https://londonhuawiki.wpi.edu/api.php?action=feedcontributions&user=Npetilli&feedformat=atomLondonhua WIKI - User contributions [en]2024-03-28T12:34:06ZUser contributionsMediaWiki 1.31.8https://londonhuawiki.wpi.edu/index.php?title=User:Npetilli&diff=19567User:Npetilli2017-06-22T18:46:42Z<p>Npetilli: /* Activity Journal */</p>
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<div>=Nicole Petilli=<br />
[[File: IMG 6517.JPG|x350px|right|frameless|thumb|Nicole Petilli]]<br><br />
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__TOC__<br />
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=Overview=<br />
The aims of my three projects were to discover how medieval architecture is being conserved and to what extent, determine why ''Harry Potter'' is not generally considered to have literary merit and find how it could fit into education, and to study art in medieval swords. my previous humanities and arts experience includes a U.S. History course, a Great Problem Seminar on Atmosphere, Biosphere and Human Fears, and a basic art course. I learned that there are a lot of different factors that go into the preservation of castles and that what preservation means for each castle is different depending on what aspects are being preserved and for what purpose. I discovered that ''Harry Potter'' is not considered to have literary merit because of its instant popularity and the target audience, but it can gain merit as long as it's still being discussed. I learned that I should have looked at Renaissance sword art because medieval swords where mainly made for function only so the art is limited to religious invocations and other writings meant to give the blade magical power and are otherwise quite bland. <br />
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=Milestone 1=<br />
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'''Preservation of Medieval Art'''<br><br />
'''Objective:''' How is medieval architecture conserved and to what extent? <br />
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How a medieval castle is preserved depends on what aspect of the castle is most important to keep. The amount of money an time entirely preserving a castle takes makes it impossible to preserve entirely. In some cases where the idea of a medieval castle is more important, one can change material and modify it as needed to make it easier to maintain. in other where historical accuracy is necessary, it might not be possible to restore the castle and more focus needs to be put on maintaining the existing structure. Handling tourism to the castles can be difficult. In many cases the preservation of a castle is funded by tourists, however large numbers of people can cause damage to the castle. I found that how well a castle is preserved depends on how popular it is and how much of a budget the castle has. a castle can still be well preserved on a low budget if it is not well known and has a low number of people visiting. Large crowds can be managed in there is enough of a budget to control he damage they can do. The worse case for castle preservation is if the castle is well known and has a low budget for crowd control and maintenance. <br />
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[[Preservation of Medieval Art|Read More]] <br />
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=Milestone 2=<br />
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'''Literary Merit and Harry Potter'''<br><br />
'''Objective:''' The aim of this project was to determine why Harry Potter is not generally considered to have literary merit and if it has a place being taught in schools.<br />
<br><br><br />
I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. One of the largest factors in determining literary merit is time since it will filter out works that got attention due to a certain time periods tastes. The literary merit of ''Harry Potter'' is held in question because of it's target audience and its immediate popularity. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum. <br />
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[[ Literary Merit and Harry Potter|Read More]] <br />
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=Milestone 3=<br />
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'''Capstone: Art in Medieval Sword Forging'''<br><br />
'''Objective:''' How Art was factored into the making of medieval swords<br />
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In this project I learned that most art in medieval swords consisted of different inscriptions. Most were religious invocations meant to give the barer divine favor. Other texts could have been names from swords being gifted or a form of magic meant to give the sword power. Smith's at the time were also trying to replicate Damascus Steel which had a distinctive wave pattern. This lead to swords being pattern welded to have different wave patterns. <br />
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[[The Art of Sword Forging|Read More]] <br />
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=Activity Journal=<br />
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==Activity #1 Westminster Abbey==<br />
The relation had an indirect connection to my second milestone because part of Harry Potter was filmed in the halls. I thought a lot of the architecture was cool. since my other two milestones are based in the medieval time period it didn't relate too much but I found how the design was meant to make people look up for prayer was interesting. Overall it didn't relate to much to my milestones but I liked seeing all the historic graves. My favorite was either Newton's or Darwin's because they're both contributed a lot to science. I think it's kind of weird that there are churches not really controlled by the local bishop. The tour guide had mentioned that the royal family was very connected to the church but I do not think they should necessarily be running it. I like the system of separation between church and state in the U.S. much better. All the other churches I've been to have had a separate graveyard. It was interesting how they had people even burred in the church floor instead of in a separate location or in the catacombs. I liked how it kind of removed the separation between people and a typical graveyard. I had not previously realized why places have there different unknown solider monuments and graves [[Tomb of the Unknown Warrior|Read More]] . I had a hard time understanding how having the one grave for everyone made sense. Having the prospective of one of the royal family member putting there bouquet on the grave because it could be their loved one really helped make those kind of monuments make sense for me. I also went to see the Evensong. It was interesting but hard to follow since all the songs were in Latin and had multiple parts being sung at once. [[Westminster Abbey|Read More]]<br />
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==Activity #2 Tower of London==<br />
The Tower of London Directly related to my first Milestone. They had a lot of Medieval architecture and had two separate restoration projects going on. One was on the White tower and the other was on Edward I's bedroom. They also had a couple of ornate medieval swords in the crowned jewels exhibit which relates to my third Milestone. I had mostly picked my third milestone because I need ed something that I could relate to the deliverable of forging a sword while being related to art. seeing some of the ceremonial and more decorative swords actually got me fairly excited for my third milestone beyond the sword making. I had't known they got so ornate or where really ever used for purposes other than fighting in that time period. The ravens and the Bloody tower we're also interesting because of the history and superstition around them. I'm glad the royal family doesn't seem to be as violent towards each other anymore. [[Tower of London|Read More]]<br />
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==Activity #3 St. Paul's Cathedral==<br />
St. Paul's Cathedral was too modern for my first and third milestones. The architecture and design could have had an indirect impact on the setting of Harry Potter. The Great Hall in Hogwarts seemed to open up in a similar manner as the Nave in the Cathedral. I think it is going to be difficult to get anything that directly relates to my second milestone. The Whispering room was interesting. It's cool how those kinds of unintended effects can happen while designing different buildings. I thought it was kind of funny how they had a catacomb but where still burring people in the main floor. I did not recognize any of the names in the cathedral which I though twas weird because I had known a few from Westminster Abbey. I figure with the larger church there would also be some more recognizable people. I might have missed some important people because I read more about science and I am not to familiar with different writers. [[St. Paul's Cathedral| Read More]]<br />
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==Activity #4 The British Museum==<br />
The Museum had a section on medieval art. It did not have any information on the the art was being preserved. There were sensors in the display cases that seemed to be measuring temperature and humidity in the case. They did have a sword with some decoration on it that would be relevant to my third milestone. There was another sword that was not on display because it was being researched. I tried to find some one to ask about the preservation of the art and what kind of research might be done on the swords but was unsuccessful. I did read a few of there LGBT through history signs. Most of my friends are in this group. I found it interesting how it seem to be tolerated and just not really talked about in past cultures leading up to Christianity and was discouraged after that. I found that to be kind of weird because the church I grew up in was always very tolerant. It was still against gay marriage but anyone was accepted. [[British Museum| Read More]]<br />
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==Activity #5 The Natural History Museum==<br />
None of my milestones are really directly related to nature. some of the older environments could have had an effect on how castles weathered and J.K. Roweling could have visited the museum at some point and had it influence her work. I spent a lot of time in the bird section. My favorite animals are owls so learning how their bones and feathers are put together was interesting. They also had some models of extinct birds and birds that actually don't exist which was kind of funny. I did learn a bit about my second milestone which was kind of surprising. I was talking to one of the employees who was letting people hole and compare a human skull and a gorilla skull and she was asking me about where I was from and why I was in London. I one point she ask how old I was and then mentioned that most 19 year-olds in London are seniors who are taking there exams to get into collage. I had always wondered why J.K. Roweling had choose to make Hogwarts go for seven years but it actually follows how school goes in London. [[Natural History Museum| Read More]]<br />
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==Activity #6 The National Gallery==<br />
I did visit the section related to the Medieval Time period but I honestly do not find paintings that interesting. I was thinking about changing my first milestone to be more about the castles than the actual art. The gallery was different in terms of art preservation than the British Museum. They just had open rooms and ropes to keep people from getting close enough to touch the paintings instead of temperature and humidity control. I have never really been a fan of having to analysis different paintings but the way the gallery was set up I think I can at least understand why some people like to look at them. Some of the paintings were interesting scenes and where fun to look at without necessarily having to think about their meaning. Having to walk around the Gallery was not as boring as I thought it was going to be. I also went to see a piano performance at St. Martins in the field. I like piano so that was interesting. [[The National Gallery|Read More]]<br />
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==Activity #7 Tate Britain==<br />
Maybe the absurd number of paintings and portraits in London helped contribute to J.K. Rowling's decision to cover Hogwarts in them. Maybe the same boredom of having to stare at them for hours led her to make them move in a poor attempt to make them more interesting. Maybe if they did I would hate this activity just a little less. [[Tate Britain|Read More]]<br />
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==Activity #8 Victoria and Albert Museum==<br />
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I enjoyed this museum a bit more than the previous two I went to. They had a huge medieval section. My milestone is kind of rearranging itself to focus more on the castles than the art but I still find it interesting. The section was set up a little weird though. It was a mix of renaissance and medieval art. There reasoning for this was that the transition was gradual so a lot of there collection could fit into either category. tracing the precise time the medieval period ends is a little important to my milestone because I need to be able to identify if it is a medieval castle or not. I have been defining it as anything pre-1500 AD but a lot of art was made over a span crossing that year. They had a lot of doorways and arches that made it a bit more interesting than just paintings like at the National Gallery. I also visited the Japanese section which was interesting because they had some really ornate samurai swords. [[Victoria and Albert Museum| Read More]]<br />
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== Activity #9 Tate Modern==<br />
At least it wasn't just paintings. Some of the optical illusion stuff was cool and the How Not to be Seen exhibit was funny. [[Tate Modern|Read More]] <br />
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==Activity #10 Museum of London==<br />
They had a huge medieval section. It had a more defined dates as to the start and end of the period which were fairly close to the ones I have been using. They did not have anything on castles but they did have some information on swords. They have been banned so most people carried daggers instead. every forge had there own specific symbol they were required to put on their products so that people could tell who made the best blades. This was the first I had heard of decorations having a functional non ceremonial purpose. It got me more excited for my third milestone. There was also a lot of information on the black death and general living conditions of that time which I found interesting.[[Museum of London| Read More]]<br />
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==Activity #11 Imperial War Museum==<br />
This Museum doesn't directly relate to any of my milestones. It is possible that J.K Rowling visited it at some point so it may have influenced her writing. I mainly looked through the sections for World War I and the Holocaust. It was interesting hearing about them from a non-American view. How British troops reacted to the war and what British home life was like during it was never covered back at school. The one thing that surprised me was that the gas wasn't considered to be that bad. I happened to overheat a tour and gas use was fairly limited because it proved to be ineffective once technology evolved to handle it. The gas masks worked well and even if a solider did end up breathing it, it often wasn't deadly and would only put them out of action for a couple months. gas only killed 3% of the people it effected. It was kind of weird how American involvement was not really discussed, even in the section dealing with after the US joined the war. [[Imperial War Museum|Read More]]<br><br />
==Activity #12 Museum of London Docklands==<br />
Nothing here really pertained to my milestones. J.K Roweling may have visited at some point but I cant remember anything from the books that could have been influenced by the docklands. The museum was interesting and the guy at the desk was really nice. he offered to show us around because we were the first people to show up. I think he was kind of bored. The exhibits were interesting. I like the section where you could walk through the remodeled town.[[Museum of London Docklands| Read More]]<br><br />
==Activity #13 Horniman Museum==<br />
Again nothing really related to any of my milestones. I didn't like this one to much because the main exhibits where all taxidermy animals which I found mildly depressing. They had a few different kinds of owls. I've seen quite a few of the living owls and some of the other creatures like the platypus, ostrich and echidna and they're more impressive alive. the merman was kind of cool but also kind of creepy. Maybe J.K. Rowling did go and it served ad inspiration for Snape's office which is covered in things in preserving jars. I didn't like this museum that much but the gardens were cool and there were not any paintings. [[Horniman Museum|Read More]]<br />
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==Activity #14 Hampton Court Palace==<br />
Hampton Court Palace was a little interesting because it is not a medieval palace but they same group takes care of it as the Tower of London. It was interesting to see how they control traffic differently and display things differently depending on when they're from and how sensitive they are. They also had a restoration going on which I thought was cool. It did not really relate to any of my milestones and it didn't look like it influenced Harry Potter that much it if did at all. We did see part of a show which was very cool. It was hard to make sense of though because we came in halfway through but it looked like it was about King Henry VIII and Queen Anne before Queen Elizabeth was born. [[Hampton Court Palace| Read More]]<br />
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==Activity #15 The Wallace Collection==<br />
The Wallace Collection contained 3 European armories which relates to my third milestone. Most of their swords were from the Renaissance time period but they did have a few medieval ones as well. The medieval swords where a lot planer an simpler than the ones I've seen at some of the other museums and didn't look to be as well preserved. I did enjoy looking at the rest of the armories as well. they did have a lot of really ornate swords and daggers as well as a few full suits of armor. They even had sets for horses. Since the main reason I chose my first two milestone was that I like knights and castles it was all still really cool to see. Apart form the armories they had a lot of paintings which I did not find to interesting. They did have a section where you could try on some armor which was fun. I already knew that chain mail is heavy but wearing a 30 lb vest helps to give a better idea on how heavy. [[The Wallace Collection|Read More]]<br />
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==Activity #16 London Science Museum==<br />
I didn't find anything directly relating to any of my milestones. It is possible J.K. Rowling visited and maybe either the medicine section or the section on steam power help inspire the how the wizards are a little behind on technology. I spent most of my time in the space exploration exhibit. I found it extremely interesting because I want to work in that field when I graduate. I already knew most of the stuff because the exhibit focused on US and Russian space travel since the rockets and landers were mainly created as part of the space race. I did learn that the pod they astronauts com back in has two pains of glass and the outer one is screwed on with explosive blots so they can blow the exterior window off after entering the atmosphere and have a clean window not covered in soot. I had already known that astronauts are required to learn Russian and I found out that is because the manuals for operating the space craft as while as he controls are in Russian. I also like seeing all the different rocket models and the section on traveling at light speed and Einsteins theory of relativity. [[London Science Museum| Read More]]<br />
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==Activity #17 Romeo and Juliet at the Globe==<br />
I really enjoyed seeing the play. It would have been much better if it wasn't raining for the first half hour but I still found it to be very interesting. I remember studying Romeo and Juliet in mt sophomore year of high school and at the time the teacher kept pointing out a bunch of jokes that we all understood the concept of but no one could really figure out how they where supposed to be funny. They make a lot more sense when you can see them happening instead of reading it. I didn't like most of the changes they made to make it more modern. The guns didn't make as much sense with the script and it was harder to understand when people were getting hurt and by whom. The makeup they wore looked ridiculous. I noticed that only the higher class people wore the clown makeup and the lower classes looked a little more normal but I think there would be better ways of making them look different. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)| Read More]]<br />
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==Activity #18 Stonehenge and Bath==<br />
I really liked Stonehenge. I've never really liked studying history because I'm not good at remembering dates or geography but I have always found it to be interesting and I like hearing about it and being able to experience it. Our tour guide Andrew was trying to help us get our heads around how old it is and I do in the sense that I know how old it is but I still can't believe people were able to build something like that 2000 years before King David. I sort of felt a connection to my first Milestone because I really wanted to be able to get a closer look but I understand how hard it is to balance conservation and tourism in those kinds of places. I would have likes a lot more time there because I felt really rushed trying to do the audio tour and still have enough time to really experience Stonehenge. It also would have been nice to have better weather but at least I can understand why the people who built it would be so focused on time and when it would be safe to be in that more exposed area.[[Stonehenge| Read More ]] I was only vaguely aware of Bath's existence before going there. If someone had asked me what Bath was I would have been able to tell them that it was a place with a natural hot spring that is supposed to be good for you and that I have no idea where it is (see bad at geography). I found the history interesting. The part about making fake Roman buildings also fits into my first milestone. One of the topics was on how in some cases its better to conserve the idea of the building instead of the building itself. In context of my milestone that would be putting the artistic value of it over its historic value. Now if someone asks me what Bath is I can tell them it's a town in England with a somewhat fake roman bath on a hot spring that is supposed to be good for you but is actually full of bacteria and lead. It's also where the first King of England was crowned. [[Bath| Read More]]<br />
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==Activity #19 Windsor Castle==<br />
I liked what I was able to see of Windsor. I had to leave after an hour and a half to make the train to Glastonbury for my sword forging class. I did get to see Queen Mary's doll house and the State Apartments. Windsor Castle directly relates to my first milestone since it's one of the castles I looked at in terms of preservation. It was definitely one of the better maintained castles. However, there really was not any medieval architecture left. St George’s Hall did have a medieval timber ceiling but it was a replica ceiling that replaced a plaster ceiling after the fire. I found Windsor Castle to be the hardest to analyse in terms of preservation because they decided to preserve the artistic value and the impression of a medieval castle over the historical value of the castle itself. In my research I did say that was a valid method of preservation as long as it was decided at the start of the preservation so it could be accurately maintained. They did have a restoration in progress and the castle looked very well maintained. [[Windsor Castle | Read More]]<br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Npetilli|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=User:Npetilli&diff=19565User:Npetilli2017-06-22T18:46:03Z<p>Npetilli: /* Nicole Petilli */</p>
<hr />
<div>=Nicole Petilli=<br />
[[File: IMG 6517.JPG|x350px|right|frameless|thumb|Nicole Petilli]]<br><br />
<br />
__TOC__<br />
<br />
=Overview=<br />
The aims of my three projects were to discover how medieval architecture is being conserved and to what extent, determine why ''Harry Potter'' is not generally considered to have literary merit and find how it could fit into education, and to study art in medieval swords. my previous humanities and arts experience includes a U.S. History course, a Great Problem Seminar on Atmosphere, Biosphere and Human Fears, and a basic art course. I learned that there are a lot of different factors that go into the preservation of castles and that what preservation means for each castle is different depending on what aspects are being preserved and for what purpose. I discovered that ''Harry Potter'' is not considered to have literary merit because of its instant popularity and the target audience, but it can gain merit as long as it's still being discussed. I learned that I should have looked at Renaissance sword art because medieval swords where mainly made for function only so the art is limited to religious invocations and other writings meant to give the blade magical power and are otherwise quite bland. <br />
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=Milestone 1=<br />
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'''Preservation of Medieval Art'''<br><br />
'''Objective:''' How is medieval architecture conserved and to what extent? <br />
<br><br><br />
How a medieval castle is preserved depends on what aspect of the castle is most important to keep. The amount of money an time entirely preserving a castle takes makes it impossible to preserve entirely. In some cases where the idea of a medieval castle is more important, one can change material and modify it as needed to make it easier to maintain. in other where historical accuracy is necessary, it might not be possible to restore the castle and more focus needs to be put on maintaining the existing structure. Handling tourism to the castles can be difficult. In many cases the preservation of a castle is funded by tourists, however large numbers of people can cause damage to the castle. I found that how well a castle is preserved depends on how popular it is and how much of a budget the castle has. a castle can still be well preserved on a low budget if it is not well known and has a low number of people visiting. Large crowds can be managed in there is enough of a budget to control he damage they can do. The worse case for castle preservation is if the castle is well known and has a low budget for crowd control and maintenance. <br />
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[[Preservation of Medieval Art|Read More]] <br />
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=Milestone 2=<br />
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'''Literary Merit and Harry Potter'''<br><br />
'''Objective:''' The aim of this project was to determine why Harry Potter is not generally considered to have literary merit and if it has a place being taught in schools.<br />
<br><br><br />
I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. One of the largest factors in determining literary merit is time since it will filter out works that got attention due to a certain time periods tastes. The literary merit of ''Harry Potter'' is held in question because of it's target audience and its immediate popularity. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum. <br />
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[[ Literary Merit and Harry Potter|Read More]] <br />
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=Milestone 3=<br />
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'''Capstone: Art in Medieval Sword Forging'''<br><br />
'''Objective:''' How Art was factored into the making of medieval swords<br />
<br><br><br />
In this project I learned that most art in medieval swords consisted of different inscriptions. Most were religious invocations meant to give the barer divine favor. Other texts could have been names from swords being gifted or a form of magic meant to give the sword power. Smith's at the time were also trying to replicate Damascus Steel which had a distinctive wave pattern. This lead to swords being pattern welded to have different wave patterns. <br />
<br><br />
[[The Art of Sword Forging|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey==<br />
The relation had an indirect connection to my second milestone because part of Harry Potter was filmed in the halls. I thought a lot of the architecture was cool. since my other two milestones are based in the medieval time period it didn't relate too much but I found how the design was meant to make people look up for prayer was interesting. Overall it didn't relate to much to my milestones but I liked seeing all the historic graves. My favorite was either Newton's or Darwin's because they're both contributed a lot to science. I think it's kind of weird that there are churches not really controlled by the local bishop. The tour guide had mentioned that the royal family was very connected to the church but I do not think they should necessarily be running it. I like the system of separation between church and state in the U.S. much better. All the other churches I've been to have had a separate graveyard. It was interesting how they had people even burred in the church floor instead of in a separate location or in the catacombs. I liked how it kind of removed the separation between people and a typical graveyard. I had not previously realized why places have there different unknown solider monuments and graves [[Tomb of the Unknown Warrior|Read More]] . I had a hard time understanding how having the one grave for everyone made sense. Having the prospective of one of the royal family member putting there bouquet on the grave because it could be their loved one really helped make those kind of monuments make sense for me. I also went to see the Evensong. It was interesting but hard to follow since all the songs were in Latin and had multiple parts being sung at once. [[Westminster Abbey|Read More]]<br />
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==Activity #2 Tower of London==<br />
The Tower of London Directly related to my first Milestone. They had a lot of Medieval architecture and had two separate restoration projects going on. One was on the White tower and the other was on Edward I's bedroom. They also had a couple of ornate medieval swords in the crowned jewels exhibit which relates to my third Milestone. I had mostly picked my third milestone because I need ed something that I could relate to the deliverable of forging a sword while being related to art. seeing some of the ceremonial and more decorative swords actually got me fairly excited for my third milestone beyond the sword making. I had't known they got so ornate or where really ever used for purposes other than fighting in that time period. The ravens and the Bloody tower we're also interesting because of the history and superstition around them. I'm glad the royal family doesn't seem to be as violent towards each other anymore. [[Tower of London|Read More]]<br />
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==Activity #3 St. Paul's Cathedral==<br />
St. Paul's Cathedral was too modern for my first and third milestones. The architecture and design could have had an indirect impact on the setting of Harry Potter. The Great Hall in Hogwarts seemed to open up in a similar manner as the Nave in the Cathedral. I think it is going to be difficult to get anything that directly relates to my second milestone. The Whispering room was interesting. It's cool how those kinds of unintended effects can happen while designing different buildings. I thought it was kind of funny how they had a catacomb but where still burring people in the main floor. I did not recognize any of the names in the cathedral which I though twas weird because I had known a few from Westminster Abbey. I figure with the larger church there would also be some more recognizable people. I might have missed some important people because I read more about science and I am not to familiar with different writers. [[St. Paul's Cathedral| Read More]]<br />
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==Activity #4 The British Museum==<br />
The Museum had a section on medieval art. It did not have any information on the the art was being preserved. There were sensors in the display cases that seemed to be measuring temperature and humidity in the case. They did have a sword with some decoration on it that would be relevant to my third milestone. There was another sword that was not on display because it was being researched. I tried to find some one to ask about the preservation of the art and what kind of research might be done on the swords but was unsuccessful. I did read a few of there LGBT through history signs. Most of my friends are in this group. I found it interesting how it seem to be tolerated and just not really talked about in past cultures leading up to Christianity and was discouraged after that. I found that to be kind of weird because the church I grew up in was always very tolerant. It was still against gay marriage but anyone was accepted. [[British Museum| Read More]]<br />
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==Activity #5 The Natural History Museum==<br />
None of my milestones are really directly related to nature. some of the older environments could have had an effect on how castles weathered and J.K. Roweling could have visited the museum at some point and had it influence her work. I spent a lot of time in the bird section. My favorite animals are owls so learning how their bones and feathers are put together was interesting. They also had some models of extinct birds and birds that actually don't exist which was kind of funny. I did learn a bit about my second milestone which was kind of surprising. I was talking to one of the employees who was letting people hole and compare a human skull and a gorilla skull and she was asking me about where I was from and why I was in London. I one point she ask how old I was and then mentioned that most 19 year-olds in London are seniors who are taking there exams to get into collage. I had always wondered why J.K. Roweling had choose to make Hogwarts go for seven years but it actually follows how school goes in London. [[Natural History Museum| Read More]]<br />
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==Activity #6 The National Gallery==<br />
I did visit the section related to the Medieval Time period but I honestly do not find paintings that interesting. I was thinking about changing my first milestone to be more about the castles than the actual art. The gallery was different in terms of art preservation than the British Museum. They just had open rooms and ropes to keep people from getting close enough to touch the paintings instead of temperature and humidity control. I have never really been a fan of having to analysis different paintings but the way the gallery was set up I think I can at least understand why some people like to look at them. Some of the paintings were interesting scenes and where fun to look at without necessarily having to think about their meaning. Having to walk around the Gallery was not as boring as I thought it was going to be. I also went to see a piano performance at St. Martins in the field. I like piano so that was interesting. [[The National Gallery|Read More]]<br />
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==Activity #7 Tate Britain==<br />
Maybe the absurd number of paintings and portraits in London helped contribute to J.K. Rowling's decision to cover Hogwarts in them. Maybe the same boredom of having to stare at them for hours led her to make them move in a poor attempt to make them more interesting. Maybe if they did I would hate this activity just a little less. [[Tate Britain|Read More]]<br />
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==Activity #8 Victoria and Albert Museum==<br />
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I enjoyed this museum a bit more than the previous two I went to. They had a huge medieval section. My milestone is kind of rearranging itself to focus more on the castles than the art but I still find it interesting. The section was set up a little weird though. It was a mix of renaissance and medieval art. There reasoning for this was that the transition was gradual so a lot of there collection could fit into either category. tracing the precise time the medieval period ends is a little important to my milestone because I need to be able to identify if it is a medieval castle or not. I have been defining it as anything pre-1500 AD but a lot of art was made over a span crossing that year. They had a lot of doorways and arches that made it a bit more interesting than just paintings like at the National Gallery. I also visited the Japanese section which was interesting because they had some really ornate samurai swords. [[Victoria and Albert Museum| Read More]]<br />
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== Activity #9 Tate Modern==<br />
At least it wasn't just paintings. Some of the optical illusion stuff was cool and the How Not to be Seen exhibit was funny. [[Tate Modern|Read More]] <br />
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==Activity #10 Museum of London==<br />
They had a huge medieval section. It had a more defined dates as to the start and end of the period which were fairly close to the ones I have been using. They did not have anything on castles but they did have some information on swords. They have been banned so most people carried daggers instead. every forge had there own specific symbol they were required to put on their products so that people could tell who made the best blades. This was the first I had heard of decorations having a functional non ceremonial purpose. It got me more excited for my third milestone. There was also a lot of information on the black death and general living conditions of that time which I found interesting.[[Museum of London| Read More]]<br />
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==Activity #11 Imperial War Museum==<br />
This Museum doesn't directly relate to any of my milestones. It is possible that J.K Rowling visited it at some point so it may have influenced her writing. I mainly looked through the sections for World War I and the Holocaust. It was interesting hearing about them from a non-American view. How British troops reacted to the war and what British home life was like during it was never covered back at school. The one thing that surprised me was that the gas wasn't considered to be that bad. I happened to overheat a tour and gas use was fairly limited because it proved to be ineffective once technology evolved to handle it. The gas masks worked well and even if a solider did end up breathing it, it often wasn't deadly and would only put them out of action for a couple months. gas only killed 3% of the people it effected. It was kind of weird how American involvement was not really discussed, even in the section dealing with after the US joined the war. [[Imperial War Museum|Read More]]<br><br />
==Activity #12 Museum of London Docklands==<br />
Nothing here really pertained to my milestones. J.K Roweling may have visited at some point but I cant remember anything from the books that could have been influenced by the docklands. The museum was interesting and the guy at the desk was really nice. he offered to show us around because we were the first people to show up. I think he was kind of bored. The exhibits were interesting. I like the section where you could walk through the remodeled town.[[Museum of London Docklands| Read More]]<br><br />
==Activity #13 Horniman Museum==<br />
Again nothing really related to any of my milestones. I didn't like this one to much because the main exhibits where all taxidermy animals which I found mildly depressing. They had a few different kinds of owls. I've seen quite a few of the living owls and some of the other creatures like the platypus, ostrich and echidna and they're more impressive alive. the merman was kind of cool but also kind of creepy. Maybe J.K. Rowling did go and it served ad inspiration for Snape's office which is covered in things in preserving jars. I didn't like this museum that much but the gardens were cool and there were not any paintings. [[Horniman Museum|Read More]]<br />
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==Activity #14 Hampton Court Palace==<br />
Hampton Court Palace was a little interesting because it is not a medieval palace but they same group takes care of it as the Tower of London. It was interesting to see how they control traffic differently and display things differently depending on when they're from and how sensitive they are. They also had a restoration going on which I thought was cool. It did not really relate to any of my milestones and it didn't look like it influenced Harry Potter that much it if did at all. We did see part of a show which was very cool. It was hard to make sense of though because we came in halfway through but it looked like it was about King Henry VIII and Queen Anne before Queen Elizabeth was born. [[Hampton Court Palace| Read More]]<br />
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==Activity #15 The Wallace Collection==<br />
The Wallace Collection contained 3 European armories which relates to my third milestone. Most of their swords were from the Renaissance time period but they did have a few medieval ones as well. The medieval swords where a lot planer an simpler than the ones I've seen at some of the other museums and didn't look to be as well preserved. I did enjoy looking at the rest of the armories as well. they did have a lot of really ornate swords and daggers as well as a few full suits of armor. They even had sets for horses. Since the main reason I chose my first two milestone was that I like knights and castles it was all still really cool to see. Apart form the armories they had a lot of paintings which I did not find to interesting. They did have a section where you could try on some armor which was fun. I already knew that chain mail is heavy but wearing a 30 lb vest helps to give a better idea on how heavy. [[The Wallace Collection|Read More]]<br />
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==Activity #16 London Science Museum==<br />
I didn't find anything directly relating to any of my milestones. It is possible J.K. Rowling visited and maybe either the medicine section or the section on steam power help inspire the how the wizards are a little behind on technology. I spent most of my time in the space exploration exhibit. I found it extremely interesting because I want to work in that field when I graduate. I already knew most of the stuff because the exhibit focused on US and Russian space travel since the rockets and landers were mainly created as part of the space race. I did learn that the pod they astronauts com back in has two pains of glass and the outer one is screwed on with explosive blots so they can blow the exterior window off after entering the atmosphere and have a clean window not covered in soot. I had already known that astronauts are required to learn Russian and I found out that is because the manuals for operating the space craft as while as he controls are in Russian. I also like seeing all the different rocket models and the section on traveling at light speed and Einsteins theory of relativity. [[London Science Museum| Read More]]<br />
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==Activity #17 Romeo and Juliet at the Globe==<br />
I really enjoyed seeing the play. It would have been much better if it wasn't raining for the first half hour but I still found it to be very interesting. I remember studying Romeo and Juliet in mt sophomore year of high school and at the time the teacher kept pointing out a bunch of jokes that we all understood the concept of but no one could really figure out how they where supposed to be funny. They make a lot more sense when you can see them happening instead of reading it. I didn't like most of the changes they made to make it more modern. The guns didn't make as much sense with the script and it was harder to understand when people were getting hurt and by whom. The makeup they wore looked ridiculous. I noticed that only the higher class people wore the clown makeup and the lower classes looked a little more normal but I think there would be better ways of making them look different. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)| Read More]]<br />
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==Activity #18 Stonehenge and Bath==<br />
I really liked Stonehenge. I've never really liked studying history because I'm not good at remembering dates or geography but I have always found it to be interesting and I like hearing about it and being able to experience it. Our tour guide Andrew was trying to help us get our heads around how old it is and I do in the sense that I know how old it is but I still can't believe people were able to build something like that 2000 years before King David. I sort of felt a connection to my first Milestone because I really wanted to be able to get a closer look but I understand how hard it is to balance conservation and tourism in those kinds of places. I would have likes a lot more time there because I felt really rushed trying to do the audio tour and still have enough time to really experience Stonehenge. It also would have been nice to have better weather but at least I can understand why the people who built it would be so focused on time and when it would be safe to be in that more exposed area.[[Stonehenge| Read More ]] I was only vaguely aware of Bath's existence before going there. If someone had asked me what Bath was I would have been able to tell them that it was a place with a natural hot spring that is supposed to be good for you and that I have no idea where it is (see bad at geography). I found the history interesting. The part about making fake Roman buildings also fits into my first milestone. One of the topics was on how in some cases its better to conserve the idea of the building instead of the building itself. In context of my milestone that would be putting the artistic value of it over its historic value. Now if someone asks me what Bath is I can tell them it's a town in England with a somewhat fake roman bath on a hot spring that is supposed to be good for you but is actually full of bacteria and lead. It's also where the first King of England was crowned. [[Bath| Read More]]<br />
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==Activity #19 Windsor Castle==<br />
I liked what I was able to see of Windsor. I had to leave after an hour and a half to make the train to Glastonbury for my sword forging class. I did get to see Queen Mary's doll house and the State Apartments. Windsor Castle directly relates to my first milestone since it's one of the castles I looked at in terms of preservation. It was definitely one of the better maintained castles. However, there really was not any medieval architecture left. St George’s Hall did have a medieval timber ceiling but it was a replica ceiling that replaced a plaster ceiling after the fire. I found Windsor Castle to be the hardest to analyse in terms of preservation because they decided to preserve the artistic value and the impression of a medieval castle over the historical value of the castle itself. In my research I did say that was a valid method of preservation as long as it was decided at the start of the preservation so it could be accurately maintained. They did have a restoration in progress and the castle looked very well maintained. [[Windsor Castle | Read More]]<br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Npetilli|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:IMG_6517.JPG&diff=19564File:IMG 6517.JPG2017-06-22T18:45:40Z<p>Npetilli: </p>
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<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19548The Art of Sword Forging2017-06-22T18:30:15Z<p>Npetilli: /* Section 2: Deliverable */</p>
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<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
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{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
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__TOC__<br />
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=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
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=Introduction=<br />
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The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
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=Section 1: Background=<br />
==Time Period==<br />
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I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> For the most part the swords were not very decorated.<br />
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==Meaning of Art in Swords==<br />
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===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
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Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
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===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
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Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
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====Metropolitan Museum of Art's c.1400 Sword====<br />
This is one of the very few cases where the inscription on a sword is not a religious invocation. The script on the pommel reads "here, too virtue has its due reward" and the script on the blade is mostly illegible. It could be the only surviving sword with a presentation inscription from the 14th century.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref><br />
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Image:Metropolitan Museum's Sword.PNG|''The Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Pommel.PNG|''The Pommel with Inscriptions<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Maker's Mark.PNG|''Maker's Mark on the Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Blade Inscription.PNG|''Mostly illegible blade Inscription<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
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==Making The Art==<br />
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===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
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Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
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===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
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Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
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=Section 2: Deliverable=<br />
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For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<gallery mode="packed"><br />
Image:European Knightly Sword.JPG|''European Knightly Sword c.1350<ref>Withers , %. J. (2011). The Illustrated Directory of Swords & Sabres. Southwater.</ref>''<br />
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==Process of sword forging==<br />
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===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
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Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
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===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
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===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
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<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:European_Knightly_Sword.JPG&diff=19545File:European Knightly Sword.JPG2017-06-22T18:25:59Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19531The Art of Sword Forging2017-06-22T18:15:56Z<p>Npetilli: /* Time Period */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> For the most part the swords were not very decorated.<br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br />
====Metropolitan Museum of Art's c.1400 Sword====<br />
This is one of the very few cases where the inscription on a sword is not a religious invocation. The script on the pommel reads "here, too virtue has its due reward" and the script on the blade is mostly illegible. It could be the only surviving sword with a presentation inscription from the 14th century.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref><br />
<gallery mode="packed"><br />
Image:Metropolitan Museum's Sword.PNG|''The Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Pommel.PNG|''The Pommel with Inscriptions<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Maker's Mark.PNG|''Maker's Mark on the Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Blade Inscription.PNG|''Mostly illegible blade Inscription<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
</gallery><br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19528The Art of Sword Forging2017-06-22T18:12:41Z<p>Npetilli: /* Metropolitan Museum of Art's c.1400 Sword */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br />
====Metropolitan Museum of Art's c.1400 Sword====<br />
This is one of the very few cases where the inscription on a sword is not a religious invocation. The script on the pommel reads "here, too virtue has its due reward" and the script on the blade is mostly illegible. It could be the only surviving sword with a presentation inscription from the 14th century.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref><br />
<gallery mode="packed"><br />
Image:Metropolitan Museum's Sword.PNG|''The Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Pommel.PNG|''The Pommel with Inscriptions<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Maker's Mark.PNG|''Maker's Mark on the Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Blade Inscription.PNG|''Mostly illegible blade Inscription<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
</gallery><br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Metropolitan_Museum_Blade_Inscription.PNG&diff=19523File:Metropolitan Museum Blade Inscription.PNG2017-06-22T18:10:51Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19521The Art of Sword Forging2017-06-22T18:08:09Z<p>Npetilli: /* Metropolitan Museum of Art's c.1400 Sword */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br />
====Metropolitan Museum of Art's c.1400 Sword====<br />
This is one of the very few cases where the inscription on a sword is not a religious invocation. The script on the pommel reads "here, too virtue has its due reward" and the script on the blade is mostly eligible. It could be the only surviving sword with a presentation inscription from the 14th century.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref><br />
<gallery mode="packed"><br />
Image:Metropolitan Museum's Sword.PNG|''The Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Pommel.PNG|''The Pommel with Inscriptions<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
Image:Metropolitan Museum Maker's Mark.PNG|''Maker's Mark on the Sword<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref>''<br />
</gallery><br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Metropolitan_Museum_Maker%27s_Mark.PNG&diff=19519File:Metropolitan Museum Maker's Mark.PNG2017-06-22T18:07:26Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Metropolitan_Museum_Pommel.PNG&diff=19517File:Metropolitan Museum Pommel.PNG2017-06-22T18:06:27Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19516The Art of Sword Forging2017-06-22T18:04:55Z<p>Npetilli: /* Inscriptions */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br />
====Metropolitan Museum of Art's c.1400 Sword====<br />
This is one of the very few cases where the inscription on a sword is not a religious invocation. The script on the pommel reads "here, too virtue has its due reward" and the script on the blade is mostly eligible. It could be the only surviving sword with a presentation inscription from the 14th century.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref><br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Metropolitan_Museum%27s_Sword.PNG&diff=19515File:Metropolitan Museum's Sword.PNG2017-06-22T18:04:36Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19497The Art of Sword Forging2017-06-22T17:51:01Z<p>Npetilli: /* Blade Patterns */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Stacked Plates.PNG|''Undated Merovingian sword: The pattern was created by stacking steel plates of different grain sizes, then welding and folding them<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Stacked_Plates.PNG&diff=19495File:Stacked Plates.PNG2017-06-22T17:48:25Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19489The Art of Sword Forging2017-06-22T17:43:51Z<p>Npetilli: /* Blade Patterns */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<gallery mode="packed"><br />
Image:Two Decorated Plates.PNG|''Sword With two decorated plates Welded together<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''<br />
Image:Twisted Bars.PNG|''Carolingian sword: The pattern was obtained by welding two bars twisted in opposite directions<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref>''''<br />
</gallery><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Twisted_Bars.PNG&diff=19481File:Twisted Bars.PNG2017-06-22T17:40:54Z<p>Npetilli: </p>
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<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Two_Decorated_Plates.PNG&diff=19475File:Two Decorated Plates.PNG2017-06-22T17:35:39Z<p>Npetilli: </p>
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<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19428Literary Merit and Harry Potter2017-06-22T16:48:36Z<p>Npetilli: /* Literary Merit and Harry Potter */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Dave Catchpole via flickr<br />
|label3 = '''Location''' <br />
|data3 = Warner Bros. Studio Tour London, Leavesden<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing what's right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of their birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally, since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can affect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it has been published, the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can affect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken un-seriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength and perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children and adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19427Literary Merit and Harry Potter2017-06-22T16:47:14Z<p>Npetilli: /* Literary Merit and Harry Potter */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
|label2 = '''Location''' <br />
|data2 = Warner Bros. Studio Tour London, Leavesden<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing what's right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of their birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally, since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can affect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it has been published, the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can affect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken un-seriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength and perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children and adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19426Preservation of Medieval Art2017-06-22T16:44:35Z<p>Npetilli: /* The Preservation of Medieval Castles */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
|label2 = '''Location''' <br />
|data2 = Farnham, UK<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they were based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. There was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically, Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better known then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation.<br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally, if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builder’s intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well-known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19425The Art of Sword Forging2017-06-22T16:41:40Z<p>Npetilli: /* Art in Medieval Sword Forging */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
|label2 = '''Location''' <br />
|data2 = Forge of Avalon, Glastonbury<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19424The Art of Sword Forging2017-06-22T16:39:00Z<p>Npetilli: /* Section 2: Deliverable */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19423The Art of Sword Forging2017-06-22T16:38:16Z<p>Npetilli: /* Assembly */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
Image:Groups Swords.JPG|''Classes swords before the handles''<br />
</gallery><br />
<br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19419Literary Merit and Harry Potter2017-06-22T16:07:47Z<p>Npetilli: /* Conclusion */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing what's right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of their birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally, since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can affect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it has been published, the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can affect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken un-seriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength and perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children and adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19417Literary Merit and Harry Potter2017-06-22T16:04:11Z<p>Npetilli: /* Conclusion */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing what's right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of their birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally, since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can affect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it has been published, the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can affect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken un-seriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children and adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19416Literary Merit and Harry Potter2017-06-22T16:01:42Z<p>Npetilli: /* What Aspects of Harry Potter to Focus on */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing what's right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of their birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally, since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19415Literary Merit and Harry Potter2017-06-22T16:00:13Z<p>Npetilli: /* How Harry Potter Fits into Education */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not, it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing whats right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of there birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19414Literary Merit and Harry Potter2017-06-22T15:59:38Z<p>Npetilli: /* Section 2: Deliverable */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analyzed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing whats right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of there birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19413Literary Merit and Harry Potter2017-06-22T15:59:02Z<p>Npetilli: /* Education */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non-literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analysed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing whats right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of there birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19412Literary Merit and Harry Potter2017-06-22T15:57:40Z<p>Npetilli: /* Harry Potter */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing their confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self-reliance, perseverance, self-discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
<br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analysed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing whats right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of there birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Literary_Merit_and_Harry_Potter&diff=19411Literary Merit and Harry Potter2017-06-22T15:56:10Z<p>Npetilli: /* Literary Merit */</p>
<hr />
<div>=Literary Merit and Harry Potter=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Literary Merit and Harry Potter<br />
|bodystyle = width:25em<br />
|image = [[File:J.K. Rowling quote.JPG|x450px|alt=J.K. Rowling quote]]<br />
|caption = Photo Attributed to Dave Catchpole via flickr<br />
}}<br />
<br />
=Abstract=<br />
The aim of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit and if it has a place being taught in schools. I have no previous experience in education or in determining literary merit. I had previously viewed literary merit as something a book either has or doesn't have. Literary merit is more of a scale that depends on many factors and is subjected to a lot of bias. Some of those biases include the books popularity and target audience. Looking at the Common Core standards for English I determined that Harry Potter would fit well into either a third or fourth grade curriculum.<br />
<br><br><br />
__TOC__<br />
=Introduction=<br />
<br><br />
The purpose of this project was to determine why ''Harry Potter'' is not generally considered to have literary merit. It also goes why ''Harry Potter'' should be taught in schools and what aspects of the books should be focused on. I found that literary merit is not absolute and is subjected to a lot of bias. Time is an important factor in determining literary merit because it will filter out works that got attention due to bias. Popularity and target audience can have an effect on whether or not people think a work has literary merit. The literary merit of ''Harry Potter'' is debated because of its target audience and instant popularity. ''Harry Potter'' does fit into a third or south grade curriculum. There has been a lot of research done on how reading ''Harry Potter'' effects both children and adults but limited work has been done in teaching it in the United States. I have had no previous experience with teaching or literary merit so strategies for completing this project where completely new to me.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
==Literary Merit==<br />
<br><br />
Most people have an understanding of what literary merit means; However, there is no solid definition of what gives a work literary merit. Part of what makes literary merit so hard to understand is that it cannot be judged on an absolute scale. A work can relatively have more merit than another, however there is no standard on judging merit between books. This means that how someone would rank literary merit depends on their background and what they personally deem important. <ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref> <br><br><br />
There is still some consensus that certain works, like Shakespeare's plays, do have a high amount of literary merit while others, such as something written by a third grader, do not. Three of the factors that affect how people perceive a work's literary merit are how long it's been discussed, how popular it is, and its target audience. Time is one of the most significant factors into determining literary merit. Any work that can last over an extended period of time and still be discussed has its quality slowly proven.<ref>Graves, C. (1928). Measuring Literary Merit. The English Journal, 17(4), 328-331. doi:10.2307/804038</ref><ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Having a work last over time means that it did not become discussed solely due to a particular time periods tastes and filters out judgement that do not have to do with the works quality. <ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br><br />
Despite the modern day definition of popular being a positive attribute, it carries a negative connotation when it is applied to a literary work. When a work is considered to have literary merit it is also considered to be more high class. Since popular was originally used to describe common people as opposed to the aristocracy, it is considered to be of a low class and therefore cannot possess enough artistic credibility to have literary merit. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br />
Like popularity, target audience of a work can have a perceived effect on how much artistic credibility has independently from the quality of the work. This is most apparent in children's literature. modern day society tends to view children as inept and shallow, causing any books written for children to not be taken seriously.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15Copy</ref> Additionally, many children's book series tend to be mass produced, such as Nancy Drew, which also contributes to the sentiment of children's literature lacking in depth and artistic credibility. <ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref><br><br><br />
<br />
The academic canon is a collection of literature that have enough value to be taught in schools. There is a lot of controversy regarding canon and what should be included. Some literary specialist feel that the canon is to narrow and exclusive well others fear that the criteria are too broad. Those who support opening the canon to new works feel that having the canon devalues works not included and that the current canon does not include enough diversity and should include more minority authors, such as women and people of different ethnicities. <ref>Anderson, E. (2001). Defining the Canon. PMLA, 116(5), 1442-1443. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/463548</ref><ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref> Those against opening the canon feel that bring in new works would devalue the ones currently included and that the current criteria of including works that are held in discussion over a long period of time and are held in esteem is open enough despite the current lack of diversity.<ref>Shaw, P. (1994). The Assault on the Canon. The Sewanee Review, 102(2), 257-270. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27546854</ref><br />
<br><br><br />
<br />
==Harry Potter==<br />
<br><br />
Based on the previous section about what is generally considered to have literary merit, some of the reasons why Harry Potter might not be considered to have literary merit are its target audience and its immediate popularity. ''Harry Potter'' was written for children, which means that scholars do not take it as seriously as other works.<ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Additionally the fact that a lot of young children do read Harry Potter makes it unappealing towards older audiences.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> Overall it is considered to be to childish to have literary merit.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> It's immediate popularity also contributed to its apparent lack of literary merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref><ref>Cassidy, J. (2011). Popular. In Nel P. & Paul L. (Eds.), Keywords for Childrens Literature (pp. 174-177). NYU Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt9qg46g.41</ref> Neither target audience nor popularity truly has an effect on a works literary merit. J.R.R. Tolkien and Dickens both wrote for children and their work have lasted and are considered to have literary merit despite their target audience. ''The Lord of the Rings'' was immediately popular like Harry Potter and still get attention from scholars and had merit. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> <br><br><br />
<br />
Harry Potter does have a lot of value in the themes it covers and what it teaches. Seeing Harry, a child like them, gives children a sense of power over their world increasing there confidence. ''Harry Potter'' is much larger than most children's books giving them a sense of accomplishment when they can finish it.<ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The characters are presented as humans who make mistakes making them easy for children and adults to relate to despite the fact that they can use magic. Children can learn morals by living vicariously through Harry while reading the book as he comes up with his own moral challenges.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> Even for older audiences the book has lessons about self reliance, perseverance, self discipline, reason, empathy, and accepting diversity. <ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> The themes about growing up, dealing with life's uncertainties and belonging to a collective desire resonate strongly with children.<ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref><ref>Beach, S., & Willner, E. (2002). The Power of Harry: The Impact of J. K. Rowling's Harry Potter Books on Young Readers. World Literature Today, 76(1), 102-106. doi:10.2307/40157015</ref> The book is able to present topics like good verse evil in a way that children can understand the world is not black and white along with covering topics like personal and collective responsibility.<ref>Bridge, D. (2014). The Greatest Epic of the Twenty-first Century? In Elliott A. (Ed.), The Return of the Epic Film: Genre, Aesthetics and History in the 21st Century (pp. 188-200). Edinburgh University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/10.3366/j.ctt9qdr2s.15</ref> ''Harry Potter'' teaches a lot of the same strength and perseverance as darker books such as ''Mans Search for Meaning'' but does so in a much gentler manner making it easier for someone with depression who might need those messages. <ref>Black, Sharon. “Harry Potter: A Magical Prescription for Just about Anyone.” Journal of Adolescent & Adult Literacy, vol. 46, no. 7, 2003, pp. 540–544. JSTOR, www.jstor.org/stable/40015455</ref> <br />
<br><br><br />
==Education==<br />
<br><br />
The goals of the current Common Core English standard are to heave students demonstrate independence, be able to build context knowledge, respond to varying demands, comprehend and critique different forms of writing, value evidence, use technology, and understand a variety of perspectives and culture. These goals are supposed to promote overall college readiness by the time the students graduate. The English standards are broken up into four sections: Reading, Writing, Listening and speaking, and Language. The reading standard is then further broken down into Key ideas they should understand, understanding craft and structure, integration of knowledge and ideas, and reading complexity. At a third grade level for literature, for key ideas, students should be able to understand are the ability to ask and answer questions based on the text, retell the story and be able to identity main theme and lessons and explain how it is conveyed, and Describe characters, their motivations, and how their actions contribute to the sequence of events. For craft and Structure, they should be able to distinguish literal and non literal text, be able to identify different parts of the text, such as different chapters in a book, and distinguish their point of view from the narrator. For integration of knowledge and ideas the students should be able to Explain how different aspects of the text contribute to what is being conveyed, and compare and contrast themes, settings, and other aspects between books written with the same author about the same characters. For reading complexity students should be able to read grade 2-3 text complexity independently.<ref>Common core state standards for English language arts (pp. 98-103). (2012). Madison, WI: Wisconsin Dept. of Public Instruction.</ref><br />
<br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Harry Potter Book.JPG|x320px|right|thumb| Attributed to Maciej Lewandowski via flickr]]<br />
<br><br />
Since I feel that ''Harry Potter'' does have literary worth in my background, for this section I analysed the current standards for English also described in the background to see if Harry Potter could fit into a school curriculum and what aspects of the book would be taught.<br />
<br><br><br />
==How Harry Potter Fits into Education==<br />
<br><br />
Looking at the standards for English, Harry Potter would best fit into a third or fourth grade curricula. The characters in Harry Potter are very easy to relate to so students would have a easier time of learning how to describe the character's motivations and the consequences of there actions. There are many themes for the children to analysis, such as good versus evil and doing what is right over what is easy. The themes are presented in a way that is easy to understand at a more complex level so the students would be able to identify the different themes and lessons. Learning criteria such as asking questions, identifying different parts of the book, distinguishing their point of view, and explaining how different aspects of the text contribute to mood can be done with almost any book. Harry Potter is a series so by reading the first two books students would be able to compare and contrast themes between two books with the same author. Harry Potter is slightly above the grade 2-3 text complexity required by third graders, however, Harry Potter tends to appeal to children more the other books and was intended for that age group so they should be able to handle it. The standards are set as a minimum requirement Harry Potter could be used to encourage students to achieve more than the baseline. If not it fits the fourth grade criteria as well.<br />
<br />
<br><br><br />
<br />
==What Aspects of Harry Potter to Focus on==<br />
<br><br />
''Harry Potter and the Philosophers stone'' and ''Harry Potter and the Chamber of secrets'' should be taught at either a third or fourth grade level. The focus should be on recurrent themes such as accepting diversity, and trying to do what is right. These themes show up in ''the Philosophers stone'' when Harry Ron and Hermione have to use their varying skill sets to overcome different obstacles, trying to get to the stone and in school work, that they would not have been able to do alone. Doing whats right can be studied when Ron and Harry rescue Hermione from the troll, when Neville tries to stop them from going after the stone, and Harry's determination to protect the stone from Voldemort. There are similar themes in ''the Chamber of secrets''. They use teamwork to discover what is harming the students and aim to protect everyone regardless of there birth status. Harry's dark skill of being able to speak parseltongue ends up being essential to finding the chamber of secrets. Additionally since the students need to learn Latin prefixes they can study some of the Latin in the spells. In the fourth grade ''Charlotte's Web'' is taught by giving questions on the important aspects of each chapter.<ref>Archipelago, W. (n.d.). HARPERCOLLINS CHILDREN'S. Retrieved June 21, 2017, from http://www.readcommoncore.com/book/paperback/charlottes-web/9780064400558</ref> ''Harry Potter'' could be taught in a similar manner to ensure understanding despite it being slightly more complex than their other books <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
Most people know what literary Merit is, but the conditions a work must reach to have literary merit are vague a subjected to a lot of bias and judgement. Three factors that can effect how the merit of a work is perceived are time, popularity, and target audience. The longer a work can be discussed by scholars after it had bee published the more merit it has. If a book is instantly popular it is perceived to have less merit due to the negative connotations associated with literature being popular. Target audience can effect how a book is perceived due to how the audience is judged. In the case of children's literature, books can be taken unseriously due to the fact that children are viewed as shallow. ''Harry Potter'' was both instantly popular and is aimed at children, casing a perceived lack of literary merit. However, ''Harry Potter'' does have a large themes and a lot of complexity. It has a lot of valuable lessons for children and can boost their confidence. It can even be useful to adults who need since it covers themes of strength an perseverance in a way still relatable to adults but in a much gentler fashion than most adult books. ''Harry Potter'' does fit within a third or fourth grade curriculum. Students would be able to study themes such as valuing diversity and moral obligation. Further research could be done on why ''Harry Potter'' got so popular as resonates so well with both children ans adults<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19409Preservation of Medieval Art2017-06-22T15:52:31Z<p>Npetilli: /* Conclusion */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
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{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
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__TOC__<br />
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=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
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=Introduction=<br />
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The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
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=Section 1: Background=<br />
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First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
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It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
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==Restoration==<br />
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There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
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==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
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Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
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===Research===<br />
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No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
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===Coming Up with a Preservation Plan===<br />
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The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
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===Implementing the Plan===<br />
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Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
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=Section 2: Deliverable=<br />
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==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they were based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
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===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. There was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically, Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
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===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
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===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better known then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation.<br />
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===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
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==Comparing Persevered Castles==<br />
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This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
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===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
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</gallery><br />
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===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
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===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
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<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally, if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builder’s intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well-known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
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=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
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[[Category:Art Projects]]<br />
[[Category:2017]]<br />
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=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19406Preservation of Medieval Art2017-06-22T15:50:00Z<p>Npetilli: /* Ashby de la Zouch */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
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__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
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=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they were based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. There was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically, Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better known then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation.<br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
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<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
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[[Category:Art Projects]]<br />
[[Category:2017]]<br />
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=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19405Preservation of Medieval Art2017-06-22T15:49:01Z<p>Npetilli: /* Tower of London */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they were based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. There was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically, Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
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<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19402Preservation of Medieval Art2017-06-22T15:47:58Z<p>Npetilli: /* Quality of Restorations and Effectiveness of Preservation Efforts */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they were based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19400Preservation of Medieval Art2017-06-22T15:46:45Z<p>Npetilli: /* Research */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors were removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they where based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19399Preservation of Medieval Art2017-06-22T15:45:49Z<p>Npetilli: /* Decide on Preservation Goals */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the community's needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
<br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors where removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they where based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19398Preservation of Medieval Art2017-06-22T15:44:40Z<p>Npetilli: /* Restoration */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally, if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analyzed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well-meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the communities needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors where removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they where based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19397Preservation of Medieval Art2017-06-22T15:42:57Z<p>Npetilli: /* Section 1: Background */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. Additionally, we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally, it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analysed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the communities needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors where removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they where based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=Preservation_of_Medieval_Art&diff=19395Preservation of Medieval Art2017-06-22T15:31:47Z<p>Npetilli: /* Introduction */</p>
<hr />
<div>=The Preservation of Medieval Castles=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = The Preservation of Medieval Castles<br />
|bodystyle = width:25em<br />
|image = [[File:Milestone cover photo.JPG|x450px|alt=Milestone cover photo]]<br />
|caption = Outside Farnham Castle<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The aim of this project was to find how castles in England are being persevered and how effective the preservation efforts have been. I had no previous experience in preservation methods. I found that preserving any artifact or building is a lot more complicated than I initially though. It is impossible to conserve a castle forever, so it is necessary to determine what aspect of the castle should be preserved. It is not always possible to preserve a castle historically depending on the location and the materials used, however, they can still be preserved artistically with new materials if preserving the history is less important. The impact of tourism was also interesting since most of the funding for preserving the castles come from it but having large crowds can be very damaging to the castle if the proper precautions are not taken.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The purpose of this project was to see how well medieval castles and architecture are being preserved. It is very important to make sure that our history is preserved so we can figure out how people lived and understand their decisions and how it brought about society today. In order to evaluate how well they are preserved, it is necessary to define what preservation means. I found that there are two main ways to preserve a castle: preserving it historically and preserving it artistically. Preserving it historically would mean leaving it mostly as found, making only minor changes to keep what original material there is intact. This would mean not doing restorations since that would mean changing the structure. Preserving it artistically would mean trying to preserve the idea or message the building gets across. This would mean restoring the building as much as possible and in some cases, such as in Windsor castle, changing the building entirely to suit the current needs. Windsor is a 19th century representation of what people think a medieval castle should look like as opposed to having a genuine medieval interior.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There are middle roads used at places like the Tower of London where the restorations are made to be historically accurate. Large amount of research is done before any restoration or conservation work to ensure that the restorations exactly match what the original builder intended the building to be. It is also important to consider how tourism will affect how a castle it preserved. It takes a lot of money to research how to preserve a certain castle and even more to fund a restoration or conservation project. In most cases this money comes from tourists or charity funds that take donations from tourists. However, this is a potential problem because large numbers of people can cause a lot of damage to the castles and their artifacts. My deliverable goes into how four different castles have dealt with tourism and funding their preservation, then comparing how well they have been preserved based on how well maintained they are. I have never looked into preservation or architecture before so my strategy for completing this project was completely new to me.<br />
<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
<br />
First, it is necessary to distinguish between preservation, conservation, and restoration, because each means a very different future for what is being conserved. Preservation will be defined as trying to keep the object as found without making and changes to correct for previous or future damage. Restoration would be trying to recreate lost elements of the object using what is left behind. Conservation is the keeping the object in a predetermined state via preservation, restoration or both. additionally we need to differentiate between preservation goals and presentation goals since both factor into how an object should be conserved.<br />
<br><br><br />
==Preservation==<br />
<br><br />
It is impossible to keep art and architecture from being damaged or corroded entirely, however, some measures can be taken to reduce the amount of damage they take and extend their lifetime. Historical Palaces does a lot of preservation work to keep their collections in a presentable state. At the [[Tower of London|Tower of London]] Historical Palaces have identified different risk factors and have done work to minimize them. The potential dangers are dust, light, pollution, vibrations, and weather. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Dust can cause damage by working its way into materials or by caking onto a material. With more susceptible materials like fabrics, dust can work its way into the fibers and cause damage and weaken the material. It can also sometimes chemically react with the material causing further damage. Dust can also absorb moisture or pollutants which can cause damage. Additionally it can serve as food for pests, which could then damage the material. With more resistant materials, dust can cement on over time. This makes it hard to remove without causing damage. Frequently dusting objects can prevent it from cementing on or prevent it from absorbing pollution and moisture and prevent damage. Preventing dust from getting on them in the first place woks as well. Since most dust indoors comes from people, keeping a distance between them and the object can prevent dust from accumulating. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Light can cause bleaching in more sensitive materials like the ones used for tapestries and paintings. Sunlight is usually the most damaging variety since it covers such a large range of waves and an extensive variety of ultra violet rays, but all light can be damaging. Once a material has been discolored or faded and even weakened due to light exposure it is impossible to repair. Since sunlight is the most damaging variety of light, keeping the objects indoors with limited natural light and low amounts of artificial lighting can limit damage due to light exposure. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Pollution, like dust can work its way into different materials and chemically react with them or cause other damage. Castles and art located in large cities are more at risk for damage due to pollution due to gas emissions from cars and other vehicles. Monitoring the amount of pollution and keeping objects in cases when the levels are high can prevent damage due to pollution. <ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br><br />
Vibration can loosen floorboards and windows or cause cracks and damage to structures. Vibration tends to work in small amounts overtime and causes damage through cyclic fatigue. It can be caused by crowds of people walking through an area. Keeping activity in the area low can reduce the amount of vibrations. Vibrations should be kept low enough to prevent damage and can be monitored in higher risk areas with sensors.<ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
Harsh weather like rain, wind, snow or frost can increase erosion significantly. Improper conditions such as humidity and temperature can even damage more sensitive items while they are indoors. Shielding items outdoors and keeping more sensitive items on a climate controlled display case can prevent damage.<ref>Singley, K. (1981). Caring for Artifacts after Excavation—Some Advice for Archaeologists. Historical Archaeology, 15(1), 36-48. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/25615387</ref><ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref> <br><br />
It is near impossible to preserve a building since there is no way of protecting it from either weather or pollution. In some cases, if part of the building is buried there will be an active choice to leave it that way instead of excavating it in order to prevent exposing it to the elements. In the case of Wigmore Castle, ferns and other greenery was deliberately left on the walls because the protection the plants were providing it from the weather was doing more conservative work that the roots were doing damage to the mortar<ref> Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref>. <br />
<br><br><br />
<br />
==Restoration==<br />
<br><br />
There is some controversy as to whether restoration is good for historic items or damaging. It depends on the conservative goals and the quality of the restoration. The main issue is maintaining historic integrity. If a restoration is attempted after there is no longer sufficient record or original material is left to understand the builders intent, then it can be done inaccurately.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> Patrick Faulkner compared it to a game of telephone where the end result looks kind of similar but may have an entirely different meaning. Additionally if a building is restored continuously as the original material erodes, then eventually the entire building will have been replaced and it loses its historic value. In order for a restoration to be quality, analysis is necessary as to which aspect that need to be preserved. in a more visual or artistic sense is might be OK to replace the material with a more durable variety that looks similar so the look of the building can be conserved.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> If the structure or building method is important than the materials and building procedure need to be adequately analysed and some loss of visual accuracy over time should be accepted since it is not economically feasible to continuously repair the building such that the original builder's intent is completely conserved. The main issue with restoration is that is is sometimes done in a well meaning manner without fully understanding of what is being restored, which can lead to further damage.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <br><br><br />
<br />
==Conservation==<br />
Conservation is very relative and what it means for different buildings is determined on a case by case basis. For some buildings this might mean adhering to the original structure and materials essentially freezing the place in time while in others it might mean allowing the building to change and adapt over time. In the case if Wigmore Castle it meant leaving as much as the original structure as possible, even leaving some sections buried and inaccessible such that they do not get damaged or corroded.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Conversely in the case of Norton Priory the educational and human interest in it were prioritized and it sees many changes based on visitor comments.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> In the same way it is essential to clearly define what is being restored, why and to what extent is necessary for a restoration, It is necessary to understand what aspects of a castle needs conserving. Deciding this depends on how the historic value of the building weighs against the presentation value. In many cases it is impossible to preserve a building as it was found and still allow for visitors to understand it and travel though it without causing damage.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> More historically valuable building tend to have national support and regulations and have prioritize the building's safety, but some privately owned buildings might depend more on tourism to support maintenance fees. A balance between presentation and preservation needs to be decided.<br><br><br />
<br />
==Steps to Preserving a Castle==<br />
<br><br />
===Decide on Preservation Goals===<br />
<br><br />
Preservation can have very different meanings for different castles, so the first step is determining what preservation means for that specific castle.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> The two extremes for different kinds of preservation can be exemplified with Wigmore Castle and Norton Priory. At Wigmore an emphasis was put on preserving the historic value of the building, which lead to a goal of leaving the castle mostly as found and making as few changes as possible to protect the remaining structure.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> At Norton Priory, an emphasis was put on the artistic and presentation value of the site. This lead to a preservation goal of changing the site as needed in order to suit the communities needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref> Most castles end up somewhere in the middle of these two kinds of preservation goals. <br />
<br><br><br />
===Research===<br />
<br><br />
No matter what the preservation goals are, a large amount of research is needed to ensure the preservation is done properly.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> Studying the materials the Castle is made of and how those materials react to different environments and chemicals is one of the most common forms of research.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref><ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> This will help the conservators determine if there is some kind of chemical treatment or environmental tailoring that can be done to protect the stone.<ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref> At Wigmore, a decision was made to leave parts of the castle buried and covered in bush in order to protect the mortar from the weather based on research that said the damage from being buried and covered in plants was far less than the damage that would be done once those factors where removed and the mortar exposed.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Research should also be done on the castles stability to determine if any supports are necessary and where placing them will cause the least amount of damage.<ref>Coppack, G. (2005). Setting and Structure: Conservation at Wigmore Castle. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (49-71) London: Routledge.</ref> Dating a locating where the stone came from is also common. That Kind of research is helpful for restorations. Research can also be done on how the castle was assembled so that similar methods can be used to restore it. This has been done at the White Tower on the Tower of London. <ref> Palaces, H. R. (n.d.). Preventive. Retrieved May 17, 2017, from http://www.hrp.org.uk/conservation/what-is-conservation/preventive/#gs.RCfxuXU</ref><br> If artistic value is more important studying the color and texture can be prioritized so that the material can be replaced with something more durable that will look the same.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> At Norton Priory More research was done on what the locals wanted to see at the castles and renovations where made to suit those needs.<ref> Warhurst, M. (2005). Norton Priory. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (71-85) London: Routledge.</ref><br />
<br><br><br />
<br />
===Coming Up with a Preservation Plan===<br />
<br><br />
The Plan for preservation will be unique to each castle based in the preservation goals, the research done, whether or not National regulations apply, the kind of revenue they have to put towards preservation, what state the castle is in, and how many visitors the castle might have.<ref> II. IS PRESERVATION POSSIBLE? (1978). Journal of the Royal Society of Arts, 126(5264), 461-470. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/41372798</ref> <ref> Chitty, G. (2005). The Tradition of Historical Consciousness. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (85-99) London: Routledge.</ref><br />
<br><br><br />
<br />
===Implementing the Plan===<br />
<br><br />
Once a plan had been made it need to be put into place. The effectiveness of the plan should be monitored to make sure it will allow the castle to meet the preservation goals. <ref> Baker, D. (2005). Introduction: Context for Collaboration and Conflict. In Chitty, G (Ed.), Managing historic sites and buildings: reconciling presentation and preservation (1-23) London: Routledge.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
==Quality of Restorations and Effectiveness of Preservation Efforts ==<br />
In order to judge how well Medieval castles are being preserved, I visited four different castles and judged them based on how well maintained they were. The castles were chosen such that two of them are required to follow national regulations regarding preservation, those being the Tower of London and Windsor Castle, and two of them are privately owned and maintained. I judge how well maintained they where based on how well the mortar was kept, meaning not allowing damage due to plants, how well the castle was protected from tourists, meaning how badly the castle was graffitied, and if animals were allowed to nest in the castle. I chose these aspects because they would need to be handled in a similar manner between castles regardless if the artistic or historical value was being preserved. I also compared their relative budgets and the amount of visitors they get in order to determine what kind of influence those factors had in preservation.<br />
[[File: Castle Conservation.JPG|x320px|right|thumb| Conservation Project at the Tower of London]]<br><br />
<br><br><br />
===Tower of London===<br />
[[Tower of London| The Tower of London]] is a more famous Castle, so they do not have to sacrifice as much to get visitors and revenue. It is Preserved by Historical Palaces, however, they do not get any government funding, as a result many of the rooms were converted to house display cases. There are some rooms that are conserved extremely well such as the Chapel in the White Tower and Edward I's bedroom. They are much more protective of the artifacts than most of the rooms, however the mortar is kept well. there was not any graffiti no plants growing in the walls. They had two restoration projects going on while I visited, both where carefully studied to determine how to best preserve the historic value while still allowing visitors to enjoy it. Specifically Edward I's bedroom was being repainted using the same kind of paint and method of application and the mortar on the White Tower was being repaired. Overall it is one of the better preserved castles.<br />
<br />
===Windsor Castle===<br />
[[Windsor Castle| Windsor Castle]] is another well known castle with a lot of revenue to put towards preservation. It underwent a lot of remodeling after the medieval time period. so there are limited aspects of a medieval interior left.<ref>Keen, L., & Scarff, E. (2002). Windsor: medieval archaeology, art and architecture of the Thames Valley. Leeds: British Archaeological Association.</ref> There was clearly more of an aim to preserve the artistic aspect of a medieval castle as opposed to the castle itself. There was no graffiti and a small amount of plants growing in the mortar. In the restoration of St. Georges Hall after the fire, Historical Palaces recreated a medieval style ceiling that was not there previously. It was built in the using the same methods that would have been used in medieval times to construct that kind of ceiling. They did have a conservation project going on the replace lead on the roof and conserve the stonework. The conservation of the idea of a medieval castle is done fairly well even though most of the castle would not accurately fit in a medieval time period. Since they did successfully conserve the impression of a medieval castle with limited damage to the building and it is well maintained, I would consider it to be a more quality preservation.<br />
<br />
===Ashby de la Zouch===<br />
[[Ashby de la Zouch Castle| Ashby]] is a much smaller castle than either the Tower of London or Windsor Castle. It is much better know then Farnham Castle and sees a good amount of tourists. The initial ruins make it seem like it has been very poorly maintained but the majority of the damage is due to the fact that is was actively blown up during the civil war. There is a lot of graffiti and a moderate amount of plants growing on the mortar. Overall it seems to be poorly maintained but presents itself to tourists almost as well and as the Tower of London. Presentation was clearly prioritized over long term preservation. <br />
<br />
===Farnham Castle===<br />
[[Farnham Castle| Farnham Castle]] was the smallest and least known of the castles I visited. Since it doubled as a bishops house it is frequently used for weddings, which how most of its preservation revenue is gathered. I was unable to see the section they hold the weddings in since it is only open for viewing on Wednesdays. The Keep was available to explore. They did install signposts to explain aspects of the castle and its history along with some safety rails but most of the keep had been unchanged. there was a large excavation in the center of the keep showing the old tower. I could only find one piece of graffiti and there were few plants growing on the walls. Despite being the smallest castle it seemed to be one of better maintained castles without restorations.<br />
<br><br><br />
<br />
==Comparing Persevered Castles==<br />
<br><br />
This section include galleries that shows direct comparisons of the castles maintenance based on the amount of plants in the mortar, graffiti, and if animals were allowed to nest.<br />
<br><br><br />
===Gallery Graffiti===<br />
This gallery compares the amount of graffiti I found at each castle.<br />
<gallery mode="packed"><br />
Image:Ashby_Graffiti 2.JPG|''Graffiti at Ashby Castle''<br />
Image:Ashby_Graffiti.JPG|''This level of graffiti is found all over Ashby Castle''<br />
Image:Fernham Graffiti.JPG|''This is the one piece of graffiti found at Farnham Castle''<br />
Image:Tower of London Graffiti.JPG|x350px|''The only Graffiti at the Tower of London has historical significance and is being preserved''<br />
Image:Windsor Graffiti.JPG|''Found at Windsor Castle. No Graffiti was found''<br />
<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Plants===<br />
This gallery compares the amount of plants found at each castle<br />
<gallery mode="packed"><br />
Image:Ashby_Plants.JPG|''There are a fair number of plants growing on top of the mortar at Ashby Castle''<br />
Image:Ashby_Plants 2.JPG|''as well as some growing on the sides''<br />
Image:Fernham_Plants 1.JPG|''Fernham Castle does not have a large number of plants in most places and where they do exist they're generally small''<br />
Image:Fernham_Plants 2.JPG|''There is a large number in the historic well''<br />
Image:Tower of London Plants.JPG|''The only plants found were in unused drainage''<br />
Image:Windsor Plants.JPG|''This ivy was the only plant found on the mortar.''<br />
</gallery><br />
<br><br><br />
<br />
===Gallery Animals===<br />
This gallery shows all the animals nesting in each castle. No wild animals were found at either he Tower of London or Windsor<br />
<gallery mode="packed"><br />
Image:Ashby_Pidgeon.JPG|''Some animals nesting in the towers at Ashby''<br />
Image:Fernham_Pidgeon.JPG|''Some animals nesting in the remains of the tower at Fernham''<br />
</gallery><br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
It is currently impossible to conserve both a castles historic and artistic value. Conserving takes a lot of revenue so quality conservation and or restoration is very difficult to achieve. How and if a castle should be conserved or restored needs to be decided on a cases by case basis and depends on what aspects of the castle are deemed most important. If a castle has a lot of high historic value, then more of a focus should be put onto conservation and it might not be appropriate to restore the castle. If the artistic meaning behind the castle is more important than more of a focus can be put on restoring the castle. The reason both cannot typically be done is because restoring a castle can mean having to change materials in order to make it last longer. Additionally if a castle is constantly restored then eventually it will be entirely refaced once all the original material has been corroded. In both cases a large amount of effort needs to be put into documenting how different parts of the castle are supposed to look or what materials they are made of. A poor restoration can be more damaging than not restoring it if the restorations confuse the builders intent. With enough research restorations can be made to look as the builder originally intend and possibly with the correct materials if historic value is of high importance and there is enough of a budget. The correct conservation methods can be put in place to keep a specific kind of material from corroding if the properties of the materials are known.<br><br />
Based on the results from my deliverable, the quality of current restorations seem to be depend on how much funding a castle gets and how well known it is. Having a lot of traffic can cause damage, but not having enough means there won't be enough revenue to preserve the castle. In the cases of Windsor and the Tower of London, they are both extremely well known and have had a lot of revenue to preserve what has been deemed important. This is apparent in the fact that the mortar in both castles is well looked after and there is sufficient security to prevent graffiti. They both had a lot of research put in to how best preserve them and have active projects to protect them. Farnham was a much smaller castle. Since it is not nearly as well known they don't get as much traffic and do not need as much money to prevent damage from tourist. They can have less security and still not have problems with graffiti or the castle getting worn down as much because there are not that many people going through. They are also able to make enough to maintain the castle by hosting weddings. Ashby de la Zouch Castle was the least well preserved. It has a small amount of revenue and was well know due to its roll in ''Ivanhoe''. The tourism is promoted over the preservation causing a lot of graffiti and poor maintenance. <br />
<br><br />
For further projects, research on how more popular castles that have smaller budgets, like Ashby de la Zouch, can better be preserved. <br />
<br><br><br />
<br />
=External Links=<br />
To the Historic Royal Palace Site:<br />
http://www.hrp.org.uk/conservation/#gs.PB0fyas<br />
<br><br><br />
<br />
<br />
<br />
[[Category:Art Projects]]<br />
[[Category:2017]]<br />
<br />
=References=</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19393The Art of Sword Forging2017-06-22T14:54:19Z<p>Npetilli: /* Art in Medieval Sword Forging */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19390The Art of Sword Forging2017-06-22T14:51:18Z<p>Npetilli: /* Section 2: Deliverable */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four-day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class, we needed safety glasses, heat resistant work gloves (not welding gauntlets), nonflammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point at the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, we cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out an 80mm section, a 30mm section, and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45-degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point was shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper. To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19374The Art of Sword Forging2017-06-22T14:44:26Z<p>Npetilli: /* Blade Patterns */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to their combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason, many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class we needed safety glasses, heat resistant work gloves (not welding gauntlets), non flammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point ant the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, We cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out a 80mm section a 30mm section and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45 degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point were shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper.To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19372The Art of Sword Forging2017-06-22T14:42:44Z<p>Npetilli: /* Time Period */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period, swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to there combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class we needed safety glasses, heat resistant work gloves (not welding gauntlets), non flammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point ant the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, We cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out a 80mm section a 30mm section and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45 degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point were shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper.To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19367The Art of Sword Forging2017-06-22T14:38:57Z<p>Npetilli: /* Section 2: Deliverable */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to there combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class we needed safety glasses, heat resistant work gloves (not welding gauntlets), non flammable clothes, and sturdy shoes. The next section will go into how the sword was made.<br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
===Learning the Basics===<br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point ant the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, We cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
===Cross Guard===<br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out a 80mm section a 30mm section and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
===Blade===<br />
The blade was created next. We started with some flat rod cut at a 45 degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point were shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper.To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
===Pommel===<br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
===Assembly===<br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
===Handle===<br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19357The Art of Sword Forging2017-06-22T14:35:04Z<p>Npetilli: /* Section 2: Deliverable */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to there combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: Groups Swords.JPG|x320px|right|thumb|Workshop Swords before the handle]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class we needed safety glasses, heat resistant work gloves (not welding gauntlets), non flammable clothes, and sturdy shoes. <br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point ant the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, We cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out a 80mm section a 30mm section and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
The blade was created next. We started with some flat rod cut at a 45 degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point were shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper.To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
<br> <br />
<gallery mode="packed"><br />
Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
</gallery><br />
Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
<br><br />
<gallery mode="packed"><br />
Image:Completed Parts.JPG|''Completed Parts''<br />
</gallery><br />
The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
<br><br />
<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
</gallery><br />
<br><br><br />
<br />
==Results==<br />
<br><br />
Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
<br><br><br />
<br />
=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
<br />
=References=<br />
<br />
<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Groups_Swords.JPG&diff=19353File:Groups Swords.JPG2017-06-22T14:33:35Z<p>Npetilli: </p>
<hr />
<div></div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=The_Art_of_Sword_Forging&diff=19349The Art of Sword Forging2017-06-22T14:30:29Z<p>Npetilli: /* Inscriptions */</p>
<hr />
<div>=Art in Medieval Sword Forging=<br />
by [[User:Npetilli|Nicole Petilli]]<br><br />
<br />
{{Infobox<br />
|title = Art in Medieval Sword Forging<br />
|bodystyle = width:25em<br />
|image = [[File:Cool Sword pic.JPG|x450px|alt=Cool Sword Pic]]<br />
|caption = Deliverable Sword by Tower Hill<br />
}}<br />
<nowiki>__TOC__</nowiki>. <br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
The purpose of this project was to study how art was involved in medieval sword making and create a medieval sword. I have never done any kind of forging previously. I found that most art in medieval swords are religious in nature and meant to give the wielder divine favor in battle. A lot is not known about inscriptions because of a lack of understanding in Latin abbreviations and grammar. Sword blades could also be decorated with wave patterns during forging. I created a sword in order to understand the processes that would have been involved in creating the art. I was unable to actually create any art in my sword due to a lack of skill. <br />
<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
The aim of this project was to find how art factored into the making of medieval swords in Europe. The most common kind of inscription are religious invocations. Blades were commonly decorated with religious symbols in order to give the wielder divine favor in battle. Other inscriptions could have been meant to give the blades magical power. Names could also be found on different blades along with maker's marks. A lot of the lettering cannot be interpreted due to a lack of understanding in Latin abbreviations and grammar. Other combinations might also be a magical language or random letters meant to give the blade a magical look. Inscriptions where created using a chisel. They could be filled n by hammering metal treads into the material once it had been carved. Patterning was also common as smiths aimed to recreate Damascus steel which was legendary for its strength and flexibility. Pattern welding became common to create different wave patters similar to Damascus steel in the blades. Making a sword takes a lot of skill. I tried to get an idea for this by making my own sword.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
==Time Period==<br />
<br><br />
I am defining a Medieval sword to mean any sword crafted in Europe between 500 and 1400 AD. During this time period swords would be mainly used for fighting as seen by the fact that the shape of the blade depends on the fighting style native to that area. They also would have be used in the Crusades.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The majority of swords where made to be functional as opposed to be artistic. The swords did have art on them designed to be functional in the forms of engravings meant to give the blades magical power or blessings from various deities.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Designs in the blades did come about from trying to mimic Damascus steel, steel made from wootz, an iron ore from India, and crafted in Damascus, a trade center from that time period, because of its highly functional qualities.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
==Meaning of Art in Swords==<br />
<br><br />
===Blade Patterns===<br />
{{Infobox <br />
|title = Damascus Steel Knife<br />
|bodystyle = width:25em<br />
|image = [[File:Damascus steel hunting knife (4121913093).jpg|320px|alt=Image ]] <br />
|caption = Damascus Steel has a distinctive wave pattern <br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Rich Bowen<ref> Attributed to Rich Bowen from Lexington, KY, USA (Damascus steel hunting knife) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Damascus steel swords were very popular during the medieval period due to there combination of strength and flexibility. Using Damascus steel causes a water ripple looking pattern in the blade. For this reason many smiths found ways to copy the pattern despite not having the steel. The patterning was entirely for aesthetic uses and had no real meaning beyond the implication that it was a high quality sword which may or may not have been true depending on whether or not it was Damascus steel and if it was forged properly.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Blade with Inscriptions<br />
|bodystyle = width:25em<br />
|image = [[File:Cawood sword - blade with inscription - YORYM 2007 3086.JPG|320px|alt=Image ]] <br />
|caption = The meaning of many inscriptions are unknown<br />
|label2 = '''Artist''' <br />
|data2 = Photographed by: York Museums Trust Staff<ref>Photographed by: York Museums Trust Staff [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inscriptions on Medieval swords are very common and severed a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Runic inscriptions were frequently maker's marks, which show who forged the sword, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the weapons name. Having a name was rare and was likely used for gifting swords. They could have also been to remind the barer to show bravery or been written by sorceresses to give the blade magic power.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Religious vocations would have been meant to give the wielders divine favor in battle.<ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Symbols and ornaments were likely religious.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> Most writing on medieval swords have religious, magical, or other protective meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref><ref>Nickel, H. (1969). A Knightly Sword with Presentation Inscriptions. Metropolitan Museum Journal, 2, 209-210. doi:10.2307/1512593</ref> Among more common letter sequences such as SDX, which means Sanctus Dominus Christus or Holy Lord Christ, SD(I)X, which could have meant salvator Dominus Iesus Xrist or Liberator Lord Jesus Christ, and ULFBERTH which were mass produced. There are different sequences that do not appear to have any meaning.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> This could be because hey are Latin abbreviations of songs or verse that are unknown or due to a lack of understanding the grammar. Because witting was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been nonsense meant to be a magical language.<ref>Worley, J., Wagner, T. (2013) How to make swords talk: an interdisciplinary approach to understanding medieval swords and their inscriptions. Waffen- und Kostümkunde, 55(2): 113-132</ref> <br />
<br><br><br />
<br />
==Making The Art==<br />
<br><br />
===Blade Patterns===<br />
There are multiple ways of creating patterns on a blade. One method would be to weld two pattern sheets of steel together. This could be done with or without a sheet of iron in the middle depending on the forge.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> Other methods include the use of Damascus steel and pattern welding. The Original method for creating Damascus steel was lost sometime in 1750. There have been some attempts to replicate it but non have been entirely successful.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref> The loss could have been from a lack of Wootz, the ore used to make the sword and found only in India, or a change in technique in an attempt to keep up with high demands. Pattern welding requires stacking alternating layers of iron or low carbon steel and high carbon steel or alternating steels of different grain size. The sheets are then curryed, or welded together. They can then be folded bent and twisted during forging to create different patterns.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
===Inscriptions===<br />
{{Infobox <br />
|title = Medieval sword hilt<br />
|bodystyle = width:25em<br />
|image = [[File:Albion Baron Medieval Sword 2 (6092403878).jpg|320px|alt=Image ]] <br />
|caption = Note the Cross symbol on the pommel<br />
|label2 = '''Artist''' <br />
|data2 = Attributed to Søren Niedziella<ref> By Søren Niedziella from Denmark (Albion_Baron_Medieval_Sword_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
}}<br />
<br><br />
Inlays were made by Carving out the desired design in the blade with a chisel. Gold or other metal thread was place over the carvings then hammered in. It was hammered in using a lager flat hammer that would be place on the sword then hit with a more standard hammer.<ref>Durand-Charre, M. (2014). Damascus and pattern-welded steels forging blades since the iron age. Les Ulis (Essonne): EDP sciences.</ref><br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
For the Deliverable, I created a sword using some medieval sword forging techniques, such as drawing and cornering. By Comparing my Sword to those in ''The Illustrated Directory of Swords & Sabres'' by Harvey J. S. Withers, my sword is most like a European knightly sword from c.1350. Since creating art on a sword takes a more skilled blacksmith I decided to simple forge a sword to get an idea of how difficult creating the art along with the sword must have been. The Sword was made at a four day workshop offered by the Forge of Avalon on Glastonbury. The class was taught by Richard, the owner of the forge. In order to participate in the class we needed safety glasses, heat resistant work gloves (not welding gauntlets), non flammable clothes, and sturdy shoes. <br />
<br><br><br />
==Process of sword forging==<br />
<br><br />
We started by forging nails to learn basic skills such are making points, drawing, cornering, and making heads. Cornering is done by heating the metal then hammering at the end of the piece with a slight angle and rotating the piece at 90 degree angles to create a square point ant the end. Drawing involves heating again and hammering the piece while slowing moving the piece away from the direction you want to draw it under the hammer. Drawing lengthens and narrows the piece. Cornering it done by heating and hammering in line with the side of the anvil in order to create a corner in between sections of a piece. To create the head of the nail, We cut the nail off by heating it and hammering it over the hardy then snapping it off in the heading tool. before snapping the nail off the rod that its being forged out of it is important to make sure the head is hot enough because the heading tool sucks heat out of the nail and you need enough time to hammer out the head. Once the nail in the heading tool you place the nail in the hardy hole and hammer where the cut was in order to create a flat head. <br><br />
<gallery mode="packed"><br />
Image:Anvil 2.JPG|''Anvil''<br />
Image:Hammer.JPG|''Hammer''<br />
Image:Hardy.JPG|''Hardy''<br />
Image:Hardy Hole.JPG|''Hardy Hole''<br />
Image:Heading Tool.JPG|''Heading Tool''<br />
Image:Forge.JPG|''Gas Forge''<br />
Image:Sizing tool.JPG|''Sizing Tool''<br />
Image:Tongs.JPG|''Tongs for gripping round objects''<br />
Image:Tongs 2.JPG|''Tongs for gripping cornered objects. Note rivet in grinning surface''<br />
Image:Nails.JPG|''Nails I created''<br />
</gallery><br />
Work on the sword started with it cross guard. We stared with a square rod of low carbon steel (less than 1% carbon) and marked out a 80mm section a 30mm section and another 80mm section. We then drew one of the 80mm sections. We cut at the end of the other 80mm section the same way we cut the nails off their rods. We then drew out the other 80mm section. We used calipers to find the center of the piece after we drew it and marked the center. We then heated it and used a chisel to create the slot for the blade in the center if the guard. We had to use to different kinds of chisel to get the right shaped hole.<br />
<br><br><br />
The blade was created next. We started with some flat rod cut at a 45 degree angle of high carbon steel (about 7% carbon). We created points on both ends by heating them and hammering the 45 degree angles down. Once the point were shaped we chose our favorite one to became the point of the blade. we then drew that end of the blade out so it would have a taper.To create the tang, we marked a point 140 mm away from the end of the blade then Richard used a spring loaded press in order to corner the section of the tang that would fit into the cross guard. The spring loaded press was also used to draw out blade out more. we then marked about 3/4 of an inch up from our mark and drew out the section after that by hand. the spring loaded press was used again in order to further draw that section out and corner it again. We had to round the last section of the blade by hand. We also had to add a bevel to the edges of the blade. this was done by hammering at an angle until the end fit in the sizing tool. Through all these steps we had to brush the blade with a wire brush to keep oxidized chunks of steel called hammer scales from getting pounded into the blade<br />
<br><br />
<gallery mode="packed"><br />
Image:Brushing Hammer Scales.JPG|''Brushing off Hammer Scales''<br />
Image:Shaping the Point.JPG|''Turning the 45 degree angle into a point''<br />
Image:Step 1.JPG|''Blade with two points. One end drawn to be the point of the blade''<br />
Image:Adding the Taper.JPG|''Adding the taper''<br />
Image:Step 2.JPG|''Narrowed end to become the tang''<br />
Image:Step 3.JPG|''Blade with completed tang and bevel''<br />
</gallery><br />
Next we started work on the pommel. We started with a round chunk of rod and heated it. We had to pound off and cutting marks and oxidants. We then rounded the corners of the rod. the final step was using a special tool and a hammer to create a circle in the middle of the pommel. Brushing was required for this piece too. We used a drill press in order to make a hole for the tang to go through. we then heated one end of the pommel and used a chisel to give one hole a rectangular dent so the pommel would not rotate on the blade. <br />
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Image:Cut removal.JPG|''Removing the cut marks and oxidants''<br />
Image:Adding Circle.JPG|''Adding the center circle''<br />
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Hammer scales where removed from all the pieces using a variety of sanders and a special hammer was used to dig them out of the blade. The Pommel was then test fitted to the tang and extra material was cut off of the tang. The cut was made about 1/2 inch from where the pommel ended. The blade was grinded down using a belt sander to give it a nice finish. The blade, cross guard and pommel were them assembled and the rivet to hole the pommel on was made by heating the end of the tang with a blow torch and hammering down the 1/2 inch of material that was left before. We then tightened the cross guard by hitting it with a hammer. <br />
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Image:Completed Parts.JPG|''Completed Parts''<br />
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The last step was making the handle. This was done by measuring the exposed bit of the tang and cutting two bits of wood to fit that section. A slot was made for the tang in each piece by marking the wood then cutting it with a box cutter and a chisel. The wood was then sanded to create a handle shape and glued to the tang. We then glue leather over the wood and that concluded the sword making. <br />
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<gallery mode="packed"><br />
Image:Finished Sword.JPG|''Finished Sword''<br />
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==Results==<br />
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Forging the sword was difficult even with the help of modern technology. There are a lot of imperfections in the blade due to hammer scales getting pounded into the metal despite the brushing and the decorative circle in the pommel is slightly off center. Otherwise it is a functional sword. <br />
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=Conclusion=<br />
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The main function of art in medieval swords was to give the sword power via divine favor or magic. Swords we also had makers marks in order to tell who made it. They could also have names or reminders to be brave in battle written on them. Smith's also tried to replicate Damascus steel. Damascus steel was sought after due to legendary hardness and flexibility and created a distinctive wave pattern in the blade. Pattern welded steels became common. They were made by alternating layers of low and high carbon steel then twisting and folding them while forging to get various patterns. Patterning in the blade was mainly for decorative purposes. Making a sword is very difficult even with modern day machines such as belt sanders, spring loaded presses, ban saws, and drill presses. Smiths would have needed a great amount of skill to forge swords with decoration. A Future area of study could be in the History of Damascus steels and how they shaped sword forging past the medieval time period.<br />
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=External Links=<br />
Forge of Avalon Website: http://www.forgeofavalon.com/index2.php<br />
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=References=<br />
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<br />
[[Category:Art Projects]]</div>Npetillihttps://londonhuawiki.wpi.edu/index.php?title=File:Albion_Baron_Medieval_Sword_2_(6092403878).jpg&diff=19342File:Albion Baron Medieval Sword 2 (6092403878).jpg2017-06-22T14:27:31Z<p>Npetilli: </p>
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<div></div>Npetilli