A METAL BEDSTEAD.

the figures, the delicacy of the joints, the freedom of the chasing on the foliage, the truth of the mitres andarrises, the rectangularity of the framing and fitting, the evenness of the casting throughout, and the richcolour of the metal, all contributed to the successful realisation of a successful design.

On inquiring into the processes by which objects of this description are produced, we find that whenthe design is drawn a model is made in wax, of which, when coated with lac varnish, to harden itssurface, and prevent the adhesion of the sand of which the mould is made, a cast is taken in lead. Theimperfections common to early impressions having been removed by the “ repairer,” with his small graversand chisels, a cast is taken in brass, which the “ chaser,” with his “ mats,” “ punches,” “ stipple tools,”and “ riffles,” speedily corrects and reduces to a perfect representation of what is required; and this com-pletes the permanent “ model ” or “ pattern,” from which thousands of facsimiles may be made. Simpleforms are easily moulded, and leave the sand freely, but where concavities or undercuttings are introduced,much skill and patience are needed. To copy a purely spherical model, the mould requires to be of two halvesonly,—but in complex portions, the mould is composed of many parts, and the time expended in making itoccupies several days. It is in the judicious discrimination as to the fewest number of pieces, and thearrangement of the several “hanging cores,” that the evidence of ability on the part of the moulder ischiefly shown. To make the particles of the sand which forms the mould more adhesive, it is pounded

in a mortar, and its facilities for receiving the impression of minute details are increased by dusting over

the surface with powdered loam and ground charcoal. In order to withdraw the original pattern, the severalparts of the sand mould are lifted out by means of small points of wire, and after their removal, the

pattern is taken out and the cores are replaced,—provision being made, by what are termed “gates,” for

the introduction of the fluid metal, which is melted in Stourbridge clay crucibles, in an air furnace with a clearcoke fire. The moulds being closed and held together by wood clamps, the crucible and its contents areremoved from the furnace, and the metal poured into the “gate” or aperture of the mould, in order tofill up the space left by the withdrawal of the pattern, and to produce an accurate copy of the original model.

The surface of a brass casting just removed from its matrix presents an appearance and colour closelyresembling copper, whilst any roughness or superfluous metal indicates imperfection in the mould, to removewhich, when the forms are simple, the file and the turning lathe will generally suffice. When a carefuldegree of finish is needed, the work requires to be “chased” up. Where the surface to be cleansed is of a“ matted” kind, the aid of acid is called in, by immersion in which a uniform brilliant or a dead-goldappearance is secured. It is in this particular that modern brass-foundery differs from that executed by theskilful artisans of the middle ages, who produced a finished surface by friction, or by gilding through themedium of the mercurial amalgam. In acid finish, attention must be paid to the entire removal of grease, anda preliminary cleansing is absolutely necessary. For the final operation, the acid requires to be completelyneutralised, otherwise the action will continue, and the surface be destroyed. The dead-gold appearance ofmuch of the modern brass-work was the result of a discovery which arose out of the accidental circumstanceof a piece of work having been left in the acid during the night. This hint was adopted, acted on, andsuccessfully produced the desired effect.

The majority of the brass-work produced on the Continent is still gilt, but the gilding can be closelyimitated, if some little care is taken in the composition of the metal, and if friction with a “ scratch brush ”be applied after “ dipping.” The burnished portions in brass-finishing are produced by steel burnishers, alittle ox-gall being applied to prevent scratching. During this last process, the objects are kept wet fromtime to time by immersion in water and argol. After being “ dried out ” in box-wood saw-dust, they areprotected from oxydation by a coating of lacquer, composed of spirits of wine, and coloured with a vegetablematter. The article to be lacquered is heated, and the lacquer applied with a camel-hair pencil.

In those objects produced from plates by pressure, the metal is prepared by being rolled into a thinsheet. The “dies” are formed of cast-iron or steel, but more commonly of the latter material: into these diesis cut or sunk the design to be copied in relief. The impressions are taken by means of a stamp-press, to thefalling hammer of which a die, sunk in intaglio, technically called “a force,” is attached. Annealing followseach blow, and the forces are so changed as to gradually increase in convexity, so that the highest reliefand the minutest details may be brought up. The finish applied is the same as that described in connexionwith cast brass-work. Of late years both plain and coloured glass have been introduced to a great extent, incombination with brass, and with such success that upwards of 22,000 pairs of cornice-ends and curtain-holders, into which the improvement has been introduced, have been sold within the few years which haveelapsed since the taking out of Messrs. Winfield’s patent.