A new paper on Renaissance Casting Technology was just published. It looks both, into the chemical composition of the utilised alloys, as well as into the primary sources concerning the manufacture of the cenotaph of Emperor Maximilian I.

Get the full paper here https://doi.org/10.1007/s40962-024-01299-4

The 28 “Schwarze Mander” (Black Men) are undoubtedly amongst the most magnificent monumental brass statues of the Renaissance. Commissioned by the Holy Roman Emperor Maximilian I for his funeral monument at the beginning of the 16th century, they were completed more than 30 years after the Emperor’s death and are now part of his cenotaph in the Hofkirche in Innsbruck. Revising the original manuscripts and letters exchanged between Maximilian I and the various artists sheds light on the manufacturing process and the challenges the artists encountered whilst producing the statues. Moreover, the alloys used in the manufacture of the statues, now all blackened due to patination processes, were identified through non-invasive chemical analysis of all the statues.

Introduction

The 28 Schwarze Mander are without a doubt amongst the most stunning brass statues of the Renaissance period. They were commissioned by Maximilian I, the Holy Roman Emperor, for his funeral monument in the early 16th century but took over 30 years to complete after his death. Originally, the emperor wanted 40 statues of ancestors and saints of the Habsburg family and 100 statuettes of other saints associated with the House of Habsburg, as well as a sarcophagus for the emperor himself. In the end, 28 statues (Table 1), 23 statuettes and 34 busts of emperors (of which only 21 have survived) were created. The sarcophagus was replaced by a cenotaph with the kneeling statue of Maximilian I, the four virtues and 24 marble reliefs. Maximilian I, at the end, was buried in Wiener Neustadt.

Get the full article here and finish reading it: https://doi.org/10.1007/s40962-024-01299-4

References

Wiltu ein puchsn gießn sei sy gros oder klayn – if you want to cast a gun be it big or small

The Danzig handgonne is an unusual very early form of a firearm. The handgonne is unusual because it shows a three-faced representation at the muzzle. It is interpreted by some colleagues as a representation of the Slavic god Triglav .

How old is the handgonne from Danzig?

Unfortunately, the Danzig handgonne cannot be dated precisely because the circumstances of its discovery are unclear. We know the approximate find date: around the 1920s. There are two competing statements with regards to its find location (Petri, 2017, 222):

1. It is from the area of Schwedt, from a pond on an estate.
2. It is from near the city of Gdansk, and turned up during dredging operations

The Danzig handgonne was privately owned for a long time, and was auctioned at Christies in 2014. Today it is in the collections of the Royal Armouries in England. Based on stylistic features, the handgonne is believed to have been made between the mid-14th and early 15th centuries AD.

In this video, I show you how I would have cast the Danzig handgonne in the late Middle Ages using the lost wax process. I first modelled an original wax. Then I made a mould out of a refractory material: moulding loam. When the mould is fired, the wax issues from the mould, leaving the mould cavity in the hardened loam. The bronze can be poured into this. For demoulding, I have to break the mould: the mould is now lost, so each casting is unique….

I will also show you how to finish the Danzig handgonne barrel. Burrs have to be removed by chisel, the surface has to be finished in some places with the file and the scraper. Finally, I make the ash stock for hand rifle. It is a simple bar stock, as we know it for example from the Landshut Zeugausinventar.

Which material?

Unfortunately, there are no exact composition analyses of the handgonne available until today. It is definitely a copper alloy, brass is ruled out for the period and region. That leaves copper and tin bronze. Strong copper rich alloys are an unsuitable material, but these were actually used as recent investigations on another firearm show (Asmus & Homann, in prep). In addition, the numerous accounts on the bombards from the Teutonic Order area show that copper was apparently used for gun casting . Still, for this project I chose the safe option and used a 90/10 tin bronze alloy, an alloy often employed for firearms.

As an archaeometallurgist from the Laboratory for Archaeometallurgy, I study the metallurgy of our ancestors. For this I use my craft as an art founder, the historical and archaeological disciplines, as well as the material science disciplines of the natural sciences.

Literature

The Carolingian bell is ringing

This reconstruction is unique,

because this bell is not only cast in the shape of the Canino bell, as it has already been done for some decades on different occasions and for scientific investigations. See for this the various excellent works of the colleague Hans Drescher . No, this reconstruction is to be made as a modern original, following the same instructions of Theophilus Presbyter concerning bell making; using the same bell metal and  the same moulding material. In short to do it, as it was supposedly done in the olden days.

This reconstruction in accordance with the production process tries to reconstruct and implement the original production process in such a way that the resulting object does not differ from the original not only in material, shape and form, but also in the way of its production.

Bell tower for the beehive bell on the Galli campus. Tower, yoke and bell can now be tested for their suitability for the coming years.

Applied Archaeometallurgy

As the name suggests, applied archaeometallurgy deals with the applicability of archaeologically, historically and scientifically informed interpretations. The aim is to reconstruct a process that can be applied in practice and that could have been implemented technologically for the epoch in question. It is thus closely related to experimental archaeology. In contrast to this, it additionally formulates the wish for applicability and practicability in the sense of pragmatically acting craftsmen. In addition to the pure functioning of a method, they also have to take care of other aspects such as the production costs, raw material availability, raw material procurement, livelihood and sales of their products.

The Campus Galli Bell, the Tower and the Yoke

The reconstruction of the bell production took place over the last three years and has already been described in numerous articles, e.g. here or here, or here. Beside a specialist publication  the experiments also led to a reconstruction for the Romanesque Bartholomew Chapel in Paderborn, which will be hung there in August 2019.

For the reconstruction, a bell tower and a yoke were designed by the craftsmen of Campus Galli, which can now be tested for their practical suitability over the next few years. Sources  on yokes for early  bells is very thin: Only one yoke of the Haithabu bell is preserved . The description of Theophilus Presbyter needs more interpretation  and  is still waiting for a practical implementation.

In the afternoon of 26.10.2018 the time has come: The bell rings for the first time, and compensates with its sound from the Carolingian period for variuos failed attempts in the past three years.

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