Reconstruction: Early 15th century tap. The location is Zurich, Switzerland.
Some time ago I made a tap for a re-enactment brewer. I was already able to gain experience with the production of tap taps when I made my Aquamaniles. Therefore I decided to document the manufacturing process. Medieval taps often have a stylized cocks as a handle on the plug. From the end of the Middle Ages taps or spigozs were made by the Zapfenmacher. One of the centres was Nuremberg. In the iamges of the Mendelsche and Landauersche Hausbücher of the Zwölfbrüderstiftungen it is interesting to note that the process step for the production of the taps shows only the reworking, but never the moulding. The illustration of the redsmith by Jost Amann in Hans Sachs book of trades gives at least a hint of the moulding material..
In the background, lumps of clay may have served as a raw material for the moulding material.
A little later again, in the 17th century, Christoph Weigel depicts the Zapfenmacher in its own right . Here a strong specialisation had taken place within a century.
The films are not about a strict archaeological experiment. Rather, it is a matter of examining some hypotheses on the manufacturing process. First and foremost, these were:
Is it possible to make a wax model where plug and tap fit snugly?
Can you cast this in such a way that there is little rework?
How can the grinding of the plug into the tap be mastered manually?
Have fun watching. As always, I am looking forward to your criticism, questions or suggestions.
The first part deals with the history of the tap and the production of the wax model.
The second part is about moulding the wax model, pouring the tap and the first cleaning after casting.
The third part is about finishing the cast tap. This means that it must be roughed, filed, drilled and ground. The grinding of the plug into the tap’s body was particularly exciting. In fact, absolutely leak-proof tap can be produced with the simplest of means.
Aristotle and Phyllis aquamanile, 2015 by Bastian Asmus made after a 15th century original from the low countries.
Aristotle and Phyllis in the Malterer tapestry. Now in the Augustinermuseum Freiburg. Source: Wikimedia Commons.
The Middle High German lay of Aristotle and Phyllis probably originated in the 13th century in the upper Rhine region between Basel and Strasbourg. The story was a popular motif and is found not only in sculptural works, but also in tapestries and drawings. King Philip of Macedonia’s son Alexander, later called the Great, is educated by Aristotle. The young Alexander, madly in love with the beautiful Phyllis, is scolded by his teacher for his mental absence and warned of the dangers of love and/or women. Aristotle effects the separation of the lovers through intervention with the King. Musing on revenge beautiful Phyllis seduced Aristotle. As price for her love she demanded that she could ride around in the gardens on his back. Whilst doing so Aristotle is discovered by the Queen and Aristotle falls prey to shame and disgrace, because he could not meet his own requirements. He was exiled and pondered over the wickedness of the world.
Aristotle and Phyllis. Hausbuchmeister 15th century. Source: Wikimedia Commons.
This aquamanile in the form of a knight on horseback was cast in 2015 in Bastian Asmus’ workshop, and leans heavily on an original from the 13th century. It was cast in bronze by the lost wax technique.
Next to lion and griffin aquamanile a knight on horseback was a widely used form of aquamaniles . One of these I made earlier this year and cast it in bronze in my workshop. The original aquamanile is from the 13th century from northern Germany, probably around Hildesheim.
This object displays the impressive skills of the 13th century artists and foundrymen. The arms, legs and stir-ups are modelled full round, which adds quite a bit of complexity to the preparation of the casting mould; especially when we are considering that these moulds were not made like modern investment moulds, but by applying moulding loam to every bit of wax surface. The materials thickness of the bridle or stir-ups is in places less than 2mm in diameter. The knight is not modelled separately but cast in one piece with the horse.
Just as the griffin aquamanile this reconstruction can be seen in the newly opened European Hanseatic League Museum in Lübeck, Germany.
Reconstruction: Early 15th century tap. The location is Zurich, Switzerland.
