Page:EB1911 - Volume 18.djvu/225

 Iron. —The abundance in which iron is found in so many places, its great strength, its remarkable ductility and malleability in a red-hot state, and the ease with which two heated surfaces of iron can be welded together under the hammer combine to make it specially suitable for works on a large scale where strength with lightness are required—things such as screens, window-grills, ornamental hinges and the like. In its hot plastic state iron can be formed and modelled under the hammer to almost any degree of refinement, while its great strength allows it to be beaten out into leaves and ornaments of almost paper-like thinness and delicacy. With repeated hammering, drawing out and annealing, it gains much in strength and toughness, and the addition of a very minute quantity of carbon converts it into steel, less tough, but of the keenest hardness. The large employment of cast iron is comparatively modern, in England at least only dating from the 16th century; it is not, however, incapable of artistic treatment if due regard be paid to the necessities of casting, and if no attempt is made to imitate the fine-drawn lightness to which wrought iron so readily lends itself. At the best, however, it is not generally suited for the finest work, as the great contraction of iron in passing from the fluid to the solid state renders the cast somewhat blunt and spiritless.

Among the Assyrians, Egyptians and Greeks the use of iron, either cast or wrought, was very limited, bronze being the favourite metal almost for all purposes. The difficulty of smelting the ore was probably one reason for this,, as well as the now forgotten skill which enabled bronze to be tempered to a steel-like edge. It had, however, its value, of which a proof occurs in Homer (Il. xxiii.), where a mass of iron is mentioned as being one of the prizes at the funeral games of Patroclus.

Methods of Manipulation in Metal-Work.—Gold, silver and bronze may be treated in various ways, the chief of which are (1) casting in a mould, and (2) treatment by hammering and punching (Fr. repoussé).

The first of these, casting is chiefly adapted for bronze, or in the case of the more precious metals only if they are used on a very small scale. The reason of this is that a repoussé relief is of much thinner substance than if the same design were cast, even by the most skilful metal-worker, and so a large surface 'may be produced with a very small expenditure of valuable metal. Casting is probably the most primitive method of metal-work. This has passed through three stages, the first being represented by solid castings, such as are most celts and other implements of the prehistoric time; the mould was formed of clay, sand or stone, and the fluid metal was poured in till the hollow was full. The next stage was, in the case of bronze, to introduce an iron core, probably to save needless expenditure of the more valuable metal. The British Museum possesses an interesting Etruscan or Archaic Italian example of this primitive device. It is a bronze statuette from Sessa on the Volturno, about 2 ft. high, of a female standing, robed in a close-fitting chiton. The presence of the iron core has been made visible by the splitting of the figure, owing to the unequal contraction of the two metals. The forearms, which are extended, have been cast separately and soldered or brazed on to the elbows. The third and last stage in the progress of the art of casting was the employment of a core, generally of clay, round which the metal was cast in a mere skin, only thick enough for strength, without waste of metal. The Greeks and Romans attained to the greatest possible skill in this process. Their exact method is not certainly known, but it appears probable that they were acquainted with the process now called à cire perdue—the same as that employed by the great Italian artists in bronze. Cellini, the great Florentine, artist of the 16th century, has described it fully in his Trattato della Scultura. If a statue was to be cast, the figure was first roughly modelled in clay—only rather smaller in all its dimensions than the future bronze; all over this a skin of wax was laid, and worked by the sculptor with modelling tools to the required form and finish. A mixture of pounded brick, clay and ashes was then ground finely in water to the consistence of cream, and successive coats of this mixture were then applied with a brush, till a second skin was formed all over the wax, fitting closely into every line and depression of the modelling. Soft clay was then carefully laid on to strengthen the mould, in considerable thickness, till the whole statue appeared like a shapeless mass of clay, round which iron hoops were bound to hold it all together. The whole was then thoroughly dried, and placed in a hot oven, which baked the clay, both of the core and the outside mould, and melted the wax, which was allowed to run out from small holes made for the purpose. Thus a hollow was left, corresponding to the skin of wax between the core and the mould, the relative positions of which were preserved by various small rods of bronze, which had previously been driven through from the outer mould to the rough core. The mould was now ready, and melted bronze was poured in till the whole space between the core and the outer mould was full. After slowly cooling, the outer mould was broken away from outside the statue and the inner core as much as possible broken up and raked out through a hole in the foot or some other part of the statue. The projecting rods of bronze were then cut away, and the whole finished by rubbing down and polishing over any roughness or defective places. The most skilful sculptors, however, had but little of this after-touching to do, the final modelling and even polish which they had put upon the wax being faithfully reproduced in the bronze casting. The further enrichment of the object, by enamels and inlay of other metals was practised at a very early period by Assyrian, Egyptian and Greek metal-workers, as well as by the artists of Persia and medieval Europe.

The second chief process, that of hammered work (Gr.  ; Fr. repoussé), was probably adopted for bronze-work on a large scale before the art of forming large castings was discovered. In the most primitive method thin plates of bronze were hammered over a wooden core, rudely cut into the required shape, the core serving the double purpose of giving shape to and strengthening the thin metal. A further development in the art of hammered work consisted in laying the metal plate on a soft