Historical Metallurgy https://www.hmsjournal.org/index.php/home <div><strong>Support this Journal!</strong></div> <div>The Historical Metallurgy Society can only provide <em>Historical Metallurgy</em> as a platinum Open Access resource through the support of its members. Become a part of our community! Join the Society today to keep free publication for Historical and Archaeo-metallurgy. Full details on membership rates and options are available via our <a href="https://historicalmetallurgy.org/">website</a>. Members may opt to receive<em> Historical Metallurgy</em> and our newsletter, <em>The Crucible</em>, in printed form if they wish.</div> <div> </div> <div> <p>online ISSN: <a href="https://portal.issn.org/resource/ISSN/2755-0249">2755-0249</a> print ISSN: <a href="https://portal.issn.org/resource/ISSN/0142-3304">0142-3304</a></p> </div> <p> </p> <p> </p> The Historical Metallurgy Society en-US Historical Metallurgy 0142-3304 Abstracts https://www.hmsjournal.org/index.php/home/article/view/662 <p>The abstracts are edited by Janet Lang. The Honorary Editors would like to acknowledge her continuing help, and that of others who contribute abstracts. Where no source is given, the abstract has been adapted from that provided by the author(s) of the paper.</p> Janet Lang Copyright (c) 2023 Janet Lang https://creativecommons.org/licenses/by/4.0 2023-05-30 2023-05-30 54 1 46 53 10.54841/hm.662 The Enkomi Cup: macrophotographic damage assessment https://www.hmsjournal.org/index.php/home/article/view/658 <p>Macrophotographs of the Enkomi Cup have been examined to assess the cracking damage in the Cup metal, a silver alloy. The resulting interpretations and their implications indicate that the cracks are most probably due to long-term stress corrosion that stopped well before excavation and restoration. It is concluded that no additional restoration and conservation measures are needed.</p> Russell Wanhill Alessandra Giumlia-Mair Copyright (c) 2023 Russell Wanhill, Alessandra Giumlia-Mair https://creativecommons.org/licenses/by/4.0 2023-05-30 2023-05-30 54 1 1 8 10.54841/hm.658 The assay and refining of gold in the post-medieval Islamic world: Potential and reality https://www.hmsjournal.org/index.php/home/article/view/661 <p>This paper describes the analysis of the Moroccan gold coins, jewellery and ingots from the 17th-century Salcombe Bay Treasure. Their trace element content gives information on the likely provenance of the gold and their fineness gives information on both quality control and refining methods. These can be compared to the methods described in the contemporary <em>Al-asdāf al-munfadda <sup>c</sup>an ahkām <sup>c</sup>ilm sancat addīnār wal-fidda</em>, an important Moroccan treatise on gold assay and refining, complied by al-Djaznā’ī. The treatise is both technical and practical and relates specifically to gold coins, jewellery and ingots. The methods outlined in the treatise are compared with other contemporary descriptions from Europe and India.</p> P. T. Craddock M. R. Cowell M.-F. Guerra Copyright (c) 2023 P. T. Craddock, M. R. Cowell, M.-F. Guerra https://creativecommons.org/licenses/by/4.0 2023-05-30 2023-05-30 54 1 9 20 10.54841/hm.661 Collaborative Artisanship: Medals at Louis XIV’s Royal Mint https://www.hmsjournal.org/index.php/home/article/view/659 <p>During Louis XIV’s reign, royal medals were fabricated in a workshop called the Monnaie des Médailles, situated at the heart of artisanal production at the Louvre. Medals were produced by a series of men appointed by the king, but the Monnaie des Médailles achieved administrative perfection under master goldsmith Nicholas Delaunay, who transformed the workshop into a space of performative display, where the king’s most important visitors could marvel at the quality of medalmaking equipment and witness the process of medal striking. Although scholars of medals tend to attribute specific medals to individual artists, struck medals do not correspond to contemporary ideas about the work of art’s authorship. Here, we reconstruct six stages of making – design, modelling, production of punches, dies and flans, followed by striking – to elucidate the artisanal process and place these objects back into the hands of their producers.</p> Robert Wellington Christina Clarke Copyright (c) 2023 Robert Wellington, Christina Clarke https://creativecommons.org/licenses/by/4.0 2023-05-30 2023-05-30 54 1 21 35 10.54841/hm.659 The British Iron Act 1750: its context and impact https://www.hmsjournal.org/index.php/home/article/view/660 <p>In the Iron Act 1750, the British Parliament sought to encourage the production of iron in America, but to discourage its manufacture into finished wrought iron goods. It thus prohibited the erection or continuance of iron processing works of various kinds. This article examines these processes to provide context for the Act. It also reviews the returns that it required from colonial governors, which provide some details of the American iron industry at that period and particularly of existing works for the prohibited processes, and the extent and significance of iron imports from America.</p> Peter King Copyright (c) 2023 Peter King https://creativecommons.org/licenses/by/4.0 2023-05-30 2023-05-30 54 1 36 45 10.54841/hm.660