Mind and Hand: Manual Training the Chief Factor in Education

by Charles H. Ham

As we enter the Founding Laboratory we recall Locke’s apothegm: “He who first made known the use of that contemptible mineral [iron] may be truly styled the father of arts and the author of plenty.” We reflect, too, that the mineral that has given its name to an age of the world—our age—is worthy of careful study.

The Founding Laboratory, like all the laboratories of the school, is designed for twenty-four students. There are twenty-four moulding-benches, combined with troughs for sand, and a cupola furnace where from five hundred to one thousand pounds of iron may be melted.

The students we lately parted from in the Wood-turning Laboratory are here. Their training has been confined to manipulations in wood; they are now to be made acquainted with iron—iron in considerable masses. They should know something, in outline, of the history of the king of metals in the Founding Laboratory. The instructor speaks familiarly to them, somewhat as follows:

The art of the founder is fundamental in its nature. The arts of founding and forging are, indeed, the essential preliminary steps which lead to the finer manipulations entering into all metal constructions. Whether forging preceded founding or founding forging is immaterial; both arts are as old as recorded history—much older indeed. Moulding, which is the first step in the founder’s art, should be among the oldest of human discoveries, since man had only to take in his hand a lump of moist clay to receive ocular evidence of his power to give it any desired form.

Moulding for casting is closely allied to the potter’s art. The potter selects a clay suitable for the vessel he desires to mould, and the founder prepares a composition of sand and loam of the proper consistency to serve as a matrix for the vessel he desires to cast.

The art of founding was doubtless first applied to bronze. The ruins of Egypt and Greece abound in the remains of bronze castings, an analysis of which reveals about the same relative proportions of tin and copper in use now for the best qualities of statuary bronze. The bronze castings of the Assyrians show a high degree of art. Many specimens of this fine work of the Assyrian founder have been rescued from the ruins of long-buried Nineveh—buried so long that Xenophon and his ten thousand Greeks marched over its site more than two thousand years ago without making any sign of a knowledge of its existence, and Alexander fought a great battle in its neighborhood in apparent ignorance of the fact that he trod on classic ground. But there, delving beneath the rubbish and decayed vegetation of four thousand years or more, Layard found great treasures of art in the palaces of Sennacherib and other Assyrian monarchs—vases, jars, bronzes, glass-bottles, carved ivory and mother-of-pearl ornaments, engraved gems, bells, dishes, and ear-rings of exquisite workmanship, besides arms and a variety of tools of the practical arts.

In Greece, in the time of Praxiteles, bronze was moulded into forms of rare beauty and grandeur. The colossal statue of Apollo at Rhodes affords an example of the magnitude of the Greek castings. It was cast in several parts, and was over one hundred feet high. About fifty years after its erection it was destroyed by an earthquake. Its fragments lay on the ground where it fell, nearly a thousand years; but when the Saracens gathered them together and sold them, there was a sufficient quantity to load a caravan consisting of nine hundred camels. One of the finest existing specimens of ancient bronze casting is that of a statue of Mercury discovered at Herculaneum, and now to be seen in the museum at Naples.

During the era of church bells the founder exercised his art in casting bells of huge dimensions. Early in the fifteenth century a bell weighing about fifty tons was cast at Pekin, China. This bell still exists, is fourteen and a half feet in height and thirteen feet in diameter. But the greatest bell-founding feat was, however, that of 1733, in casting the bell of Moscow. This bell is nineteen feet three inches in height and sixty feet nine inches in circumference, and weighs 443,772 pounds. The value of the metal entering into its construction is estimated at $300,000. It long lay in a pit in the midst of the Kremlin, but Czar Nicholas caused it to be raised, mounted upon a granite pedestal, and converted into a chapel. The methods of casting employed by the founder of this king of bells are not known. The bell has outlived the Works where it was cast. The melting and handling of two hundred and twenty tons of bronze metal certainly required appointments, mechanical and otherwise, of the most stupendous character; and the existence of such Works presupposes an intimate acquaintance with the most minute details of the founder’s art, since the natural order of development is from the less to the greater. That is to say, the founder who could manipulate scores of tons of metal in a single great casting could doubtless manipulate a few pounds of metal; or, the founder who could cast a bell weighing two hundred and twenty tons, could cast pots and kettles and hundreds of other little useful things. What we hope to do in this school Founding Laboratory is to gain a correct conception of great things by making ourselves thoroughly familiar with many forms of little things in moulding and casting.

The lesson of the day is the moulding and casting of a plain pulley. In the Pattern Laboratory each student has already executed a pattern of the pulley to be cast, and the pattern lies before him on his moulding-bench. Now the instructor, at the most conspicuous bench in the room, proceeds to execute the first part of the lesson, which consists of moulding. Taking from the trough a handful of sand, he explains that it is only by the use of sand possessing certain properties, as a degree of moisture, but not enough to vaporize when the metal is poured in, and a small admixture of clay, but not enough to make of the compound a loam, that the mould can be saved from ruin through vaporization, and, at the same time, given the essential quality of adhesiveness and plasticity. In the course of this explanation he remarks that the sand used in some parts of the mould is mixed with pulverized bituminous coal, coke, or plumbago, in order to give a smoother surface. Now he takes the “flask”—a wooden apparatus containing the sand in which the mould is made—and explains its construction and use. From this point—the sifting of facing sand on the turn-over board, to the final one of replacing the cope and securing it with keys or clamps—every step of the process is carefully gone through with and explained.