Dinandery

The word dinandery appeared in XIVe century. It is derived from the radical of Dinandier. It indicates whole of the Dining the brass ustensils manufactured at the origin in the town of , in Belgium.

Description

The dinandery is the technique of the Dinandier. It consists in melting and formatting the Métal (Cuivre, Laiton, money, tin…) by hammering. The various techniques necessary to the realization of a part are:

stamping and hammered for working itself ;
under-planing and planing for the completion of the part.

These operations are done, generally, after a heat treatment which consists in heating at a temperature given for each type of metal and to cool more or less quickly: metal is reheated; thus treated, it becomes malleable.

Some indications of temperature for the most used metals:

tin and Lead, not of annealing;
Gold and money, annealing dyes pink pale;
copper, annealing dyes red cherry;
brass must be heated with 500 °C, to be cooled with 300 °C, to pass by again with 700 °C, then to be cooled slowly.

stamping consists in deforming metal while striking with a hammer with ball or a mallet to be pressed (breakdown of the specific hammer), a hollow form called “salt box”.

hammered makes it possible to make pass the metal of the horizontal position to the driving position. To have a more precise idea, it is necessary to take a sheet of paper, to pose it on the left hand slightly dug. With the right fist, to press the sheet to put it in contact with the left hand. The folds thus created give an idea of the displacement of metal in space.

A summary definition of hammered consists in eliminating these folds, to maintain metal in the driving position.

Once the operation of stamping and of hammered realized, the part has irregularities. Under-planing and planing will finish working and will give at piece-rates a finished aspect.

under-planing is done with the mallet, most generally. It eliminates the large irregularities (hollow or bumps) from working. The blow is bearing. The part is taken between the mallet and the heap, one hears the resonance of the metal mass (heap).

planing is done with a curvature or face hammer punt slightly. It finishes working and gives again a hardness at piece-rates. The blow is bearing. The part is taken, as under-planing, between the hammer and the heap, one must also hear the resonance of the metal mass support (heap). The final aspect smooth or will be faceted according to the choice of the hammer.

This work method makes it possible to obtain parts of all forms and dimensions with the relatively reduced weight since they are hollow and that the metal sheeting employed does not exceed 1,5 mm thickness. This technique was, at the base, used for the creation of various containers such as cauldrons, basins, jugs, plates, teapots, ewers built in different materials according to the social castes.

Today, it also appears in the decorative field or it allows the realization of fountains, bath-tubs, basins, mirrors, luminaries and small various objects…

History

As of the 4th millenium before our era, the copper, which contained Arsenic then, was worked in Egypt and Chaldée.
the dinandery itself was however applied to the beginning of the 11th century in the valley of the Meuse, initially with Dining Huy then with (city from where this discipline draws its name). It is probably at the origin of an important tradition of liturgical Orfèvrerie which is spread in all the country mosan and produced mountings, reliquaries, cross, bindings of a great richness (Art mosan).
Renier of Huy carries out, of 1107 with 1118, out of brass, the famous baptismal font of St. Bartholomew's Day Massacre to Liege, of an exceptional traditional perfection at the time.
Thereafter, works become more complex, charged and more varied materials. Godefroy de Huy employs the enamel Champlevé in its achievements, in particular the reliquary chief of the pope Alexandre, realized for the abbey of Stavelot and exposed to the royal Musées of art and history to Brussels.
Nicolas de Verdun carries out the mounting of Notre-Dame for the cathedral of Tournai in 1205. The brother Hugo d' Oignies engraves the works delicate and refined which are visible with Namur, with the convent of Oignies.
Much of anonymous works, like the mounting of Aimed (12th century) or that of Stavelot (13th century), is parts of dinandery also belonging to art mosan.

References

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