Alfa Romeo is an Italian motor-car manufacturer. The company was founded in 1906 as 'Societa Italiana Automobili Darracq' with the aim of manufacturing low cost Darracq motor cars. That company quickly ran into difficulties when the once booming car market began to falter. In 1910 the Darracq factory that had been built in the Portello district of Milan was sold to a group of Italian car enthusiasts who called themselves 'Anonima Lombarda Fabbrica Automobili' (ALFA). Success was to be short lived, because the company went into liquidation in 1915, and was then taken over by an engineer and entrepreneur called Nicola Romeo. After the Great War the company changed its name to 'Societa Anonima Ing. NicolaRomeo & Co.' having taken over several smaller firms: Officine Meccaniche di Saronno, Officine Meccaniche Tabanelli of Rome and Officine Ferroviarie Meridionali of Naples. Formally constituted by the notary, Federico Guasti, in Milan on February the 3rd 1918, the new company proclaimed its purpose to be 'the
construction and management of engineering, steel, agricultural, mining, chemical and quarrying companies, with particular emphasis on military, aviation, marine and agricultural equipment, internal combustion engines for all possible applications: aeroplanes, automobiles, locomotive and other wheeled transport.' Today Alfa Romeo is known for its range of sporty motor-cars. Research Alfa Romeo
An anvil is an instrument on which pieces of metal are laid for the purpose of being hammered. The common smith's anvil is generally made of seven pieces, namely, the core or body; the four corners for the purpose of enlarging its base; the projecting end, which contains a square hole for the reception of a set or chisel to cut off pieces of iron; and the beak or conical end, used for turning pieces of iron into a circular form, etc. These pieces are each separately welded to the core and hammered so as to form a regular surface with the whole. When the anvil has received its due form, it is faced with steel, and is then tempered .in cold water. The smith's anvil is generally placed loose upon a wooden block. The anvil for heavy operations, such as the forging of ordnance and shafting, consists of a huge iron block deeply embedded, and resting on piles of masonry. Research Anvil
An auger is an instrument used for boring holes in wood, or other soft substances. It consists of a wooden or plastic handle and a steelshank terminated in a steelbit at the bottom. Research Auger
A bicycle is a two wheeled vehicle driven by the riders feet pushing on cranks or pedals. A common misconception is that the earliest form of bicycle was the dandy-horse, which was pushed along by the rider's feet. However, while both the dandy-horse and the later bicycle are both velocipedes, the dandy-horse is not propelled by cranks.
The first bicycle was introduced to England from France in 1868, and comprised two solid wheels of equal size fitted to a frame, much like a modern bicycle in appearance, with a saddle fitted in the centre and propelled by cranks attached to the front wheel. This vehicle provided such a bumpy ride to the rider that it became popularly known as 'the bone-shaker'. Later came the Penny-Farthing with pedals fixed to the large front wheel which was made large to achieve high speeds. Later still, around 1895, came the safety bicycle with pedals driving the rear wheel by way of a chain, and the rider sitting upon a saddle set back from the front wheel so as to reduce the chances of falling forwards over the handlebars, from this developed the Raleigh bicycle design of 1900 which forms the basis of the modern bicycle. In 1888 the two-person tandem bicycle was invented.
In 1906 it was reported that speeds of 50 mph were attained on a bicycle. Around the same time, slightly earlier, the motorised bicycle (motorcycle or motorbike) was invented.
A typical bicycle is comprised of several parts. The principal and essential being: the frame, front forks, wheels, pedals, saddle, handlebars, chain and brakes. The largest part of the bicycle is the frame, and these vary in design depending upon the specialised intention of the bicycle.
A frame for a BMX bicycle being small, heavily braced and made of aluminium. The frame for BMX xyxling needs to be strong so as to endure the stresses of the bumpy ride, and the saddle low as competitors never sit down during a competition and as such they need space to sprint and jump with ease.
Cross-Country cycle frames are generally made of aluminium and carbon-fibre so as to be light weight. They are relatively small frames to allow quick and easy mounting and dismounting off road, and strong to endure off-road bumpy conditions. The smaller frames are often compensated for by having a longer seat post to allow a normal height saddle position.
The cycle speedway bicycle frame is designed primarily for strength, and as such is typically made from steel or aluminium.
Road racing bicycle frames are designed to be light and stiff. Traditionally they ewre made of steel, but by the start of the 21st century carbon fibre was being used for the more expensive models as this offered the same stiffness at reduced weight. The design of the tubes also developed over time, tubes becoming of a larger diameter, but thinner walls, to allow the same stiffness with reduced weight.
Bicycles are fitted with various types of brake, the most popular being the calliper, cantilever, hydraulic or disc and the V brake. The most common form of brake found on leisure bicycles, is that form used also on road racing bicycles. The calliper brake. Calliper brakes are a very efficient means of rim braking and basically comprise two blocks of rubber or plastic which are squeezed onto the wheel rim when the brake lever is squeezed by the ride.
Cantilever brakes operate on the same principal as calliper brakes, but are of a slightly different design at the wheel end, offering increased clearance between the tyre and the brakepads and as such are frequently employed for cyclo-cross bicycles and mountain bikes.
The most efficient form of rim brake is the V brake. The V brake also offers the most clearance of any rim braking system, and is most often found on mountain bikes.
Hydraulic or disc brakes are the most efficient and powerful form of bicycle brake. They use the wheel hub to brake, rather than the rim. Disc brakes offer the most clearance, and as such are used on mountain bikes, but are also expensive to fit and maintain.
Bicycle wheels are generally of one of three types. The most common and traitional bicycle wheel is the spoked wheel, comprising a rim connected to the central bub by a series of thin metal rods known as spokes. Spoked wheels are light in weight. Less common than spoked wheels, but offering greater strength and durability at the expense of weight are mag wheels which comprise a rim attached to the hub by a few, thick solid plastic bars. Solid wheels, also known as disc wheels, are made from composite material or carbon fibre are very strong, stiff, aerodynamic and very expensive. They are rarely used except as rear wheels in time-trialing and track racing. Research Bicycle More pictures of Bicycle
A bradawl is a carpenter's small tool consisting of a slender steel stem with a chisel edge, used for making holes for screws and nails. Research Bradawl
There is evidence of the use of crystal balls as a means of divination in medieval times, and 'scrying' in some of its many forms was by no means rare in the Greek and Roman periods. The essential requisite for the exercise of this species of divination is a polished surface of some sort upon which the scryer shall gaze intently; for this purpose mirrors, globules of lead or mercury, polished steel, the surface of water, and even pools of ink, have been employed and have been found to ensure quite as satisfactory results as the crystal ball. The points of light reflected from the polished surface serve to attract the attention of the gazer and to fix the eye until, gradually, the optic nerve becomes so fatigued that it finally ceases to transmit to the sensorium the impression made from without and begins to respond to the reflex action proceeding from the brain of the gazer. In this way the impression received from within is apparently projected and seems to come from without.
It is easy to understand that the results must vary according to the idiosyncrasy of the various scryers; for everything depends upon the sensitiveness of the optic nerve. In many cases the effect of prolonged gazing upon the brilliant surface will simply produce a loss of sight, the optic nerve will be temporarily paralysed and will as little respond to stimulation from within as from without; in other cases, however, the nerve will be only deadened as regards external impressions, while retaining sufficient activity to react against a stimulus from the brain centres. It is almost invariably stated that, prior to the appearance of the desired visions, the crystal seems to disappear and a mist rises before the gazer's eye. The Achaians, as Pausanius relates, frequently used a mirror to divine diseases or to learn whether there was danger of sudden death. Research Crystal Gazing
Damaskeening is the process of ornamenting iron and steel with designs produced by inlaying or encrusting with another metal such as gold or silver, by etching and the like. It is a process of decoration often used for the plates of the movements of clocks and watches. Damaskeening originated in Damascus during the Middle Ages, hence the name. Research Damaskeening
Engraving is the art of representing objects and depicting characters on metal, wood, precious stones, etc, by means of incisions made with instruments variously adapted to the substances operated upon and the description of work intended.
Impressions from metal plates are named engravings, prints, or plates those printed from wood being called indifferently wood engravings and wood-cuts. While, however, these impressions are not altogether dissimilar in appearance, the processes are distinct. In plates the lines intended to print are incised, and in order to take an impression the plate is daubed over with a thick ink which fills all the lines. The surface is then wiped perfectly clean, leaving only the incised lines filled with ink. A piece of damp paper is now laid on the face of the plate, and both are passed through the press, which causes the ink to pass from the plate to the paper. This operation needs to be repeated for every impression, for the wood block, on the contrary, the spaces between the lines of the drawing are cut out, leaving the lines standing up like type, the printing being from the inked surface of the raised lines, and effected much more rapidly than plate printing.
Engraving on wood, intended for printing or taking impressing from, long preceded engraving on metals. The art is of eastern origin, and at least as early as the 10th century engraving and printing from wood blocks was common in China. We first hear of wood engraving being cultivated in Europe by the Italians and Germans in the 13th century. For a hundred and fifty years, however, there is small indication of the practice of the art, which was at first confined to the production of block-books, playing cards, and religious prints. In the 15th century the art of printing from engraved plates was discovered in Florence by Maso Finiguerra.
Engraving had long been used as a means of decorating armour, metal vessels, etc, the engravers generally securing duplicates of their works before laying in the niello (a species of metallic enamel) by filling the lines with dark colour, and taking casts of them in sulphur. The discovery of the practicability of taking impressions upon paper led to engraving upon copper plates for the purpose of printing from.
The date of the earliest known niello proof upon paper is 1452. The work of the Florentine engravers, however, was almost at once surpassed in Venice and elsewhere in North Italy by Andrea Mantegna, Girolamo Mocetto, Giovanni Batista del Porto, and others. In Marc Antonio Raimondi, who wrought under the guidance of Raphael, and reproduced many of his works, the art reached its highest point of the earlier period, and Rome became the centre of a new school, which included Marco da Ravenna, Giulio Bonasone, and Agostino de Musis.
In the meantime, in Germany the progress of the art had been not less rapid. Of the oldest school the most important engraver is Martin Schongauer. He was, however, surpassed a generation later by Albert Durer who excelled both in copper and wood engraving, especially in the latter. Among his most famous contemporaries and successors were Burgkmair and Lucas Cranach. The Dutch and Flemish schools, of which Durer's contemporary Lucas van Leyden was the head, did much to enlarge the scope of the art, either by paying increased attention to the rendering of light and shade, and the expression of local colour, as in the case of Cornelius Cort and Bloemart; or by developing freedom and expression of line, as in the case of Goltzius and his pupils.
Rubens influenced engraving through the two Bolswerts, Vorstermann, Pontius, and de Jode, who engraved many of his works on a large size. Towards the end of the 17th century etching, which had before been rarely used, became more common, and was practised with great success by Rembrandt and other painters of that period. In France Noel Garnier founded a school of engraving about the middle of the 16th century; but it produced no work of any high distinction until the reign of Louis XIV, when Nanteuil's pupil Gerard Edelinck and Gerard Audran flourished. The former was skilled in using his graver to produce colour effects, the latter is famed for his engravings from Nicolas Poussin and Le Brun. But these were all surpassed about the middle of the 18th century by Wille, a German resident in Paris.
Before the middle of the 17th century England produced little noteworthy work, availing herself principally of the work of foreign engravers, of whom many took up temporary and even permanent residence. The first English engraver of marked importance was William Hogarth, whose works are distinguished for character and expression. Vivares, a Frenchman by birth, laid the foundation of the English school of landscape-engraving, which was still further developed by William Woollet, who was also an excellent engraver of the human figure.
In historical engraving a not less remarkable advance was made by Sir Robert Strange, and Richard Earlom produced some admirable works in mezzotint. In succession to these came William Sharp, James Bazire, Bartolozzi, James Heath, Bromley, Raimbach, and others.
The substitution of steel for copper plates around 1820 to 1830 gave the power of producing a much larger number of fine impressions, and opened new possibilities for highly-finished work.
During the closing years of the 18th century line engraving attained a depth of colour and fulness of tone in which earlier works generally are deficient, and during the following century it reached a perfectness of finish which it had not previously attained. A picture, whether figure or Landscuape, may be translated by line engraving with all its depth of colour, delicacy of tone, and effect of light and shade; the various textures, whether of naked flesh, silk, satin, woollen, or velvet, all successfully rendered by ingenious modes of laying the lines and combinations of lines of varying strength, width, and depth. Among engraverswho have produced historical works of large size and in the line manner the names of Raphael Mrghen, Longhi, Anderloni, Garavaglia, and Toschi, in Italy; of Forster, Henriquel-Dupont, Bridoux, and Blanchard, in France; of John Burnet, J H Robinson, Doo, J H Watt, and Lumb Stocks, in England, stand pre-eminent.
Among historical and portrait engravers in the stipple or dotted manner the names of H T Ryall, Henry Robinson, William Holl and Francis Holl, may well be mentioned.
In the period 1820 to 1860 landscape engraving attained a perfection in Great Britain which it had not attained in any other country, or at any other time. Among landscape engravers the names of George Gooke, William Miller, E Goodall, J Cousen, K Brandard, and William Forrest hold the foremost places. In mezzotinto engraving Samuel Cousins is unrivalled.
In the period 1830 to 1845 various publications called Annuals, composed of light literature in prose and verse, and illustrated by highly-finished engravings in steel, were very popular. The engravings were necessarily of small size, and are generally of great excellence. A number of them both figure and landscape are executed with such finish and completeness as to be esteemed perfect works. The unrivalled illustrations of Rogers' Poems and Rogers' Italy after Turner and Stothard belong to this period. Many of the originals of the engravings in the Annuals were finished pictures of large size.
A great part of the difficulty in engraving on a small scale from a large picture, consists in determining what details can be left out, and still preserve the full effect and character of the original. The most noted engravers for work of small size are Charles Heath, Charles Bolls, W Finden, E Finden, E. Portbury, J Goodyear, F Engleheart, Henry Le Keux, E Goodall, and W Miller.
After 1870 many plates were produced by a combination of etching and dry point, a comparatively cheap and rapid process. Such works were fashionable and very popular with collectors. But while some of them have been excellent of their kind, the process is of limited resource, and the best works in this manner will not stand comparison with the masterpieces of line engraving. Through lack of encouragement, change of fashion, and the adoption of other methods of reproduction such as photography, line engraving rapidly becoming a lost art in Great Britain. The men who made line engraving famous died, and there was no sufficient inducement for younger men to pursue that art. In France and in Germany some able line engravers were still in practice at the start of the 20th century.
Line Engraving, as implied by the term, is executed entirely in lines. The tools are few and simple. They consist of the graver or burin, the point, the scraper, and the burnisher; an oil-stone or hone, dividers, a parallel square, a magnifying lens; a bridge on which to rest the hand; a blind or shade of tissue paper, to make the light fall equally on the plate, callipers for levelling important erasures, a small steelanvil, a small pointed hammer, and punches. In etching, the following articles are required: a resinous mixture called etching-ground, capable, when spread very thinly over the plate, of resisting the action of the acids used; a dauber for laying the ground equally; a hand-vice; some hair-pencils of different sizes, and bordering wax, made of burgundy-pitch, bees'-wax, and a little oil.
In engraving, the plate, which is highly polished and must be free from all scratches, is first prepared by spreading over it a thin layer of ground. The surface is then smoked, and the outline of the picture transferred to it by pressure from the paper on which it has been drawn in fine outlines by a black-lead pencil. The picture is then drawn on the ground with the etching-needle, which removes the ground in every form produced by it, and leaves the bright metal exposed. A bank of wax is then put round the plate and diluted acid poured on it, which eats out the metal from the lines from which the ground has been removed, but leaves the rest of the plate untouched. The plate is then gone over with the graver, the etched lines clearly defuned, broken lines connected, new lines added, etc. Sometimes the plate is rebitten more than once, those parts which are sufficiently bitten in the first treatment being stopped with varnish, and only the selected parts exposed to after-biting. Finally the burnisher is brought into play alternately with the graver and point to give perfectness and finish.
Such is the process for landscape engraving. In historical and portrait engraving of the highest class, the lines are first drawn on the metal with a fine point and then cut in by the graver, first making a fine line and afterwards entering and re-entering till the desired width and depth of lines is attained. Much of the excellence of such engravings depends on the mode in which the lines are laid, their relative thickness, and the manner in which they cross each other. In historical engraving etching is but little used, and then only for accessories and the less important parts.
In Soft-ground Etching the ground, made by mixing lard with common etching-ground, is laid on the plate and smoked as before, but its extreme softness renders it very liable to injury. The outline of the subject is drawn on a piece of rough paper larger than the plate. The paper is then damped, and laid gently over the ground face upwards, and the margins folded over and pasted down on the back of the plate. When the paper is dry and tightly stretched the bridge is laid across, and with a hardish pencil and firm pressure the drawing is completed in the usual manner. The pressure makes the ground adhere to the back of the paper at all parts touched by the pencil, and on. the paper being lifted carefully off, these parts of the ground are lifted with it, and the corresponding parts of the plate thus left bare are exposed to the subsequent action of the acid. The granulated surface of the paper, causing similar granulations in the touches on the ground, gives the character of a chalk-drawing. The biting-in is effected in the same manner as already described, and the subject is finished by re-biting and dotting with the graver.
Stipple, or Chalk Engraving, in its pure state, is exclusively composed of dots, varying in size and form as the nature of the subject demands, but few stipple plates are now produced without a large admixture of line in all parts, flesh excepted. A great advance, however, was made in stipple engraving by the introduction of large and varied forms of dotting in the draperies, the results almost rivalling line engraving in richness and power.
The Mixed Style is based on mezzotinto, which, still forming the great mass of shading, is in this method combined with etching in the darker, and stipple in the more delicate parts. By this combination a plate will produce a larger number of good impressions than were it done entirely in mezzotinto.
The wood best adapted for engraving is box. It is cut across the grain in thicknesses equal to the height of type, these slices being subjected to a lengthened process of seasoning, and then smoothed for use. Every wood engraving is the representative of a finished drawing previously made on the block; the unshaded parts being cut away, and the lines giving form, shading, texture, etc, left standing in relief by excavations of varied size and character, made between them by gravers of different forms. Drawings on wood are made either with black-lead pencil alone or with pencil and indian ink, the latter being employed for the broader and darker masses. It is now much the practice to photograph drawings made in black and white upon the wood instead of making the drawing on the wood block. When the drawing is put on the wood by washes or by photography instead of being entirely done by pencil lines, the engraver has to devise the width and style of lines to be employed instead of cutting in facsimile, as is the case when the drawing is made entirely in lines. The tools required for wood engraving are similar but more numerous than those of the engraver on copper or steel. Research Engraving
A fish-hook is a curved, barbed, and pointed steel wire used for catching fish. Redditch in Worcestershire and Limerick were traditionally the chief British seats of the hand-made fish-hook manufacture. The Limerick hook, which had the greatest reputation, had a barb that was forged solid, and then filed into the proper shape, while ordinary hooks had a barb that was raised by cutting into the wire. By 1900 hook-making machines were common, especially in the United States, where the wire was run into the machine, and on the other side the hook dropped out completed, with the exception that it had to be tempered and coloured. Research Fish-Hook
Gilding is the art of applying gold-leaf or gold in a finely-divided state to surfaces of wood, stone, or metals. It is a very ancient art, being practised among the Egyptians, Greeks, Romans, and Ancient Persians. The processes employed through more modern times have been very varied. Metals are gilded either by what is called chemical gilding, mercurial gilding, by electro-gilding (electro-plating), or by the application of gold-leaf. Copper and brass, for instance, may be gilded by the process called wash or water gilding, with an amalgam of gold and mercury. The surface of the copper, freed from oxide, is covered with the amalgam, and afterwards exposed to heat until the mercury is driven off, leaving a thin coat of gold.
Gilding is also performed by dipping a linen rag in a saturated solution of gold, and burning it to tinder, the black powder thus obtained being rubbed on the metal to be gilded, with a cork dipped in salt water, until the gilding appears. Iron or steel is often gilded by applying gold-leaf, after the surface has been well cleaned, and heated until it has acquired the blue colour which at a certain temperature it assumes. Several leaves of gold are thus applied in succession, and the last is burnished down cold.
One process of chemical gilding was by dipping the article into a solution of gold, what is termed Elkington's solution being composed as follows: 5 oz. (troy) of fine gold; nitro-muriatic acid, 52 oz. (avoirdupois); dissolve by heat, and continue the heat until the cessation of red or yellow vapours; decant the clear liquid; add 4 gallons of distilled water, 20 lbs of pure bicarbonate of potassa and boiling for two hours.
Gilding on wood, plaster, leather, parchment, or paper, is performed by different processes of mechanical gilding. The first of these is oil-gilding, in which gold-leaf is cemented to the work by means of oil-size. In the case of paper or vellum the parts to be gilt receive a coat of gum-water or fine size, and the gold-leaf is applied before the parts are dry. They are afterwards burnished with agate. Lettering and other gilding on bound books are applied without size. The gold-leaf is laid on the leather and imprinted with hot brass types. Brass rollers with thin edges are employed in the same way for lines, and similar tools for other ornaments. When the edges of the leaves of books are to be gilt they are first cut smooth in the press, after which a solution of isinglass in spirits is laid on, and the gold-leaf is applied when the edges are in a proper state of dryness.
Japanner's gilding is another kind of mechanical gilding, which is performed in the same way as oil-gilding, except that instead of gold-leaf a gold dust or powder is employed. Frames of pictures and mirrors, mouldings, etc, are gilt by the application of gold-leaf, or by the cheaper process of 'German gilding,' that is, by tin-foil or silver-leaf, with a yellow varnish above.
Porcelain and other kinds of earthenware, as well as glass, may be gilt by fixing a layer of gold in a powdered state by the action of fire. The gold-dust or powder required in this operation may be obtained by precipitating it from a solution in aqua regia, either by means of iron sulphate or proto-nitrate of mercury. In order that the gold powder may be applied to the surface of the article to be gilt it must be well mixed with some viscous vehicle, such as strongly-gummed water. It is then laid on with a fine camel's-hair brush. Research Gilding
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Alfa Romeo
