The Silversmith's Handbook: Containing full instructions for the alloying and working of silver

By George E. Gee

George E. Gee in the book "The Silversmith's Handbook" shares the full instructions for the alloying and working of silver. He provides information on the modes of refining and melting silver, its solders, preparation of imitation alloys, different methods of manipulation, and ways to get the most out of silversmith.

• Language: English
• Publisher: Good Press
• Release date: May 19, 2021
• ISBN: 4064066217235

Book preview

George E. Gee

The Silversmith's Handbook

Containing full instructions for the alloying and working of silver

Published by Good Press, 2022

[e-mail]

EAN 4064066217235

Table of Contents

Cover

Titlepage

Text

CHAPTER VIII.

On the Melting of Silver.

CHAPTER IX.

On the Working of Silver.

CHAPTER X.

Enriching the Surfaces of Silver.

CHAPTER XI.

Imitation Silver Alloys.

CHAPTER XII.

Economical Process.

CHAPTER XIII.

Licences and Duties.

CHAPTER XIV.

Useful Information for the Trade.

CHAPTER XV.

THE

SILVERSMITH’S HANDBOOK.

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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.

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CHAPTER I.

Silver.

Pure silver is, next to gold, the finest metal, but of a smoother and more polished nature. It may be said to be almost infinitely malleable, but it will not so easily yield or extend under the hammer as fine gold. As a malleable metal, however, it stands next to it in this respect. It is characterized by its perfectly white colour, being the whitest of all the metals. It is harder than gold, yet in a pure state it is so soft that it can easily be cut with a knife. On account of its extreme softness, when in a pure state, it is employed for filigree work, being utterly devoid of that elastic power which is found in the metal when alloyed. It is for this reason that the Indian filigree workers, who are the finest in the world, are so very particular about the absolute purity of the metal before commencing the manufacture of their artistic work; all of which is exceedingly beautiful.

It is reported that fine silver is capable of being beaten into leaves of less than one-hundred-thousandth part of an inch in thickness. For the accuracy of this statement we cannot vouch, never having had occasion to try the experiment; its employment in that form being unknown in the ordinary industrial pursuits. Fine silver is extremely ductile, and may be drawn into the very finest wire without breaking, and almost without annealing. Its purity can be partly ascertained by the latter process; for perfectly fine silver never changes colour by heat, whereas when it contains alloy it blackens if heated in contact with a current of air, and soon hardens in wire-drawing.

Silver was a metallic element known to the ancients, and it is repeatedly mentioned in the Holy Scriptures. In the time of the patriarchs we read of it as having been constantly employed in the transactions of nations, and that it was in use as a standard of value; thus forming a circulating medium for the purpose of exchange. This function it has always continued to fulfil down to the present day, except that since the year 1816 it has not been so employed in the English currency. However, as token money, it is everywhere recognised as a circulating medium of trade. The Egyptian symbol for silver was represented by Fig. 1, relating to the moon; in modern chemistry it is understood by ag. from the Latin name argentum, denoting silver.

Luna. Fig. 1.

Egyptian mark for Silver.

Fine silver is capable of receiving a polish scarcely inferior in lustre to that of highly polished steel, and in this state it reflects more light and heat than any other metal, without any perceptible change of colour for some considerable time. It is chiefly on this account, as well as its resistance to oxidation in air and water, that it is used for such a variety of purposes, not only of ornament and luxury, but also in a domestic way. Silver, unlike gold, cannot resist the influence of sulphuretted hydrogen, from the action of which it very soon becomes much tarnished if left exposed in damp rooms, &c.

Silver ranks next to gold in point of ductility and malleability. When pure, its density, or specific gravity, lies between 10.47 and 10.50, taking water as 1, according to the degree of compression it has received by rolling and hammering. It is fusible at a full red heat, or about 1873° Fahr. It is a metal having a very low radiating power for heat; hence silver wire of given dimensions retains and conducts heat better than a similar piece of another metal; for the same reason, a liquid contained in a silver vessel retains its heat much longer than if placed in one made of some other substance. Silver volatilises when subjected to a very great temperature in the fire, emitting rather greenish fumes. It loses between 2/21sts and 3/25ths, in proportion to its impurity, of its absolute weight in air when weighed in water. In point of