2024. April 24. Wednesday
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What is necessary for the production of cast-iron?
Primarily iron ore, coal to melt it, possibly a small, swift mountain stream (machines can be operated by it) and, of course, conscientiousness and good attitude to the works. The composition of the material shall be well known, so as what kind of components to add, in order to influence the properties of the metal. In the last century these were available in the area of the historic Hungary, in the Carpathian mountains.
Materials were not transported but processed on the site. There were both very small and large foundries, which is a proof of the welldeveloped Hungarian industry of the last century. The situation changed in 1920, when these areas were disannexed from the country. At that time Salgótarján began developing. However, the winds of change were already blowing in art. Straight lines came into fashion and the earlier wonderful motifs were abandoned.
The ornaments on a stove met not only aesthetic demand but they could also increase the amount of heat transferred. By preparing a lace-fine surface the heat transfer capability has been almost doubled.
The integrity of form and function shall also be mentioned. Today it is already natural that then a child lighting fire was depicted on the holder of the fire-iron set or that Volcanus known from mythology was illustrated on doors and girls bathing in a reedy lake could be seen on a bathroom stove. The Roman goddess of the home fireplace, Hestia, also can be found on stove-doors.
The question that when these pieces were made is often asked.
The answer: we do not know, since there is no date on them. It would not have been even possible to apply a date, since then the mould would have to be modified every year. But there was not even demand for that, as these were not unique or limited edition pieces. They were real mass-products and the size of the stove could be chosen from a catalogue.
The same applies to the question of the production site. It can only be surely told, if the name, like "Iron Works of Kalán" or "Nadrág" or "Nyustya" is indicated on the surface. Considering the preparation of casting moulds it has to be considered that these artistic people were wandering and carrying with themselves the already proven technology and moulds.
Personally I would like to achieve that those who take a look at my collection could in the future see the beauty of this rigid and cold material. Today we can see these pieces manufactured by technological virtuosity, the post-casting forging of which was impossible (it could not be repaired, probably it could be cast again), as a miracle. In the same time, considering the production of figurines and reliefs a quality almost identical to that of silversmiths could be produced. I would like that also the rusty cast-iron would be given its deserved respect after this.
Primarily iron ore, coal to melt it, possibly a small, swift mountain stream (machines can be operated by it) and, of course, conscientiousness and good attitude to the works. The composition of the material shall be well known, so as what kind of components to add, in order to influence the properties of the metal. In the last century these were available in the area of the historic Hungary, in the Carpathian mountains.Materials were not transported but processed on the site. There were both very small and large foundries, which is a proof of the welldeveloped Hungarian industry of the last century. The situation changed in 1920, when these areas were disannexed from the country. At that time Salgótarján began developing. However, the winds of change were already blowing in art. Straight lines came into fashion and the earlier wonderful motifs were abandoned.
The ornaments on a stove met not only aesthetic demand but they could also increase the amount of heat transferred. By preparing a lace-fine surface the heat transfer capability has been almost doubled.
The integrity of form and function shall also be mentioned. Today it is already natural that then a child lighting fire was depicted on the holder of the fire-iron set or that Volcanus known from mythology was illustrated on doors and girls bathing in a reedy lake could be seen on a bathroom stove. The Roman goddess of the home fireplace, Hestia, also can be found on stove-doors.
The question that when these pieces were made is often asked.
The answer: we do not know, since there is no date on them. It would not have been even possible to apply a date, since then the mould would have to be modified every year. But there was not even demand for that, as these were not unique or limited edition pieces. They were real mass-products and the size of the stove could be chosen from a catalogue.
The same applies to the question of the production site. It can only be surely told, if the name, like "Iron Works of Kalán" or "Nadrág" or "Nyustya" is indicated on the surface. Considering the preparation of casting moulds it has to be considered that these artistic people were wandering and carrying with themselves the already proven technology and moulds.
Personally I would like to achieve that those who take a look at my collection could in the future see the beauty of this rigid and cold material. Today we can see these pieces manufactured by technological virtuosity, the post-casting forging of which was impossible (it could not be repaired, probably it could be cast again), as a miracle. In the same time, considering the production of figurines and reliefs a quality almost identical to that of silversmiths could be produced. I would like that also the rusty cast-iron would be given its deserved respect after this.
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