9/23/2023 0 Comments Gylt cast![]() The bronze surface would be coated with a mixture of ground gold-hence the name or moulu-and mercury, then heated over an open fire. The last step would be the mercury gilding, which would add a substantial cost to the overall price. ![]() This finishing process was of extreme importance because it would lend the object great vitality through the varying light reflections that the differently treated areas would create. Then the actual finishing process would be done by the ciseleur, who would tool the bronzes with his instruments, creating burnished areas and a variety of finely or coarsely pounced or grained surfaces. The metal cooled and hardened, and any imperfections in the rough cast would be cleaned up, the so-called reparure. The hollow left by the wax was filled with molten bronze. The mold was then dried and fired to burn out the wax. In this technique, the wax model was fashioned around a core made of plaster or clay and covered with the same to form a mold. For more complicated designs, the cire perdue, or lost-wax, process was used. A wax mold taken from the model was used for casting by pressing it in a box with sand and pouring molten bronze, an alloy of copper and tin, in the resulting depression. ![]() When the guild system was reformed in 1776, both casters and gilders became members of one and the same guild.īased on a two-dimensional design, a carver or sculptor would make a three-dimensional model in wood, clay, or wax. During the eighteenth century in France, bronze makers were divided into two guilds: that of the fondeurs-ciseleurs, or casters and chasers, and the ciseleurs-doreurs, or chasers and gilders. The creation of gilt-bronze mounts or objects involved many different steps and was principally the work of bronze makers. ![]() A rigid guild system maintained high standards of craftsmanship and regulated the process of gilt-bronze manufactory. Closely following the latest stylistic changes, well-known artists and sculptors were responsible for their design. Both functional and highly decorative, gilt-bronze mounts and bronzes d’ameublement such as wall lights, firedogs, and clocks played a very important role in the French interior from the late seventeenth until the early nineteenth century. ![]()
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