CHAPTER XV.

Foreign Silver Standards 207 French Work, Duty on 208 Continental Silversmiths 209 French Style of Work 209 German Style of Work 210 Indian Style of Work 210 Austrian Style of Work 211 English Style of Work 211 Index 212

THE

SILVERSMITH'S HANDBOOK.

INTRODUCTORY CHAPTER.

In reviewing the rise and progress of the silversmith's beautiful and interesting art, in its relation to the manufacture of articles of personal ornament and luxury at home and abroad, we may observe at the outset, that the material of which they are composed differs widely in character from that employed by the ordinary "metalsmiths" and the manufacturer of "electro-plated wares." Silver, the material of which we are now treating, being a precious metal and of considerable value, it is essentially necessary that the most careful means be exercised in dealing with it from the commencement--that is, from the pure or fine state--and also that the utmost economy be observed in reference to the kind of mechanical treatment to which it is subjected in the production of the silversmith's work, in order to prevent too great a quantity of waste or loss of material. For it should be borne in mind that silver, like gold, begins to lose, in one way or another, every time it is touched; therefore, carefulness and economy will be the characteristics of our teaching, so far as regards the present subject.

The vast majority of working silversmiths know very little of the physical and chemical properties of the metal they employ, and still less of the comparison it bears with other metals in the field of science; and this want of scientific knowledge is nowhere more apparent than in our own country, where the English workman, in art education, is much behind the foreigner; and yet we have some of the finest and best workmen, in their _special_ branches, in the whole world. The English workman believes that if the work is worth doing at all, it is worth doing well; and we have no hesitation in saying, that, if a good technical education were afforded, concerning the precious metal trades, he would scarcely have an equal, and certainly no superior, abroad, in art workmanship, both in respect to the display of good taste and judgment, combined with a knowledge of design, so far as the exercise of these qualities is compatible with the manufacture of articles specially designed for use and ornament.

The object of the information we are about to supply is to enable the practical silversmith to become a perfect master of his art or profession; and such a condition, when once achieved, will be found of considerable assistance to him in the various kinds of manufacture that present themselves; so that he will know how to begin a piece of work and when to leave it off; be able to remedy a defect in the metal when required, as well as be in a position to form an opinion as to the relative treatment of its different alloys; all of which invariably require different treatment.

We shall commence by describing the characteristics of _fine silver_, carefully narrating the distinctive features of its alloys; then give an account of the processes employed, mechanical and chemical, in the silversmith's workshop; and conclude by pointing out the difference between English and foreign work in regard both to style and workmanship.

It may be thought by the reader, if uninitiated in the art, that the costly plate and other articles made from the precious metal are manufactured from entirely _pure_ silver, and therefore that they possess absolute freedom from alloy; but this is not the case. Pure silver being far too soft to stand the necessary wear and tear of (metallic) life, it is mixed with some other metal, to give it increased hardness. In the manufacture of plate and ornamental wares the metal employed is always copper, in various proportions, thus forming different commercial qualities; and of these we shall speak hereafter. Our first object is to treat of the chemical and physical properties of the pure metal.