eating the who le until r f In h ro e s the e ses . se t e s latt u any ca , p c employed in the de co ratio n o f the dagger illustrated is capable o f producing results f r e o g eat b auty . Though the skill and inve ntiveness o f the Egyptian workman is shown in every r o f r f et in few are the res s b anch c a t, y ult mo re remarkable than in the art of metal The e ods e o ed casting in sand. m th mpl y are ose now i ers in u se and th un v ally , he differ i e if see fi . 220 t l ttl , at all ( g at e d of the er fro ose re d h a chapt ) , m th al a y i described in the chapter o n Cast ng. er e ods o e er in o s u se Oth m th , h w v , c n tant by the Egyptian wo rker and still used by p rimitive craftsme n are less e mpl oyed r e W e se e r re i s than th ey dese v . h n v al pl ca 400

— i z 6 . E an In a d D a e r . F g . 3 gypti l i gg F rom the M use um at C air o .

S e a so F a . a cm a e 16 e l g f g p g 4 . ( To f ace page 401 l

E tian 2 s o s the o d fo r er so in gyp 3 9 h w m l a platt , al an 01 1 ntal € ser e i e ro i the d i i o f p nt n , p v ng a aptab l ty §4eth°ds the e od to r er or e e r m th la g w k than j w l y.

FIG 2 1 . 4 .

In whatever branch of art or craft we examine we see m to find that the Egyptian craftsman invented everything o r knew it s Wi his s es for o o r e alway . th wag h ll w b ac 402 e s h s o ds and l t , i m l stamps and dies fo r Egyptian e mb ossm his fine i and riental g, cyl ndrical drills for O Mc‘hOds rd s o es and e r s his i ree i ha t n p a l , fil g , nlaid

FI G . 2 2 FI G 2 4 . . 43 . s o e or and e e s e ra i re t n w k nam l , ng v ng, o ss i ru s io and id r or p u é, nc tat n lap a y w k, n othing see m ed imp ossibl e to his ﬁrm i and s ee i e i w ll w t nt ll gence . F i 2 1 s fo r o f g. 4 shows the earlie t m

FIG 2 . 44 .

i ri s r ou ed as Egypt an ng, a ca ab m nt a r The o e xi ei tap er go ld wi e . wh l ﬁ ng b ng simply do ne by passing the tapered e nds 403 Egyptian th rough to the ho le in the scarab and and ri enta O l winding them ro und the shank . Meth°ds It seems evide nt from this that the

FIG 2 . . 45

ring was invented as a simple means Of i th S i carrying and us ng e gnet . Fi 2 2 to 2 S o e r e od gs . 4 47 h w an a ly m th of i ord i and fro ese mak ng a c cha n , m th the method can b e fo ll owed without the i io n ecessity o f any descr pt n . In all the range o f art there is no work

F IG 2 6 . . 4

o e so i i ossi e o f i i io at nc happ ly mp bl m tat n , and y et so full o f p recious suggestio n and e fo r the r i h lp hung y m nd.

Egyptian attentio n utterly abso rbed in his task ; d ri enta an O l the ﬁre o f his mind bu rning o n the po int MethOds f o o his to l . ' With almost e qual wo nder we regard his r s and i de i io s s o appa atu , w th a l c u h ck o f familiarity recognize things ﬁgu red in missals and papyri and o n the walls o f o s or er h e des ri ed in t mb , p c anc c b manu scripts whose pu rpo rt we have till now

but inco mplete ly grasped. The directio ns o f the Old lapidaries and e m e r ers the i s r io s ri e in g ng av , n t uct n w tt n “ ” The Boo o f i ers r s are o i k D v A t , c nt nu ally illustrated as we study the s imple b o w lathe o f the Indian turn er and the whee l o f the em - er and the r di e r g cutt , u m nta y r s o f the o s i appa atu g ld m th . The sight o f the real things gives con tinu al testimo ny to the ﬁdelity and utter s ingl en ess o f pu rpose o f that craftsman wh ose work was religio n and who called i se f eo i h m l Th ph lus . 1 F i 2 8 i e r g. 4 w ll show b tte than many ords the r s des ri ed f e w appa atu c b O“t n by eo i s r th o f the r Th ph lu unde e name Tu n . It o d b e ere ed for few e e and c ul ct a p nc , is o ne which every b oy might well b e

1 See ates fa in a e 1 6 pl c g p g 4 . e o r ed to n It o sis E tian nc u ag make a d u se . c n ts gyp and rienta o f two posts e ither drive n into the ground O l MethOds o r xed to e and o b ar o f iro fi a b nch , a l ng n o n i is xed the o e to b e r ed wh ch fi bj ct tu n , and a cylinder o f wo o d to give l e verage and ho ld for the string o f a b ow o r fo r a or to b e o i e ro en o f the c d c l d und. Each d cord being pulled alternate ly by an assist the s i d e is de to ro e so ant, p n l ma tat that h b e r t e Obj ect can tu n ed. F i 2 s o s the se the g. 49 h w lap u d by I di em - er for s i f e i n an g cutt hap ng, ac t ng, an o is i e io s o e o i d p l h ng pr c u st n s . N th ng o d e b e o re s i e no r i i c ul w ll m mpl , w th n it i r i s i s o e e ffe e . l m t , m ct v The whee l is an adaptatio n o f the b ow dri and o s is s o f dis o f ro e o r ll , c n t a c b nz a co mp ositio n o f she llac and e mery o n a tw ri l o ng pivot supp orted by o up ghts . The length o f the spindle betwee n the suppo rts and disc is suffi cie nt to all ow the gu t to b e co iled round it and to give free o f th b ow s o r play to the moveme nt e . A h t cylinder o f hard wo od about 3 5 inches in diameter and 4d to 5 inches lo ng is fixed o n th e the spindle and acts as e pull y . The rotatio n is not co ntinu ous but er e and the s o e xed in the alt nat , t n fi -s i as des ri ed o n e 2 1 is cement t ck, c b pag 4 , Egyptian held to the upper and lower halves o f the and Oriental Wi i r i whee l alternate ly . th th s p im tive Methods apparatus both cabo cho n and faceted b The r sto nes can e cut . latte natu rally have not the flawless regularity o f the i e - de em are er s not mach n ma g , but p hap ess r i e o n o l att act v that acc unt . The i r io in fi 2 o s s . 0 s llu t at n g 5 , h w a i r ere i S nhalese chase at work . H aga n tools and meth ods are o f the utmost s i i i o f i o of mpl c ty . A lump p tch , a bl ck wood er few si e es , a hamm , a mpl punch , a pair o f pliers and a le ngth o f bamboo for o - i e fo r the o e o a bl w p p m wh l utfit . The er o o ex has ro n patt n , th ugh c mpl , g w ro ess 'Of si e ddi io and b e by a p c mpl a t n , , cause they have learnt fro m their teachers — — as those l earned by ey e-m emory it de

’ ve lops upo n the plate f as it were by a s imple act o f will fo llowmg the lines o f

so me unseen original . The y produce nearly all their effects by o i i e e i do the ro d utl n ng, th n b at ng wn g un i oo s f r er en w th plain or mat t l . Any u th r i chment o f the for the r i o f e i s m, t ac ng v n , fu r fe ers and fe res is do e the , ath , atu , n by e s killful u se of variou sly shaped punch s. F or the e or e re is i ode i lab at , al t c m l ng so es er r f s e e or ught by w t n c a t m n , an lab a 40 8

— F i . . n Rin s g z3 7 S te atite M ould for Casti g g . One half of mould s howing cas ts i n pos ition . The di agr a m s hows how the mou ld i s ﬁtte d toge ther . The r o e ct n ta e r rod is of s te at te or ﬁre cla a nd p j i g p i y , forms the core for the thr e e r ing s . To/ b llo'wpage

— d ons . F i . 1 n h f tone ou ld for o ns or e a g 3 8 . O e alf o S M C i M lli From the M us eu m at Cairo. To ll F i / o ow g .

W e the o er o d i the two . h n ut m l , wh ch is de in two es is dr and o e e ma halv , y c mpl t , the inner mo ld is reduced in size on the f lathe to the exact thickness o the metal .

i e o e e . F i 2 2 The mo ld s th n c mpl t g. 5

FIG 2 . 5 2 . shows a m o ld b roke n in half to enab le the rr e e to b e see e r a ang m nt n cl a ly . F i 2 g. 54 shows the Benares b rassworkers e ngaged o n the en richment o f large beaten e se v s ls . 4 10 The i erio r o f h nt t e bo wl is covered Egyptian i er o f i o 1 1 i es i and r enta w th a lay p tch ab ut } nch th ck . O i l Methods

2 —A the ori ina out ine of the core and the 5 3 . , g l l true out ine of the ase when ast the dotted l v c ; B , line shows the amount turned from the core afier the outer mo d has been made round it C the l ; , inner casing of fine stuff charcoal and fine clay ; D is the our E se tion throu h the outer mo d p ; , c g l ; F the re ister mo din which takes the b earin , g l g g mo d of the outer portion of the l . ' Egyptian Whe n co ld the vesse l is suppo rted o n a and rienta O l stout board o r bl o ck o f wood ou t of which a Methc’ds ho llow fitting the cu rve o f the vesse l has ee ex e is ee s the o r s e d b n cavat d. Th k p w k t a y and e nabl es the wo rker to tu rn the bowl o f o e s r ab ut r m time to time as may b e n ce sa y .

FIG 2 6 . 5 .

The o nly too ls are a few chisels and es and er and i ers A s punch a hamm p nc . i b e see the desi is in e er case w ll n, gn v y most beautifully adapted to the surface to b o e er c r e i o n e dec rat d. Ev y u v has ts w s i i e and e er er its ess e gn ﬁcanc , v y patt n m ag . The wo rk o f the e ngraver sho wn in ﬁ 2 is r i r i se g. 55 pa t cula ly nteresting becau the method and the too ls are very like those described in the chapters o n Japanese 4 1 2

Egyptian by a co mmo n need and rewarded beyo nd d rienta an O l the daily fee by ge neral interest in and MethOds o for th or o f th l ve e lab e hand . A nd the ho pe arises that the young wo rkers in the West may come to realize that happiness and handiwork are in separable co mpanions ; that craft is more desir e ri es f ore abl than ch , aculty m than o o r and s i o o e h n , that k ll can nly c m ro the re is di i e th ugh b ath that v n .

CHAPTER XLVIII

On Design

ESI GN an wo r s i are i di isi e D d kman h p n v bl . The thing made may reveal more o f o ne the o er I e ex eed s i o r f than th . d a may c k ll all e o it In wo r or o f the e b l w . any k w thy nam , er e o f No t th e must b e a balanc both . i i r e In r e i . e o r qu l b um but balanc all g at w k, the m s e rio s i e rres i ele y t u , ncalculabl , a t ng e o f ide the der i o e io m nt a, un ly ng c nc pt n ,

o ds and s e er o d rs e . h l , mu t v h l , ﬁ t plac esi and o r s i are i se r e D gn w kman h p n pa abl ,

1 As this b ook is used b tea hers as we l as students y c l , this ha ter the om ressed result of man musin s c p , c p y g , has b een added as a statement of one of the myriad w ays in which the c omplex question of design may be idered cons . 4 1 4 becau se the fo rm o f the work is the mo re On Design or less co nscious expressio n o f the intimate spiritual structu re o f the mind o f the

or er. The o f his or is in so e w k plan w k , m sor the o f his so O . ne t, plan ul may i i e s as e o e e e mag n that, ju t ach kn wn l m nt, though merging into othe rs by imper ce tib le r d io s is in its i al for p g a at n , typ c m characterized by ato ms having a deﬁn ite o e r s ru re and i er-re io so m l cula t ctu nt lat n , e i d has as it ere i di id ach m n , w , an n v ual o e r s r re r e e in its m l cula t uctu , t ac abl all ifes io s se r i it fro and et man tat n , pa at ng m y i di it i i ers i D e b n ng up w th un v al m nd. s i is in f f io of i i It gn , act, a unct n v tal ty . is admirable in p ro po rtio n to the amount and i e s i o f i i nt n ty that v tal ty . W e we sa desi is o ri i h n y that a gn g nal , we mean that m ore than u sual of the ’ i o th or wo rker s life has escap ed nt e w k . r er od is O riginality is no ra ity . Ev yb y ori i er od desi if not g nal . Ev yb y can gn , if ere s re e e s e . up m ly , at l a t b aut ully Th are no dull pupils ; o nly undeve loped ers No s i ed or ers o teach . un k ll w k ; nly ’ - W we s spirits half awake . hat call a man

i i io s are the f e s of his so . l m tat n , ac t ul Set him in his r e e and e ir t u plac , by th e virtu e he will shine and t ran scend th m . 4 1 5 On Des n To ro d e desi ers it is o e er ig p uc gn , h w v , ne cessary that each worker should b e e ncou raged o r induced to have co nﬁde nce in and i e free to re i e , g v play , that c at v thought by which his body was made and is sustained; to realize that what he i o i i i Th s i see s s w . e k w th ut , awa t th n hap ng o er i i i i ere in in s p w , mpl c t , nh nt all th g , o e e n not efo r c m s whe n call d a d b e . o i exis s w i is not in so e N th ng t h ch , m so r the e odi e o f desi e a se t , mb m nt gn , b c u nothing exists which is not an outco me o f e o r The se se o f e is m m y . n b auty B r e or o e is e o r . A s e . L m m “y v m m y utl s s Me o r is i e and o ri i ay , m y an ult mat g nal o er the so r e and if i o d o f p w , u c un y ng b n ” 1 ou r o e o s io s ife M er i se f is wh l c n c u l . att t l se o f e or w ir of o in a pha m m y, a h l th ught the world of ether ; thought ceaselessly res i i se f see i to e r e o hap ng t l , k ng nla g up n the r e e ex e d the o ds of the a ch typ , t n b un or d-fo d io add new i erses to w l un at n , un v its do i io esi in is s e is m n n . D gn , th a p ct, formalized memory ; habit expressed in for the o - i to i e m ; th ught hab t, wh ch ach e o f o r o e typ rganized matte wes its shap . o and ood and s r for s i R ck ﬂ ta , all m w th “ 1 ut er n ons ious Memor ub ished b S . B l , U c c y, p l y

Fiﬁeld . A .

— ’ F i . a 8 . L ota a er s L athe ou ds a nd Tur n n Too s . g 4 M k , M l , i g l Photo ra h b cour te s o f the ana eme nt of the oronat on g p . y y M g C i E xh b t n i i io . S ee a e 6 p g 40 . To o ow F a 2 04 l f ll g . 3

— - F i . z . Ind a n n g 49 i n S tone Cutting a d Polis hi g L athe s . Photo r a h b courte s of the ana eme nt of the or onat on g p , y y M g C i E x hib ition .

S ee f age 407 . Ta o ow F 2 2 8 ( f ll g . 4 )

— z W or er . F i o . S inha e s e Re ous s é g . s l p k Photo ra h b courtes of the ana ement of the or onat on g p , y y M g C i E xhib ition.

S ee pag e 408 . To w F e 2 f ollo g . 49 l

— W F i a e nare s ras s has ers a t or . g . sa B B C k Photo ra h b courtes of the ana e me nt of the oronat on g p , y y M g C i E xh b t n i i io . S ee a e t o p g ( . 2 1 ( To f ollow F zg . 5 )

i we are f i i r are de its O n Desi n wh ch am l a , ma by g

e . C i d and o er e d and fr i ag ncy h l fl w , fi l u t , the e i its o d are e p ak w th cl u , what th y the effe s o f s ess i e re o e io s but ct ucc v c ll ct n , resu rgings o f b e ing; t ransie nt images o f o o r - e l ng w ld cycl s . o o ed o re i rd the o L k at m nwa ly, th ught suggests itse lf that form is p ro duced by the impact o f ou r o wn and o ther co n o r sciou sness . F m changes with perceptive ower To s er- o s io s ess the p . up c n c u n re fl o resce nce o f a starry clu ster may b e what the i1t o f the ri rose is to u s It b h p m . may b e that to infra co nsciou s ness the same flo we r 18 built o f starry skies and c ountless universes who se eternity is ou r b rief ri U i erses e d ess re or in sp ng. n v n l ly b n forms which resembl e each o ther becau se e are the o o e o f the s e i i g th y “ utc m am l v n o r The o er we see to -da is mem y . fl w y the last link o f an inco nce ivably l o ng series o f or is i o es do in an gan m , wh ch c m wn a ” 1 f e e The erfe io direct l ine o d sc nt . p ct n o f it is so app ealing because we are dimly co nscio us o f the vast effo rts requ ired to We see it ro o ed e s o e i ess . p roduc uch l v l n t , not in i es o f o b u t in ae o s o f o i . nch l am, n t l “ 1 rof erin n ons ious em or trans ated P . H g, U c c M y , l mue ut er by Sa l B l . On Design In its beauty there is so mething o f all the s ri s of i e Not o ne o er p ng all t m . fl w rese s i se f to u s e er i of p nt t l , but an t n ty e e rs i ro the s i them . H av n bu t ng th ugh k n f r ir i i r o e . e e o e e a th At ach b th a l ttl l v l , r i i efo re In s mo e capt vat ng than b . uch ise is it i art It is not of one w w th . It es io i r ra o o s s se . ge ne ti n nly . g tat n cula i i or i desi is re L v ng w k, v tal gn , cap itu latio n the ex ressio o f o ft , p n an recu rrent me mory ; the resounding o f an o ft-repeated phrase in the cosmic o is s ord s es s symph ny . Th la t w ugg t an e illustrative parall l . Who see i for the rs i e so e , g n fi t t“m m f o s si er has not s id : Can am u ng , a that b e she rd- o o i os , that waywa l k ng, alm t ” i o s i o s ei ? Yet e she nc n p cu u b ng , wh n H er f r ood. e e s we de s d. ang, un t ac chang The who le being s ee med extended as by so me pytho nic influx; transfigu red and made radiant through the divine afli atu s The s re s o f e od o ed . t am m l y fl w o u t fro e er ere o e ro i m v ywh at nc , th bb ng Not he o e e e ro d u s . t ab v , b n ath , a un s inger but the very principal o f so ng was s i i Not ou r e rs ou r ro s ng ng. a but th at n e s e rd er ex s of er es a d h art h a . Ev y pl u n v s ri wa th lled. 4 1 8

On Design wild e ntreaty that so moved u s was born deep down in time upo n the margin o f a ro i sea ere in the ree fo res d r t p c , wh g n t a k ess o e and er e desire fo the e n , l v , ﬁ c ught battl r o f the spirit togethe . The ood the e s re and the si m , m a u , mu c were wove n o f strands stretching back to the so r e o f ife and the o e of u c l , m m nt w - f utterance as a cross sectio n o being. In the rad io s o f o e the so ran g at n a t n , ul ro the e orie o f The th ugh m m s ages . muted mu rmu rings o f young emotio n and the full cho rds o f passio n found co m pletio n and roundness in the spiritual and eri s r re e e e to i mat al t uctu th y h lp d bu ld. F or the od was i i and o e b y bu lt by pa n l v , i f e or tw n strands o m m y . The so ng was an e pito me o f life ; the ife e ers i cr and wi a s i l that nt w th a y , th gh r The s i er was r ed i ri depa ts . ng a cha g mp nt - H er i i i o f or d e or . es o w l m m y act v t , th ugh see i i di id ere o e i e her m ng n v ual , w c ll ct v ; oi e o r s e r the cr of v c , th ugh c y tal cl a , y i i e i in c s ered o s . e r e lu t m ll n A b ng app a anc , se r e and de ed et in r for i pa at tach , y t uth m ng o ne vast o rganism with all its ancestry ; an or is o f i o e e the s gan m wh ch n n can t ll pa t, ' di i e the or fore s the f t re for v n plan, ca t u u , it es as it ro s and i e i chang g w , w th ach acqu 420 s itio n o pens ou t new spiritual territo ry On Design and e o es new o - v lv p wers . Cl ose knit with e er o er or is its exis e e i i i v y th gan m , t nc mpl c t in eirs as e in it e is no t r th th y , ach a pa t merely but is the universe A s with i i i d d s so i r es . Ci i i io s n v ual , w th ac v l zat n o er and fr i and f de e ro i ﬂ w u t a , ach g w ng fro m the débris o f those which we nt efore e ex ressi in so e so r the b , ach p ng m t activities o f a life so vast as to b e scarce co nce ivable ; a group -life o f whose form o i et is o o e n th ng y kn wn , th ugh ach civilizatio n is bound up with all its rede essors for e ir fe res ro , g p c th atu“ w fainter as they recede into the dark ” rd and s o f o and backwa aby m th ught, shap e and plan escape u s. Knowledge is the sto re o f cosmic ex erience and to b e ise is to e ess p , w hav acc t to that store and to add o it by u se . A rt is the creative manifestatio n o f e Kno wledg . W is ru e o f so is r e o f o er hat t ng, t u th The wo r er is e o f e or arts . k a gat m m y , a o ir o f os i e er or d- ife see reserv c m c n gy ;w l l , k

ing new births in new yet famil iar fo rms . s ra d o f ife - er o n i his The t n l hung , wh ch exis e es are s r s re es ou t myriad t nc t ung, t tch into the inﬁnite like a vine tendril blindly 42 1 O n Design fee ling after new suppo rts fo r the co ming - r o ft repeated ha vest . The wo rk is the précis and su m o f past and the p ro mise and symbo l o f Mos o ri i futu re experience . t g nal whe n os e r deri ed os ex ressi e m t n a ly v , m t p v whe n most reticent ; the more intimately io s i Y the ore o d i e . et human , m bv u ly v n , i the i es o e i e erfe io w thal , h gh t c nc vabl p ct n o f work is a scarce perceptible step toward i that wh ch will b e . The o nly limits o f power are the bounds f e ief W o the s i e s an t o b l . h m pa t mp l d he f re s i r e far and s if utu call , w ll t av l w tly . r e If h No ne need b e discou ag d . t e wo rker see the r f o erfe i se f in k c a t nly , p ct h m l s e od s d e i d and har that, uppl b y , ub u m n , ess s iri to the d i s he o f i n p t a ly ta k, cann t a l

o f e i e e . i e the ife and nl ght nm nt L v l , ” ou s o the do ri e s id the y hall kn w ct n , a i o ne w se . Chuang Tzu co nveys the age -o ld lesson in o er an th way . “ ’ C i the ief r e er was r h ng, ch ca p nt , ca v i ng wood into a stand for hanging musical i W i s r e s . e s ed the or a n t um nt h n ﬁn h , w k p peared to those who saw it as though of s er r exe io up“ natu al cut n . A nd the ri e o f s ed him sa P nc Lu a k , y 422

On Desi n e ries e fo re o u r era are s i i e wi g c ntu b , t ll al v th o or has s r vital truth . N w k uch su vival o er as do e der i e o p w that n un l k c nditio ns . F or myse lf this little tale e nshrines not o nly a re ligio n and a philosophy but also n er an f i f the root a d ﬂow d ru t o D esign .

The vin e l eaves are sco rpered o u t o f thick s ee si er and i an d e e ed. The h t lv , g lt nam l d is so e e e han al nam l d. LA T E I I — A n l - ux P . g o S ou B r ooches fr om t i M N 1 he B r it sh useum. o . . Gold B r ooch

ound at A bin don 2 an Silve f g d 3 . r B oc s nd at F a s m r o he fou vor / m . These bro o ch es are magnifice nt exampl es o f the e o f re e i io and r in esi valu p t t n hythm d gn . The atte ntio n o f the stude nt is particularly directed in the case o f the Abingdo n plate to the ri o or o f the o ri i to the ch c l g nal , sumptu o u s n ess o f the design which 18 y et o s r di e r i n its si i i and alm t u m nta y mpl c ty , to the extre m e inge nuity o f the cr afts man ship b y which the thin co il s o f co mp o und wire are twis ted into alm o st realistic pre ntm f se ents o ser pe nts . The Ring o f Ethelwu lf is a go od ex - i The ample o f the co mm o n se n se des gn . craftsman has take n all the space he co uld o n the to o f the er ere ro d p fing , but wh a b a ring w ould preve nt the finger fro m b e nd ing he has narrowed 1t do wn to a simple

band . ATE I I I — N 1 B elt B uckle o . . Gold PL . d a Ta er fine ex e foun t plow . A v y ampl o f the u se o f co rded wire as a co ntrast to o iso i cl n nlay . 428 o 2 . A Gold B r ooch ound at D over N f , s h owing the richn ess p ro du c ed by co nce n tric rings o f tiny s cro ll s e ncl o s ed by plain and is e ire s i tw t d w . Th s su rface affo rds ide fo i for the re d r e i an al l ga n t nlay . PL A T E IV The N e cklace is o f A nglo S xo o r s i fo d es o ro a n w kman h p , un at D b ugh , o r s ire I t is i e as ex N thampto n h . g v n an e o f the u se o f s o es and the ampl uncut t n , fine e ffe ro d ed si e o i ed ire ct p uc by mpl c l w . The s mall b ro o ch es are fo u rtee nth - ce ntu ry in s crib ed b ro o ch es o f English w o r kman s hip give n to s h o w the b eauty o f sev ere and si e fo r s mpl m . A TE V — The Shr ine o the B ell o PL . f f ]% u ] i s ri e o f ro e an Conn C e . Th s h n b nz d silver and p re cio u s s to n es giv e s an admi rable illu stratio n o f se v eral o f the m e th o ds describ ed by Th eo philu s in his b o o k o f i rs r s The e if i e e s D ve A t . b aut ul l ttl pan l o f s cro llwo rk w ere imp resse d in s tamp s r ed o u t o f iro o r ro e and the ca v n b nz , ro I t o d b e figures are in cas t b nz e . w ul diffi cult to find a m o re ro mantic o r m o re i i The r s s e re o n sugges t ve des gn . c y tal ph which the crucifix res ts mak e s the wh o l e i i Wo r k l o o k qu te mag cal . A TE I — The Gold Cu o the Kin : PL V . p f g n land er s the o s of F r ance and E g . P hap m t 429 b e autiful piece o f go ld wo rk in the world; The o o r o o d as it is how ph t g aph , g , can , e er o e no s es io o f the o der v , c nv y ugg t n w n r n e o r o f the ori i I t fu l co lo a d spl nd g nal . is give n to s h o w that all wo rk to b e deco o b e si e in fo r rated by e nam e l s h uld mpl m . A TE VI — N I A n En lis Gold PL L o . . g h B r ooch our teenth centur set i e r s , f y , w th p a l , ires n er x o o s a d e ds . e cab ch n apph , m al An e s o i s ed se i s fo r e r s ampl h w ng hap tt ng p a l , se i s for the s o es and r ed claw tt ng t n , ca v and pierced drago n b o sses as a co ntras t to h s n f i - 1 t e o es . o e o u n t A m d l bu lt p de3 g . N o 2 1 1 R oman Rin o Gold o i ed . . g f , c l up o u t o f thin wire and so ldered into a so lid ex e o f the e o f ab so band . An ampl b auty l t l si r f i u e y mpl e c a tsman sh p . N o A R ussian Pendant i s r in . 3 . , llu t at g the valu e o f filigree su rfaces as a co ntras t to the er ee o f re io s s o es wat y s h n p c u t n . N G ld Rin R oma x e o . A o n e . 4 g, , an ampl o f ier e an r e or p c d d ca v d w k . N o A Gold Rin i o f s r ds . 5 . g, bu lt up t an o f thin m e tal united by a rep o ussé b oss as o r nam e nt . AT E I I I — F r ench B r ooches o the PL V . f 1 t a 1 t c ntu ies The rs i 3 h nd 4 h e r . fi t bu lt up o u t o f i s ee e the se o d r ed th n h t m tal , c n ca v ou t o f the so i The rs is ex e l d. fi t an ampl 43 0

' X I I — s ATE . Pa tor al Sta in co er ilt PL j pp g , i e Gi e a x set w th nam el . v n s an e ampl e o f the ri u se o f e I i f r e . o ght nam l tal an , u tee nth e r c ntu y . — PL ATE X ML N or wegian Br idal Cr own n silv il is s o s the o s i i i i i er g t. Th h w p s b l t es o f or in i e w k th n sh e t m etal . T X IV — T E d wel A E he r e e . PL . lf 7 An exampl e o f the deco rativ e valu e o f in scri tio ns o f the u se o f o i ed and e ded p , c l b a ire an the ri u se o f e s d e . w , ght nam l - A TE . Pendants B r ooches and a PL XV , , t r I n o an e s Ring by he autho . g ld d j wel e and e nam l s . ATE XV I — I A la i N o . eck c al . N e n o s PL p , M emer alds and ear ls b the author . o s , p y t o f the s to n es in the n e cklace w ere cut and p o lish ed by the m eth o d describ ed in C er hapt XXX . N o e o si i . 2 . A Shr ine Rin e g, ncl ng an mag o f h M h r an C i t e H o ly o t e d h ld . — I x z R oman E ar r n s . r oth e ntur S an s h Pe ndant i n . , , 3 , i g 4, C y p i , e r G E name l and Pe ar ls S u th ens n n us m S t, . ( o t o e u ) ilv il , K i g M

— - - A l S axon lt u c le ound at Ta ow . a A n o S axon l l I . x n o e , , g , g B B k f pl l

h u s e um . rooch ound a t D o er . ( r t s ) B , f v B i i M

— V . S hr ne of the e ll of na o ae . r us e um i B C ll C l ( B itis h M . )

— sh u s e um V i Gold Cu of the n s of r ance and E n a nd . r t . ) . p Ki g F gl ( B i i M

— V IL x E n l s h old r h 1 th e ntur . 2 Roman Go d , g G ooc , , i B , 4 C y , 3 5 l R n s . Ru s s an Pe ndant . ( r t s h u s eu m . ) i g 4, i B i i M

— V IIl . r r ench Gold r ooch 1 th e ntu r . 2 r e nch Gold , F B , 3 C y , F

r ooch 1 th e ntur . S ou th ens n ton u s eum . ) B , 4 C y ( K i g M — lX Proce s s ona l r os s . n en. . i C ( Villi g )

um. - S outh e ns ngton us e ) — or um in o e r G t . ( X L Cib i , C pp il K i M

— N rw a n r da r wn h u s u m. X ML o e gi B i l C o . ( S out Ke ns ington M e )

— X IV . F r ont ew of A re d ewe . A s hmo ean u um Vi lf J l ( l M s e . )

— X V . x e t u c le in Pa le Go d w th E na m e l Rub e s S a h re s and , B l B k , l , i , i , pp i ,

P a r ls a Pe ndant in Pa le Gold w th e r l a nd a hire . Go d e . S , , , i B y pp 3 , l

R n s et w th Ru b e s E me r a ds and Pe a r ls he A uthor . . t ) i g , i i , l , ( By

— X vl . r , N e c lace i n Go d, s et w th E meralds als S a p h r e s and k , l i , Op , p i , Th e L id i s P ar s . 3 r ont e w of he L id f a. hr n R n e t o S e . l , F Vi i i g hinge d and form s a C ove r to an E nam e lle d Pa ne l o f the H l h a nd h th A u hor e t . o y M ot er C ild . ( By ) THE fo ll o wing sectio n s o f m edieval s and i es e fro i cup chal c , tak n m N ght ’ ingale s Chu rch Plate o fWilts hire i Me r B e Br (publ sh ed by ss s . nne t oth ers S is r are i e as su es , al bu y) , g v n gg io s o f fo r The se io to the t n m . ct n right o f Plate I is that o f the F ou n ’ r i i d es s cup giv e n in the F ro nt sp ece . “ The s tude nt is referred to Old Camb ridge Plate (publish ed by the Cambridge Antiquarian S o ciety) fo r further b eautiful exampl es o f silver r wo k .

it has b e e n i k e d e an o r aint i t o n ith p c l cl , p w ru Th o uti o n i b a ke n it i h a b sh. e s l w ll l c Thi do ne stantl if it tro n no h. y be s g e ug s , heat the ob e t to re dne ss he n the o d j c , w g l w i ll appe ar. - Grecian Gildin a nother wa Take e ua arts g, y q l p b ichl oride o f m e rc ury and chl oride o f am m o nia disso e in nitri a id add sma , lv c c , ll orti o n o f o d h o ride and di u te ith p g l c l , l w d i e r arti e s b rush the ate r . T o i s w g l lv cl , o m osition o e r the m and ex ose the m to c p v , p ’ m r ur j ust e no ugh he at to vo l ati l ize the e c y . r i h d This do ne the ork can b e b u n s e . , w “ ’ ( From T he J e e l er s A ssistant in Work ” w n in e e i g Go d by G . G . ) l , — re- ildin o e S ra e the fi G r Steel Ir on or C r . g fl , , pp c p c opp er o r iro n with the scrape r and b ur nisher arm the ob e t if it b e ste e o r , w j c , l iron unti i t takes a b u ish tin e if it b e , l l g ; o e r to r a Y u i a or e s ondin he t . o c pp , c p g w ll now apply the fi rst l aye r o f go l d l eaf and b urni h i T h work m ust next s t o n l ightly . e b e e xpose d to a ge ntl e heat and ano ther a r a If o u ish to mak the l ye pp l ie d. y w e oatin o f o d e xtra stro n use two ea e s c g g l g, l v o f a r t The ork m ust go l d t each o pe a i on. w no t b e finally b urnishe d bright unti l the l ast l eaf o f go l d has b een laid o n and the work o d is c l . — Cement fi r Engravers M e l t b e st pi tch in an iro n e sse and he n o m e te i u id stir v l , w c pl ly l q in ye ll ow ocher or re d o cher in fine p owder in a uffi i n ur s c e t quantity to c o l or the mixt e . Pour it out o n a smooth o i l e d stone or mar ble slab . 472 — To Poli h s Enamel A fte r rubb i ng it do w n w i th th e c o ru ndu m file take a sm all ro d o f t in o r e w te r and afte r ano inti n it i th fine p , g w tri o i o r ro tte nsto ne ri nd the surfa e o f p l , g c the e nam e e e n w N xt take a l v ly ith this . e stick o f l im e w o o d and use that w ith ro tte n sto ne in the sam e wa and nish i th u tt y , fi w p y owde r and 3 b u ff k p stic . — Good Solder or Gold F ine s i e r 1 art fine f lv , p ; o d art e r 1 art fine o 2 s . e t c pp , p ; g l , p M l the o e r and s i e r to e the r and whe n c pp lv g , e m ixe d add th o d w ll e g l . f — To Unsolder a Piece of ”ork Paint those j o ints which are no t to b e u nso l de re d wi th a m ix ture o f l o am and wate r to which a l ittl e om adde d T his i c m o n sal t has b e e n . w ll r Whe n dr s ra e the o rt io ns p o te c t the m . y c p p next to the part to b e u nso l de re d and paint h o rax T he n i e ust i t all we ll wi t b . g v j e nou h heat to m e t the so de r and re m o e g l l , v r if this b e the part with the p inc e rs . O im ossib e o w in to the nature o f the w o rk p l g , b e fo re u nso l de ring fix a sto u t iro n w ire to the part to b e re m ove d and l ift it o ff in

that way .

ane se Pe rs ian Indian and ( For the J ap , , , rd Egyptian re c ipes se e pages 283 o nwa . )

G ossar B ossin u b e at in out she e t m e ta fro m the ba k l y g p, g l c into rou gh approxim ati o ns o f the fo rm re u r q i e d.

B roche a ta e rin rism o f stee ith shar , p g p l w p e d e s use d fo r e n ar in ho es and the g , l g g l

inside s o f tub e s.

B ronze alloy ( J apanese )

75% to 80

25 % to 28 8 lbs.

3 oz .

B urmshers hand e d to o s ith o ints knob s or , l l w p , , atte ne d surfa e s o f harde ne d ste e a ate ﬂ c l , g , b o o dsto ne o r hmm atite hi h o ishe d l , , g ly p l , use d for p o l ishing the surfac e o f m e tal by om re i o n c p ss .

B urr the raise d and rou he ne d e d e o f a cu in , g g tt g o r incis io n m ade in a she e t o f m e tal by a i r u in ch se l o c tt g to o l .

Cabochon a m e tho d o f utt in re i ous stone s , c g p c h u fa t The surfa e o f the ro u h wit o t ce s . c g sto ne is gro u nd away until it is eve nly r and o th h The ou nde d sm o o th t e touc . b a k is the n ro und ﬂat o r in the ase o f c g , , c in this arb un e s o n a e . Stone s cu t c cl , c c v wa are a o d a ow r y l s call e t ll d op stone s . T he re is al so the do ub l e cab o cho n which is naturally l ike two s imp l e cab ochons pu t a k a b c to b ck.

Castin -sand a natura o r artiﬁ ia m ixture o f g , l c l ﬁne oam and sand use d to m ake m o ds for l , l tm cas g. Cement stick a sho rt ta e r hand e o f o o d the G ossar , p l w , l y uppe r e nd no t he d and o e re d w ith e m e nt c c v c , m ade o f p 1tch o r res in and po wde re d b rick dust use d to ho d sm a o b e ts hi e b e in , l ll j c w l g e n ra g ve d. Cham levé a ro e ss o f e nam e in o n m e ta in p , p c l g l which the gro und o f the patte rn is c u t away w ith sc o rpe rs into a se rie s o f shall ow tro ughs into hi h the e nam e is m e te d the surfa e w c l l , c b e ing afterward gro und smo o th and po l i h d s e .

Chasin surfa e m o de in o f m e ta ith hamm er g, c l g l w and un he p c s . C aton the e ntra o rnam e n o f a r in h t . , c l g

Chenier m e ta tub e s use d i n m akin hin e s . , l g g Chuck a m o ab e i e i th thre e o r m o re ad , v l v c w j ustab le j aws m e e ting in the c e nte r use d as a turnin athe g l . Cire erdue the aste -wax ro e ss o f astin p , w p c c g T he dire c t fro m the o riginal wax m o de l . m o de l having b e e n e ncl o se d in sand ramm e d ose round i t is me te d a a and its cl ly , l w y a pl ac e take n by m o l te n m e t l . Cloison an e n os in r ibb o n o f ire hi h , cl g w , w c , b e in so de re d e d e ise o n a m e ta ro u nd g l g w l g ,

m ake s a tro ugh into which e nam e l is m e l te d. Collar a r in m ade o f se e ra a e rs o f sto ut , g v l l y eathe r se n o r r i e te d to e the r used to l , w v g ,

suppo rt the p itch b owl . Core the he art o f a m o d fo r ast ing ho o , l c ll w e ts obj c . Corn ton s sm a t e eze rs use d fo r p i king up g , ll w , c nd a u u n sto ne s b its o f so de r e tc . a dj s g , l , ,

the m . G ossar Cr am s b i ts o f thi k iro n ire b e nt to ar i o us l y p , c w v sha e s use d to ho d ork to e the r hi e p , l w g w l

b e ing so l de re d.

Crown settin an o e n se ttin ith reb ate d o ints g, p g w p h o ne to ho ld t e st .

Crucible a e sse o f ﬁre c la o r o the r re fra t or , v l y c y m ate r ia use d fo r m e tin m e ta so a e d l , l g l , c ll b e cause the y we re fo rm e r ly stam pe d wi th ro s the s ign o f the C s .

Cu el a b o k o f o m re sse d b one ash wi th a p , l c c p u - ha e d de re ssi o n use d in a m fﬂ c p s p p , u e for ur if in o d and s i r The re i o u p y g g l lve . p c s m e tal is wrappe d u p i n seve n or e ight t im e s i ts e i ht o f ead and whe n m e te d the w g l , l e ad runs a a into the b o ne ash arr in l w y , c y g the im uri ie it i p t s w h t .

Damascene the art o f in rustin m e ta s wi th , c g l o the r usua m ore re i o us m e ta s o n e lly p c l , c ra ti e d m ai n 1n Dam a u p c c ly sc s .

D omin —block a ub e o f m e ta i th he m is heri a g , c l w p c l de re ss i o ns o f ari ous s iz e s in the s ide s p v , use d wi th dom ing punche s for m aking ho l ow a f h t l b ll s o ut o s e e t m e al .

Domin unches un he s i th ob u ar he ads g p , p c w gl l , m ade in se ts to ﬁt the ho ll ows o f the do m i n -b o k T he m a b e in ste e b rass or g l c . y y l , , b ox o d w o . D raw-bench a low b e n h i th a in h at o ne , c w w c e nd hi h a tin o n a b oard stra atta he d , w c , c g p c b y a stro ng iro n loo p to a pair o f p inc e rs a e d draw-to n s i s u se d to draw w ire c ll g , thro u gh the drawpl ate he l d against stops ' ﬁxe d at the o the r e nd o f the b e nch 478

G ossar Gate o r et the ho e or hanne arran e d in l y g , l c l g a astin m o ld for the a ess o f the m e ta c g cc l . Girdle that e d e o f a re i ous stone hi h is , g p c w c x in in fi e d the se tt g. Grainin tool a ho o -heade d un h ith a g , ll w p c w oo de n hand e use d for ro undin the heads w l , g o f ins use d in xin art o f ork to e the r p fi g p s w g . Graver a kind o f s or e r o r sma hise for , c p ll c l uttin ine o n the surfa e o f m ta c g l s c e l . ’ are s ot the drie d fo o t o f a hare use d as a H fi , , b rush to dust away go l d and s i lver fil ings

fro m the b oard.

Heshi To ane a nam e o f a a ane se m ttin -to o g , J p a g l . Hira-Za wan in a in o f an ob e t it differ g , l y g j c w h e nt m e a s t l . In ot a b o k o f m e ta e ne ra re tan u ar g , l c l , g lly c g l , ast i nto a o n e nie nt sha e fo r ro in or c c v p ll g, ire dr i n o r re m a e tin . w w g, l g J oint le a flat str i o f ste e with ro unde d e d e s fi , p l g o n h ar fi u It 15 u d for whic e le c ts . se mak f ing gro ove s or hinge s . J oint tool a flat ate o f ste e xe d in hand e and , p l l fi a l ie r e d i th a trian u ar ho e The o int p c w g l l . p o f the trian e is to ard the hand e and in gl w l , the b ase in the thickne ss o f the m e tal is a umb re The e nds o f a tube he n th sc w . w se c ure d at the apex o f the triangl e by the s re w can b e e d u i te rue c fil q t . J usti er a s o r e r i th two u ttin e d es at ri ht fi , c p w c g g g an e s use d in u ttin b e arin s for the gl , c g g

sto ne s .

Kami tsuchi a e r a m ade o f fine astin sand , p p cl y c g , ’ a ane se a e r and o rdinar o tters a J p p p , y p cl y . Katakiribor i e n ra in and re ro du in the m o e , g v g p c g v m e nt o f b rushwork . 480 Kir i ta ane a s m a shar u tt in C hise use d in G ossar g , ll , p c g l l y a ane se in aid w o rk J p l . Kno an b u b o us ro e ti o n o n a shaft o r i ar p, y l p j c p ll o f a c u o r and ti k t es e c . p c l c , Knur lin tool a sm a ste e he e w i th a o n a e g , ll l w l c c v e d e i tte d i th t in ho o w W g p w y ll s . he n fi tte d in a s l o tte d ste e l handl e and ru n b ack ward and fo rward al o ng a w ire so l de re d o n a ate i t ro du e s a ro w o f b e ads p l p c . “ ” Lemel ( Fre n h L im ai e in s ) the i n s c ll , fil g , fil g and scrap o f pre c io us m e tal c o ll e c te d i n the skin o f the o rk b e n h It is are fu w c . c lly pre se r e d and whe n e no u h has b e e n o e te d v , g c ll c , i s m e l te d and the m e tal re fi ne d fo r sub se ue n us q t e . Loam a fatt o he ro us e arth use d in astin , y , c c g. L utin the a i ati o n o f a m ixture o f o am and g, ppl c l ate r fire - a and ate r whi te n in o r w , cl y w , g tri o i o r r o u e and wate r to ro te t arts p l , g p c p o the r arts are so de re d o f m e tal whil e p l . Mandrel a ro d o f m e ta o r an se ti o n use d , l y c , e i ther fo r tub e - draw ing o r fo r c o il ing w ire h ta re d in the m aki n o f hains . so t e e g c A l , p r ro d o f ste e l use d in m aki ng ings . - Matrix the m o the r form o r m o d fo r ast o rk. , l c w Matt tool a re o ussé un h i th a flat ranu , p p c w , g ate d e nd use d fo r m akin a raine d surfa e l , g g c

o n m e tal . - Mo a tan e d b o ss o f fine b inding wire xe d p , gl fi d to su o rt sm a o n a wire handl e and use pp ll he m o u th articl e s whil e b e ing s o l de re d w i th t - o ntr i an e fo r o ish o i e . so a p bl w p p A l , c v c l f a i o xe d i ng m ade o f a nu mb e r o f disc s o c l c fi e Whe n u t o n the to a wo o de n S pindl . p o ishin athe i t b e o m e s r i id b rapid p l g l , c g y 8 3 0 4 l G ossar e o u i o n T he e d e s are th n l y r v l t . g e sm e are d wi th ro uge and the obj e c t to b e po l ishe d re sse d a ain t i t p g s . Namekuri to ane an o u t inin hise i th a g , l g c l w ro unde d b eve l use d in J apane se inl aid ork w . Narashi ta ane the nam e o f a a ane se m attin g , J p g o o u e d in i n aid ork t l s l w . Niello fro m ni ella a b a k e r fusib e a o g , l c , v y l ll y o f su fur e ad s i e r and o e r use d in l , l , lv c pp de orat in e n ra e d ork o n s i e r or o c g g v w lv g ld. Odd side the te m orar ha f o f a astin m o d , p y l c g l arrange d to suppor t the m o de l whil e the fa se ore s are b e in m ade o er i t l c g v . i o f o r Paillon a sn e t s de . , pp l Paltia an arti ia ro du e d oxide for the , fic lly p c de c o rati o n o f b ro nz e s and o ther m e tal w ork .

i e o f o de r Panel a sn t s . , pp l Par tin sand o de re d b ri k-dust o r b athb ri k g , p w c c , u e d o S r ink e o n the fa e o f a m o d s t p l c l . Pear l-tool a un h and a ir u ar o n a i t o n , p c c c l c c v y

the top use d in chasing. Per loir a hasin u n h wi th a o n a e t i use d , c g p c c c v p, for m aking c o nve x b e ads on the surface o f a m e t l . Pickle so ut i o ns o f ari ous a ids in ate r use d , l v c w , for re m ovi ng the ﬁl m s o f oxide and su l T h a ids ﬁde s fro m the surfac e o f m e tal . e c use d are n itri a id h dro h o ri a id and c c , y c l c c , su furi a id and a e r o rdinar mixture l c c , v y y ’ T his so u t i o n i s hal f ac id and hal f wate r . l r fo e n ra u is as strong as ne ce ssa y r g e l se . Piece-mold a m o d fo r astin u nder u t ork m ade , l c g c w , in re m o ab e se ti ons a e d fa se o re s so v l c , c ll l c , 482

G ossar so in a aste -wax m o d the s e nder ro d l y Al , w l l o f wax arrange d to m ake a sim il ar air chan whe n m d o u o f h d ne l e l te t t e m o l . Router 3 ra e r o r sm a trian u ar file b e nt at , g v ll g l r i ht an es and ro und to a Shar e d e g gl g p g , use d for cu tting the groves in m e tal for the ints o f b ox o e s e tc . j , Runner s in ie e -m o d hanne s fo r the e ntr , p c l , c l y o f m e ta into ari o us arts o f the m o d In l v p l . waste -wax m o lds the ro d o f wax arrange d to provide a sim i l ar channe l whe n m e l te d o u t f he m o d o t l . Sand—ba a flat ir u ar b a o f e ather e d ith g , c c l g l fill w a d use d for o in u m u n s n b ss e ta o . , g p l p Scor er s sm a hand hise s o f arious Sha e s p , ll c l v p , use d to e n ra m e ta g ve l . Scra er a to o m ade fro m an o ld file b shar e n p , l y p l i ng the p o int o n a stone to a thre e -s ide d ram id Use d for ra in e n e d e s py . sc p g cl a g and surfac e s to b e so lde re d and for cl e aning u o rk e ne r p w g al ly . A n a f o r an hakudo. o o o d S ll y c ppe d g l . hin e Tsuchi ni hin m ixture o f a t S s a . s g , fi g cl y A c in sand m ade ast i h a a ne g p y w t cl y l o . Shibuichi an a o o f o r an e d si er . , ll y c pp lv Shi ata Tsuchi o re a m ade i th a sand g ( c cl y ) , w cl y, , and ho e d ra c pp st w . Shir ome a natura a o hi e o m ose d o f , l ll y , c fly c p antim o n y . Smooth a fin file for fi h n e c u t n is i s . , g Sna a S rin - at h for a b ra e e t or ne k p, p g c c c l c a e l c . Snar lin —irons o n Z -sha e d e e rs xe d in a g , l g p l v fi vice and u se d for b oss ing o u t the surfac e o f esse s fro m the in id The act b re v l s e . y y 484 b o u ndi n fro m the b o w g l o f the ham m e r Glossary ne ar the fi xe d n e d .

Stake a sm a an i , . T he y are o f m any fo rm s ll v l , fro m the b e n h s take a s uare b o k o f i ro n c , q l c fa e d wi th ste e to the ar io us u r e d bar c l , v ly c v s i th ro unde d b u b o us o r S o o n- S ha e d w , l , p p e nds use d whe n xe d in a i e o r b e a , fi v c ti ng u u p s e tc . o ke r xe d u r i ht in t c p , A p fi p g he o o r m ake s an e x e e nt s take fl c ll . Stones cabo ho c n . Se e a C bochon .

Stones a ttin Se e F . lattin stones , ﬂ g g . Stone W hita as . Se e Washi ta stone.

Swa e-block a m o diﬁ e d draw- ate m ade in re g , p l , m o ab e se t io ns he d in a fram e b a re w v l c l y c . Use d fo r draw in w ire o r m o di n g l gs . T he h o l es are arrange d in the c o ntiguo us su r fa e s o f two b o ks and the S iz e o f the c l c , wi re or m o l ding can b e re gu l ate d by the

scre vv.

’ Swee the re fuse from the oor o f the e we e r s p, ﬂ j l w o rksho whi h is o e te d b urnt and the p c c ll c , , m e tall ic re sidue m e l te d and re ﬁ ne d fo r use

i n the sam e way as l e m e l . Taka—Zo wan s im i ar to Hira-Z o wan b u t in aid g , l g , l

in re l ie f. Tama Tsuchi a rade o arse r a than Kam i , g c cl y T su hi fo r astin m ade o f ho e d to w c c g, c pp ,

sand and we t a . , cl y Tan that e nd o f a ra e r o r file whi h is re g , g v c p a pare d for inse rti o n into handl e . Tracer a hise -sha e d u n h use d in o u t in in , c l p p c l g w rk fo r rep oussé o . olvin a te m le te xe d to a ho r iz o n Tr ammel r ev g, p fi tal arm o f wo o d and capab l e o f b e ing re o e d ro und a xe d e nte r use d to m ake v lv fi c , 485 G lossar y c irc u l ar m o l de d b ase s and c o re s in cast i n g.

Treblet a ta e r m andre o r S te e o n whi h r in s , p l l c g m are ade .

Tsata Tsuchi ho e d straw a oarsest rade , c pp cl y , c g o f astin a m ade o f S traw we t a c g cl y , , cl y , n a in an a d c st g s d. Uki o i a n f r b v a e se te rm o has in . , J p c g i to Wash ta s ne a ﬁne raine d m e r i an W he tsto ne . , g A c M od rain metal an e m th d f ina in g , J ap e s e o o tam t g m e tal akin to that u se d in pro duc ing dam a ne d te sc e s e l . Hi a r . See

In ex oxw o od m a et u se of 5 3 urn sh n o d nto sha e d B ll , , , B i i g g l i p 5 6 oxw o od un he s 3 5 B p c , xw o o sawdu st 3 2 ABO CHON 9 7 Bo d , C , oxwo od stam for s oons and e st ks 6 8 B p p , C l ic , 8 5 ard- ase how to make C c , , Boxw ood stic ks for poli sh 294 in 3 3 ar e d kno 190 g, C v p, ra e et fl ex b e 165 ar ed sett n s for stones B c l , i l , C v i g , ra e et ham m ered s er 19 1 B c l , ilv , 15 7 ar n in m eta too s fo r C vi g l , l , ra e et h n e d 160 18 7 B c l , i g , ra e et attern for 160 ar n in m etal where B c l , p , C vi g , ra e et s rol ends fo r 15 8 ne essar 18 7 B c l , c l , c y, ra e et s e s of 15 6 ar n to o s tem er n B c l , iz , C vi g l , p i g, ra e et sna for 16 3 18 8 B c l , p , ra e et stone for 1 59 asket h n e how to fit and B c l , , C i g , ra elets how to m ake 15 6 so der 227 B c , , l , rass m old for o d ne k asket h n es how to B g l c C i g , la e 17 7 m ake 223 c , , rass m o ds 17 7 1 8 1 182 asket endant 18 3 B l , , , C p , rass m o ds for o d w ork asket endant b e e for B l g l , C p , z l , new m etho d 1 8 1 1 84 , ron e al o 3 5 3 3 68 asket endant sw el oo B z l y , , C p , iv l p ron n 3 67 for 18 6 B zi g, , roo h at h for 13 3 ast n har oa u se in B c , c c , C i g, c c l, , ro o h des n sub e t for 3 52 B c ig , j c 13 1 ast n flasks 196 244 C i g , , roo h o nt for 13 4 ast n furna e 3 59 B c , j i , C i g, c , roo h m akin the b a k ast n -sand 245 3 51 B c , g c C i g , , fo r 13 2 ast n sm all w ork 19 3 , C i g , roo h in 13 4 ast n sm a w o rk how to B c p , C i g ll , roo h ns o d 13 5 m e t the o d for 19 5 B c pi , g l , l g l , ro o h tw sted w re b order ast n wax 256 25 7 B c , i i C i g , , fo r 13 2 at h for b ro o h 13 3 , C c c , roo he s how to make 13 0 at h for ne kla e how to B c , , C c c c , ro o hes m edal on s ett n m ake 120 B c , li i g , for 13 6 at h an for u se w th , C c p i u kle in ham e o sh n athe 240 B c C pl vé p li i g l , enam e 209 e n 263 l, C lli i , urn sher 42 43 23 3 e t art 277 B i , , , C l ic , - urn shers are of 23 4 em ent b ack n for enam s B i , c , C i g urn sh n 23 1 els 222 B i i g, , 48 8 Ce m ent fo r use in o sh n o mb s h n es fo r l ndc x p li i g C , i g , soft stones 241 o mb s ho lde r fo r dr n , C , illi g em ent st k for utt n ear s for 15 5 C ic c i g p l , stones 241 o mb s ho w to make 149 , C , , e m ent st k u se of 17 8 o mb s in fo r h n e o f 1 54 C ic , , C , p i g , ha n o o s fo r fl ex b e o m b s ro n s fo r 1 5 0 C i l p i l C , p g , b ra e et 165 o m b s S ett n the ear s c l , C , i g p l ha ns ho w to m ake 113 in 154 C i , , , ha e s o ut ne s for 466 o mb s s ke eton sett n fo r C lic , li , C , l i g , ham e e nam e 209 1 5 2 C pl vé l , hara ter st s of old w ork o m ou nd tw ste d w re C c i ic , C p i i , 262 ho w to m ake 1 3 , 3 har oa for o sh n 23 1 om o und w re for r n s C c l p li i g, C p i i g , har oa use of in ast n 104 C c l, , c i g, 3 5 2 o er b est k nds of 3 0 C pp , i , has n 45 o e r ho w to darken 23 6 C i g, C pp , , has n hamm ers 45 o re 3 5 3 411 C i g , C , , has n too s 3 4 46 48 ore ast n 269 C i g l , , , C c i g, hen er how to make 297 o rundum file u se of in C i , , C , , h se s for m eta ar n enam e n 203 C i l l c vi g, li g, 18 7 ro us fo r o shi n 23 1 C c p li g, h or de of o d for d n rown sett n s 101 C l i g l gil i g, C i g , 23 9 C rucib les in b ronze cast r u ar saw fo r re ou s in 3 6 1 Ci c l p ci g, stones 242 ru b e s u se of in enam e , C ci l , , l Ci r e- er due ro ess of ast in 212 p p c c g, ’ in Cu n n ham e s b o o k on en g, y g o so nn b roo hm ename am els 202 Cl i é c l , , Cu fo rm s 466 204 p , o sonn ename 203 utt n re ou s sto nes 240 Cl i é l , C i g p ci , n un hes 272 o son w re 3 0 215 Cu tt , Cl i i , , i g p c s m olds 194 lo son w re to make 204 Cu tt e h , C i i , , l fi o sons u se of in enam e Cl i , , l, E w o rk 3 42 200 D AMASCEN , n s1lver ne kla e lo se sett n s 9 8 D ar ken g , C i g , i c c o d h se 3 4 1 3 0 C l c i l , o ets 101 D e o rat on of b as ns w th C ll , c i i i w o rk 27 0 o or n m eta 23 5 stam ped , C l i g l , t e nam e s 219 omb s de s n of 149 15 1 D eep cu , C , ig , , l and hand w o rk re omb s dr l n the ear s D es gn , C , il i g p l i i for 1 5 5 at on o f 176 , l i , s of o mb 150 omb s rou s of ea e s D e gn , C , g p l v i c amond du st u se of 243 fog 15 2 Di , , 489 ’ Index om n -blo k 3 4 En ra er s athe head 243 D i g c , g v l , om n u n hes 3 4 En ra e d l ne s u se of in D i g p c , g v i , , ra on b orders 268 nta o enam e s 221 D g , i gli l , raw b en h 40 D c , raw - ate 3 4 41 43 FALS E ores 246 D pl , , , , c , 223 F ree r n s 107 ilig i g , raw- ate E t an 3 9 1 Flasks fo r ast n 193 244 D pl , gyp i , c i g, , raw- ate for o son w re Flatte d tw st w re for r n s D pl cl i i , i i i g , how to m ak 21 109 e , 6 r l n stones 243 F atti n rolls 3 66 D il i g , l g , r l sto k 3 5 F ex b e b ra e et 16 5 D il c , l i l c l , r l s 3 S F ower b orders in stam ed D i l , l p work 26 8 27 0 , , E GY PTIAN draw- ate 3 9 1 F uori a d 203 pl , l c ci , E t an m eta ast n 400 Fram e saw 3 5 115 gyp i l c i g, , , E t an r n s 401 Fren h ha k u se of in gyp i i g , c c l , , E e trot e o er 3 0 ast n 260 l c yp c pp , c i g, Em er whee u se of in Fren h w ork-b en h 3 7 y l , , c c , utt n stones 241 Fr t on d n ho w done c i g , ic i gil i g, , Enam el b roo h o sonn 23 9 c , cl i é , 204 Fu rna e for ast n 3 59 c c i g, Enam e b ro o h ar ou s at l c , v i p terns of b order for 207 GATES in a ast n m o d , c i g l , Enam e dan ers of u se on 25 5 l, g ast w ork 202 Gelat ne m olds in ast n c , i c i g, Enam el figure s in high re 26 1 ef how t o rodu e 222 Gesso m ode s for enam e ed li , p c , l l Enam e m eta b order for o d ane s 221 l , l , g l p l , 140 G d n b fr t on 23 9 il i g y ic i , Enam e endant in 13 7 G d n ro esses 23 7 l , p , il i g p c , Enam e wash n 205 G d n w th h or de of l i g, il i g i c l i Enam e w o rk enera rule s o d 23 9 l , g l g l , for u se of 200 G t na ls how to make , il i , , Enam e w ork re u s tes for 272 l , q i i , 203 Go d al o s o or of 169 l l y , c l , Enam e w ork rote t on G o d a o s for 169 l , p c i l , ll y , ’ for so der in 209 G o d-b eater s s k n u se of l , l i , , Enam e w ork u se of s or er in o er n m eta 19 3 l , c p c v i g l , in 210 G old fo in enam e work , il l , Enam el n so der a o for 213 i g l , ll y , 212 G o d fo l ri ker for 213 l i , p c , Enam e s nta o how to Go d fo l use of in m o es l , i gli , l i , , Li g m ake 219 enam e 214 , l, 490

Index In ot m o d 8 8 ead di n tub e for h g l , L ppi g y In ot m olds to make 90 dr ofl uoric a d 203 g , , ci , Inla ra se d 3 3 3 ead m old fo r s oons 8 6 y, i , L p , Inta o ename s 219 ead trou h for h droflu gli l , L g y Inta o enam e s wax or e a d 203 gli l , i ci , m o de for 220 ead u se of in stam ed l , L , , p I nter o k n o nt for ham w ork 18 1 l c i g j i , m er w ork 6 5 eaf sett n s for ear s 117 , L i g p l , I ron stam s 277 ea e s ho w to make 106 p , L v , , Iron su orts for enam e em el o d 16 8 pp l L , g l , a u es 206 ift n need es 248 pl q , L i g l , m o e s enam el how to Li g , A ANESE a o 3 8 3 re are 214 J P ll y, p p , a anese raftsmanshi 27 5 nks w o en for ne k J p c p, Li , v , c 3 21 a es 118 l c , a anese draw n s of fish Loam u se of in ast n J p i g , , , c i g, 13 8 19 7

a anese nla 3 21 3 22 o ket or endant asket J p i y, , , L c p c , 3 29 how to m ake 1 8 3 , a anese wax 25 7 o kets 18 3 J p , L c , a ane se woo d ra n m etal oo s for n ht n al e en J p g i , L p ig i g p 3 6 dant 1 5 , 29 e ore enam e s 201 ost or waste wax astin J yp l , L ( ) c g, o nt for b ra e et 161 25 6 J i c l , o nt in b ra e et how to o st or waste wax ro J i c l , L ( ) p ﬁt 162 ess 266 268 , c , , o nt for b roo h 13 4 J i c , o nt too 3 4 227 AN R EL 100 J i l , , M D , ustiﬁer 220 andre u se of for tub e J , M l, , draw n 224 i g, K A MITSU CHI 3 5 1 andre s for ha n mak , M l , c i K a kin n 8 in 11 ta b o , 3 3 g, 5 K e e s for ear s 15 6 ater als 29 y p g p l , M i , K irita ane 3 3 7 3 44 atr es in b rass u se of in g , , M ic , , K no 7 3 7 reek w ork 1 p, , S G , 8 2 K no s 190 atr x 3 5 7 3 93 p , M i , , K no s ar ed 19 0 atr x en ra ed for o d p , c v , M i , g v , g l not rin s 104 work 18 K g , , 1 atrix n for o d work M , zi c, g l , API A RY work 240 18 0 L D , ’ a dar s sl tter 242 atti n too s 3 4 5 1 L pi y i , M g l , , ’ Lathe head en ra er s er ur ldin how done , g v , M c y gi g, , 243 23 7 49 2 - M eta ar n too s 18 7 etwo rk enam e s s e tt n s Index l c vi g l , N l , i g eta ast n in sand fo r 219 M l c i g , , Eg t an 400 etwo rk e nam e s te m o yp i , N l , p etal o utl ne u se and valu e rar o e r b a k fo r 218 M i , y c pp c , of in enam e 201 etw o rk e nam e s w tho ut , l , N l i ode n wax 25 6 te m o rar ba ks 218 M li g , p y c , o d n s for o d ha r n e l o a o s fo r 3 16 M l i g g l i pi , Ni l , ll y , 174 e lo w o rk 3 14 3 99 Ni l , , o d n s how to draw ht n a e e ndant how M l i g , , Nig i g l p , 228 m a 1 7 de , 2 o d n s how t o make t r a d k e 3 2 M l i g , , Ni ic ci pic l , 228 o rwe an ro w n 43 0 45 8 N gi c , , olds b athb r k 199 M , ic , olds for ast n 244 O I L am fo r s older n 9 5 M c i g, l p i g, olds for ast n s ate O ld w ork and m ethods M c i g, l , , 199 262

olds fo r sm a l work in O en sett n s 101 M l p i g , r t sh useum 199 O r e nta sto ne s 9 7 B i i M , i l , o ds e at ne 26 1 O r n of E t an draw M l , g l i , igi gyp i olds r n 401 ates 3 9 1 M , i g, pl , o ds ser ent ne 401 O rnam e nt u s e o f 60 M l , p i , , , o ds s ate 401 O rnam ents ho o w how to M l , l , , ll , olds steat te 199 401 st ren the n 179 M , i , , g , oonstone b roo h 13 1 O ut ne s fo r u s and M c , li c p oonstone sett n 13 5 ha e s 466 M , i g, c lic , O x dat o n 3 6 1 i i , nt re of s er O x dat o n o f s er art N ECKLACE e i ly ilv i i ilv , i ficial 23 5 122 , e kla e o d 17 7 N c c , g l , e k a e rose ane s for AI LLONS 100 N c l c , p l , P , 123 Panel s in rai se d gold for e k a es arran ement of e nam e n 221 N c l c , g li g, ones in 113 ane s so der 9 3 st , P l , l , e kla es at h fo r 120 Pat na 3 67 N c c , c c , i , e k a es ha ns fo r 113 Patterns fo r h nged b ra e N c l c , c i , i c e kla es how to m ake let 160 N c c , , , a e d sett n s 102 112 P v i g , a fl ou r u se of in ast e k a e s nks fo r 118 Pe , , N c l c , li , c in 196 19 8 e k a es ear and fili g, , N c l c , p l ear s ho w to dr 15 5 ree 117 P l , ll , g , i ear s ke e s fo r 15 6 e k a e s o sh n 122 P , y p g , N c l c , p li i g, l endant tt n the e nam e eed es ft n 248 P , fi g N l , li i g, i l nto 141 w rk enam e s 215 , N et o l , i Index endant for s er ne kla e o ur 3 61 P ilv c c , P , 126 re ou s stones how to P ci , endant b alls to ha r n dr 243 P i pi , ill, 148 re ou s stones how to P ci , endant asket 18 3 o sh 243 P c , p li , endant loo for 143 re ou s stones how to P , p , P ci , endants mak n b a k for sha e 240 P , i g c , p , 13 9 re ou s stones how to P ci , endants stones for 13 8 s t 242 P , , li , endants su est ons for ron s for omb s 1 50 P , gg i P g c , des n of 13 8 ig , endants to o d ne k a e UI CKSILV ER d n 23 7 P g l c l c , Q , gil i g, 17 7

endants u se of enam e l in AI SE n a 3 8 3 P , , R D i l y, 1 3 9 e es ra t al 47 1 R cip , p c ic , endants u se of ra n e ou ss to o s 3 3 46 48 P , g vi g R p é l , , , to ol in tt n to ether e ou ss work 44 ﬁ i g g , R p é , 142 e o n tramm e 3 54 R v lvi g l, e e-m o d n 244 n m olds 401 Pi c l i g, Ri g , ns for b roo h 13 4 n shanks 402 404 Pi c , Ri g , , t h 3 2 3 3 n st k 23 1 Pi c , , Ri g ic , t h-b o k 3 5 47 n s ar ed 110 Pi c l c , , Ri g , c v , lan sh n 5 5 n s E t an 401 403 P i i g, Ri g , gyp i , , aster m atr x for t e n s how to m ake 104 Pl i yp Ri g , , m etal ast 1 8 0 ol s ﬂ att n 3 66 c , R l , i g, aster of ar s u se of in otten-stone use of in Pl P i , , R , , so der n sm all art e s ol sh n 23 2 l i g icl , p i i g, 107 ou e for o sh n 7 6 R g p li i g, , at num u se of in ename 23 1 Pl i , , l in 21 5 u e s for enam el work 200 g, R l , ers 3 4 unners and r sers 259 Pli , R i , Pli ue 21 our enam e 215 g j l , o sh n old work 23 3 SAN -BA G 3 5 P li i g g , D , ol sh n mater a s for Sand ast n 3 5 1 P i i g, i l , , c i g, l &c . 23 1 Sand ast n s for sma , c i g l o sh n ne kla e 122 w ork 196 P li i g c c , , o sh n reser n refuse Sand for asti n 245 P li i g, p vi g c g, of 234 Saw r u ar for stone , , ci c l , o sh n a ui k m etho d utt n 242 P li i g, q c c i g, of 23 2 S or er how to use 210 , c p , , o sh n st ks 23 1 S or er ar ous atterns P li i g ic , c p , v i p otass um sul h de u se of of 211 P i p i , , , in darken n s er 23 5 S or ers 3 03 3 44 i g ilv , c p , , 494

Index Taka-Z o wan 3 8 2 WASH N e nam e 205 g , I G l , Tam a t su h 3 5 2 W ash ta stone 3 44 c i , i , Tan 3 03 W aste in o l sh n 234 g, , p i i g, Theo h u s 263 W aste -w ax ro e ss 25 6 p il , p c , The o h lus on the o st o r W ater of A r stone u se of p i l ( y , , waste wax ro e ss 266 for o shi n 105 23 2 ) p c , p li g, , Tools 3 3 45 46 48 W ax for m ode n 25 6 , , , , li g, Tram m e re o n 3 54 Whett n and u se o f ra l , v lvi g, i g g v Trans u ent e nam e s 201 ers and s or ers 3 03 l c l , , c p , , 213 3 44 Tub e-draw n 42 W re -draw n 3 9 i g, i i g, Turn 406 W oo d- ra n m etal 3 6 5 , g i , Tw st w re 7 1 7 3 W ork b en h 3 6 i i , , c , Type-m etal m olds fo r gold W reathe d circl et fo r night w ork 18 0 n a e endant 127 , i g l p , W reathed settings for UKIB ORI 3 8 2 earls 117 , p , W reathed s ett n how t o i g, VA SE how to b eat u 28 3 ar e 191 , p, c v , Veneti an chains for ne ck la e s 113 Z NC m o ds 3 1 1 8 0 c , I l , , V l n en ro e ss ona ro ss Z n m o ds for o d w o r k i li g p c i l c , i c l g l , 450 18 0