Three books by Max Metzger

Title: Classical Techniques of Hand-Forged Iron Work
Author: Max Metzger
Translated from the German and Published by Robert Ruhloff, Ashfield, MA. 2001. Excerpted from 4th edition of the Artist Blacksmith’s Workshop dated, 1927.

Title: Basics of Style for the Artist-Blacksmith
Author: Max Metzger
Translated from the German and Published by Robert Ruhloff, Ashfield, MA. 2002. Originally published in 1924.

Title: Pattern Book for the Artist-Blacksmith
Author: Max Metzger
Translated from the German and Published by Robert Ruhloff, Ashfield, MA. 2002. Based on Max Metzger’s Pattern Book 1897 German edition as re-edited in 1931. 64 plates in a 9 ¾” by 13 ¾” format.

Bill Gichner located the original German texts and provided support and financial help to Mr. Ruhloff, making it possible for us to have these resources to study and learn from.

These three books were originally written at the beginning of the 20th century by Max Metzger, an architect and teacher at the Lubeck Trade School, Germany. The blacksmiths of the time were trying to re-vitalize their trade after having lost a lot, if not most, of their work, to the popularity (and inexpensiveness) of cast iron ornamentation during the Victorian period and the growth of factory manufacturing. He and others tried to make a case that artistic work done in traditional methods was a viable profession. (Does this sound familiar??)

Basics of Style for the Artist-Blacksmith provides an excellent introduction to art and style, from the perspective of ironwork. All of the examples of various historic styles are of iron work. In the first section, Metzger examines and explains the concepts of style and ornamentation. He then goes into great detail on each type of ornamentation: tracery, plants, leaves, the acanthus leaf, animals, humans, and artificial forms.

In the next section, he provides a historical review of ironwork starting with the Egyptians in 3000-500BC and then systematically working forward through: Grecian, Roman, Early Christian, Byzantine, Romanish, Gothic, Renaissance, Baroque, Rocco, and Empire. The last half of the book provides multiple examples, drawings and photographs, of these various styles.

The last page of the book has a very interesting chart. It provides the symbolic equivalences of various design elements. For example: the monkey symbolizes the “copier”; bear = clumsy, slow; eagle = spirit, power; raven = death; apple = love, sin; lily = innocence; etc. We must keep in mind that these symbolic values are based on early 20th Century thinking. In today’s culture some of the combinations listed may not be as commonly held.

Classical Techniques of Hand-Forged Iron Work provides a detailed study of the tooling and techniques to forge the classic styles of ornamentation. The book is broken down into the following sections: Forging with the Kehl Hammer; Leaves Flowers and figures; Embossing and Chasing; Repousse; and Repousse in Copper and Brass. The Kehl hammer is a straight peen hammer used to fuller in grooves into the work. There are hundreds of detailed pictures and drawings, often showing a step by step process. It appears that the German schools had “story boards” (my definition) which shows an example of the finished element, then an example of each step of the process all wired to a framed board. And to take the concept one step further, examples of the tooling used is also wired to the board. There are many photographs of these “story boards”, showing how to make items such as a grape cluster with leaves, chestnut leaves, rose, sunflower, etc.

The Pattern Book for the Artist-Blacksmith provides full size measured patterns of many the items described in the techniques book and more. The book includes: Leaf Forms; Calyxes-Rosettes; Scrolls; Cartouches; etc. All different historical styles are provided and identified here. For example, Plate 26 provides a two part acanthus calyx in the Baroque style.

Each plate shows the pattern which should be cut out. Then it shows what the finished element should look like it. The plate also provides sections through the element to provide a three dimensional perspective of the piece.

These patterns were published in the 10th Anniversary edition of ABANA’s “ANVIL’S RING”, in 1983, but the text that goes along with each plate was not provided at that time. Mr. Ruhloff has provided a translation of the text that goes with each plate. This text provides tips and hints on how to use the patterns.

In conclusion, I strongly recommend Basics of Style for the Artist-Blacksmith to all artist blacksmiths. This book has valuable historic information that puts ironwork into a visual context. Even if you do not do historic ironwork, by studying historic styles from the past, you will be better able to develop you own modern style. The various styles presented in this book have survived the test of time; they are the foundations that current styles are built upon.

As for the other two books, Classical Techniques of Hand-Forged Iron Work and Pattern Book for the Artist-Blacksmith, if you are interested in the type of work exemplified by artist-blacksmiths like Tom Latane and George Dixon, then here is a source of both inspiration and techniques to develop your skills in that direction.

All three books are available from the translator: R.A. Ruhloff, 770 Watson Spruce Corner Rd., Ashfield, MA 01330. Classical Techniques of Hand-Forged Iron Work - $32;
Basics of Style for the Artist-Blacksmith - $36;
Pattern Book for the Artist-Blacksmith -$46.
Postage $4, add $1 for each additional book.

-- AlbinDrzewianowski - 29 Jan 2009