Ironwork: From the earliest times to the end of the mediæval periodH.M. Stationery Office, 1907 |
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Ironwork - Part I - From the Earliest Times to the End of the Mediaeval Period J. Starkie Gardner Vista previa limitada - 2018 |
Ironwork; From the Earliest Times to the End of the Mediaeval Period John Starkie Gardner Sin vista previa disponible - 2018 |
Términos y frases comunes
15TH CENT 15th century Abbey Albert Museum antiquity appears arches architecture armour beaten beautiful bronze Canterbury Cathedral carbon carved Cathedral centre Chapel Chichester Cathedral choir Church civilisation Cologne cresting decorated diapered door doorway dragons early elaborate embossed England English escutcheon examples exist fashion fifteenth century figured filled Flemish fleurs-de-lis foliage forged fourteenth century France French furnace Gaul geometric German gold Gothic architecture Greek grille hammer handles Height hingework illustrations interlaced interspaces ironwork later Le Puy-en-Velay leaves locks magnificent massive Matsys mediæval metal moulded ornament Ourscamp panels perhaps period pieces pierced plate prickets probably produced quatrefoil Quentin Matsys railings rectangular rich richly riveted Roman rosettes scrolls scrollwork sheet iron smelting smith Snarford specimen stamped stamped hinges steel stone style thirteenth century thistle tons tracery vertical bars Victoria Victoria and Albert vine weapons welded Westcott Barton width wood Worksop Priory wrought
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Página 12 - This they take out, and giving it a few strokes with their sledges, they carry it to a great weighty hammer, raised likewise by the motion of a Water-wheel; where applying it dexterously to the blows, they presently beat it into a thick short square. This they put into the Finery again...
Página 12 - ... the shape of a bar in the middle, with two square knobs in the ends. Last of all, they give it other heatings in the chafery, and more workings under the hammer, till they have brought their iron into bars of several shapes and sizes; in which fashion they expose them to sale.
Página 84 - ... The close of the thirteenth century marks, roughly speaking, the end of a period which we may properly define as that of genuine blacksmithing. The texture of iron, it is well known, becomes loosened by heat, and, as it softens, bars will droop and curl into scrolls under a relatively slight impetus, this property rendering it so facile a metal in the hands of the smith. When hot it can be welded, separate pieces adhering firmly together if hammered or pressed, and the rich and intricate effects...
Página 78 - Museum, and the one by which we are enabled to approximately date the rest, and to attribute them with certainty to an English smith, is the Eleanor grille or herse in Westminster Abbey. The records show that this was made by Thomas of Leghtone, in 1294, at a cost of ^13, a sum equalling ^180 of our money.
Página 32 - ... in the latter by decomposed nodules which he called " sling-bullets," doubtless of iron ore, like the plummets so commonly found among relics of the moundbuilders in America ; and by a small knife which he assigned to the Alexandrian period : whilst the peculiar keys and knives found in the former he considered not to be older than the fifth century BC Excavations in Cyprus also confirm the existence of a copper or bronze age, when iron was unknown. We glean from Homer that its use was exceptional,...
Página 114 - The cover is carried by four clustered columns, supporting four crisped arches, converging to a centre. What might be termed the roof of the canopy is a tangle of interlacing branches and leaves, intended probably for the vine, and a conventional flower which both droops to form pendants and soars upward into pinnacles. The whole is crowned by the figure of Salvius Brabo, in Roman costume, holding aloft a spear and the hand of the giant Antogus, and the springing of the arches is marked by four smaller...
Página 85 - ... hammered or pressed. The rich intricate effects apparent in the work of Bisconet were produced by this means. The thirteenth-century smith had indeed to strike while the iron was hot. His tools consisted merely of hammer, anvil, forge, bellows, tongs, and chisel. The several pieces in a grille had to be fixed by driving holes through the heated iron and riveting them together, or, more commonly, by binding the pieces round with hot wisps of iron called collars. While the smith of to-day can buy...
Página 85 - ... own hand. Hence old ironwork possesses interest and attractions which few modern examples can equal, for scarcely any old piece fails to please. The explanation is simply that the olden-time smith cut a piece from his shingled bar which he judged by the eye would beat out into a rod of the desired length or curl into a scroll of the desired form. More or less sufficed for him, and by his method of work he produced an irregularity and play in even the most monotonous designs, which is artistically...
Página 85 - ... form. More or less sufficed for him, and by his method of work he produced an irregularity and play in even the most monotonous designs, which is artistically charming to us, but which was possibly a source of reproach to himself. The designs are so practical, yet so rude, that they were obviously produced by the smith who executed the work. Even if directed by a designer, the smith's capacity must have been thoroughly gauged, and the technical details left well within his powers. It appears...
Página 124 - ... out of the solid, and tenoned, morticed, and riveted together as in joinery. Depth and richness are given by using one thickness upon another over a background of saw-pierced sheet iron, and the intricacy of detail produced by this process becomes remarkable in an object of such dimensions.